trying on a metaphor

roma★
PUT YOUR BEARD IN MY MOUTH
Aqua Utopia|海の底で記憶を紡ぐ
Cosimo Galluzzi
wallacepolsom
we're not kids anymore.
Not today Justin

Origami Around
🪼
Sade Olutola

Kaledo Art

if i look back, i am lost
Alisa U Zemlji Chuda
One Nice Bug Per Day

JVL
occasionally subtle
Lint Roller? I Barely Know Her
I'd rather be in outer space 🛸
Three Goblin Art

seen from United States
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seen from South Africa

seen from Brazil
seen from Bangladesh

seen from Bangladesh
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seen from Malaysia
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@theterpsichorean
shun labels“For the past two months, I have been publishing interviews with contemporary dance artists, trying to address (for both myself and my faithful readers) what exactly contemporary dance entails. Because, to be honest, I’ve always been a bit dubious about contemporary dance. It has seemed to me to be an umbrella term without any real delineations. But, through conducting several interviews with self-identified contemporary dance artists across the country, I think I’ve finally begun to wrap my head around the term.
“For those of you who want the cliff notes, these are some themes from the past two months of interviews that have stood out to me:
1) There seems to be two divergent strands of contemporary dance [in America] : Performance Art/ Dance Theatre & Commercial Dance
2) Varied Training: “Many of the dance artists interviewed said the ideal training for a contemporary dancer should include in-depth study of several different dance forms.”
3) DIY Funding: “From a funding perspective, the outlook is dismal. Companies are closing, grants are drying up, people are getting tired of crowdfunding, and the likelihood of a contemporary dancer enjoying an actual salaried career is nil. That being said, there are tons of DIY initiatives. The best advice, which came repeatedly, was to find another job that allows for flexibility, in essence funding your own work. This is what I personally do and what 90 percent of the dancers I know do. However, if this is the contemporary funding model for contemporary dance, it seems strangely regressive.”
4) Shun labels: “The best part about contemporary dance, as far as I can tell, is its willingness to shun labels. Like a true millennial, I don’t care much for labels myself. Categorizing oneself as a ballet dancer, modern dancer or hip hop dancer seems just as limiting as being a Balanchine dancer, Horton dancer or Cunningham dancer. Unlike dancers of previous generations, contemporary dancers wear the label of whatever dance form best defines the project they’re currently involved with.”
—-
“Post contemporary dance! Are we there yet? I hope this next era is all about dance as practice, dance as a form of community building, dance as expression, dance as healing, and dance that is more open to various socioeconomic platforms. Of course, there is something great about classical training and its rigor, as well as the study of dance in historical context and acknowledging what has been done and how it effects the codified forms we see now, but I hope the post contemporary era allows dance to continue to disperse throughout communities and be something people can engage with as a physical practice. I believe this will bring renewed interest into viewing as well!”
This is the third piece in a series with San Francisco Bay Area artists Jenny Stulberg and Lauren Simpson. What Now? By Jenny Stulberg On Thursday, March 31st, it happened: Simpson/Stulberg Collaborations presented STILL LIFE DANCES at ODC Theater. It's still a little hard for me to believe that after...
We opened on a Thursday, and two days later, we closed. I oftentimes imagine that putting on a show is similar to what it’s like to spend months being pregnant, and then all of a sudden…. BAM! You have a baby (or in our case, a show). Lauren and I have jokingly stated before, “Well, we birthed another one!” in reference to the 3 previous Still Life pieces we’ve created together, and ironically enough, Lauren is due to have an actual baby in a few weeks! (Disclaimer: that one I had nothing to do with.) And though I clearly understand it is quite different to produce a show than it is to actually produce another human life, I believe there are definitely some metaphorical and abstract similarities between the two events.
First, there is the Conception: The “idea” is created and then you decide to willingly go forward with making this idea a reality.
Where has American modern dance gone? Has it been subsumed or consumed or bumped off by contemporary dance? Or by contemporary ballet? By hip-hop? Have the earthy heroics of early modern dance become irrelevant? Replaced by the anti-heroes of Judson Dance Theater and later? Has modern dance fled to Europe and looped back to us in conceptual non-dance? Or has it gone to Korea? If modern dance returns in the form of a re-organized troupe of Paul Taylor’s, will anyone go see it?
“Modern and contemporary dance co-exist. When their companies perform those early classics, we feel that grounding underneath them. We feel the brave pioneering aspect of it, the insistence on human dignity in the face of adversity—even if we don’t feel it speaks directly to us today. The contraction and release of Graham, and the fall and recovery of Humphrey theatricalized deeply felt human emotion. These visceral approaches, framed by a strong sense of design, formed the foundation of modern dance.”
“Dancing is poetry with arms and legs” - Charles Baudelaire (Photo of Jacqueline Green by NY Dance Project)
When I dance I feel no pain. Just happiness from having the freedom to express myself" - Claire Grazioli (Photo by Vadim Stein)
by *james houston*
“Yes, being in a female dominated field, I do know what it means to be marginalized. “
oh
my
god
omg
oh my fucking god
The really ugly part is they’ve actually done multiple sociological studies on this, and guess what the result is? Men in female-dominated fields aren’t marginalized at all; they get special treatment and are fast-tracked to the top, getting more credit for their work, faster promotions, and greater pay and benefits than their female colleagues.
Here’s one study. Here’s another. And another.
^phenomenon known as the glass escalator
by Shena Tschofen
choreography by Andrew Winghart
Sonia Biacchi
Dytto - “Barbie Girl” Dance
Holy fuck watch this
Portraits From Glamour’s Women Of The Year Awards by @jonpremoschphoto
I've never seen Misty with her hair down, she looks awesome!
James Dean and Eartha Kitt learning ballet in 1955, photographed by Dennis Stock.
Photographer Arno Rafael Minkkinen Seamlessly Integrates His Body with the Natural World