An autobiography of a Canadian ballet student who, while still in her early teens, was offered the chance to study and tour with the Moscow City Ballet.
Here is the inspiring true story of a 14-year-old Canadian ballerina's elevation to soloist with the Moscow City Ballet. At 14, talented young dancer Olympia Dowd was plucked from the obscurity of a Vancouver ballet workshop and offered a life-altering opportunity: she was one of two Canadian girls selected to dance with the Moscow City Ballet. In her own words, Olympia describes the highs and lows of her remarkable experience: the months of training in Russia and the rigours of touring with a professional ballet. This amazing adventure is portrayed through the eyes, emotions and words of a "normal" adolescent with an extraordinary talent. Spectacular photographs of Olympia's unique odyssey-public triumphs, behind-the-scenes grind and rare moments of relaxation-complement the text on every page.
A talented young dancer and his brilliant teacher In this long-awaited memoir, dancer and choreographer John Clifford offers a highly personal look inside the day-to-day operations of the New York City Ballet and its creative mastermind, George Balanchine. Balanchine’s Apprentice is the story of Clifford—an exceptionally talented artist—and the guiding inspiration for his life’s work in dance. Growing up in Hollywood with parents in show business, Clifford acted in television productions such as The Danny Kaye Show, The Dinah Shore Show, and Death Valley Days. He recalls the beginning of his obsession with ballet: At age 11 he was cast as the Prince in a touring production of The Nutcracker. The director was none other than the legendary Balanchine, who would eventually invite Clifford to New York City and shape his career as both a mentor and artistic example. During his dazzling tenure with the New York City Ballet, Clifford danced the lead in 47 works, several created for him by Balanchine, Jerome Robbins, and others. He partnered famous ballerinas including Gelsey Kirkland and Allegra Kent. He choreographed eight ballets for the company, his first at age 20. He performed in Russia, Germany, France, and Canada. Afterward, he returned to the West Coast to found the Los Angeles Ballet, where he continued to innovate based on the Balanchine technique. In this book, Clifford provides firsthand insight into Balanchine’s relationships with his dancers, including Suzanne Farrell. Examining his own attachment to his charismatic teacher, Clifford explores questions of creative influence and integrity. His memoir is a portrait of a young dancer who learned and worked at lightning speed, who pursued the calls of art and genius on both coasts of America and around the world.
Breaking, popping, locking, waacking, and hip-hop dance are practiced widely in contemporary Vietnam. Considering the dance practices in the larger context of post-socialist transformation, urban restructuring, and changing gender relations, Sandra Kurfürst examines youth's aspirations and desires embodied in dance. Drawing on a rich and diverse range of qualitative data, including interviews, sensory and digital ethnography, she shows how dancers confront social and gender norms while following their passion. As a contribution to area and global studies, the book illuminates the translocal spatialities of hip hop, produced through the circulation of objects and the movement of people.
This popular core textbook offers a clear introduction to community dance practice today, preparing students for the realities of employment in this dynamic and widely studied field. The text is edited by a highly-regarded professional with an international reputation for best practice in community dance, and includes chapters written by an expert panel of contributors, comprising dance artists, practitioners and academics. It combines lively discussion with practical advice on the duty of care, inclusive practice and project coordination. With its stimulating range of case studies, interviews and resources, the reader is encouraged to apply the facts and theories to their own practice. This text is aimed at undergraduate and postgraduate students on community dance degree programmes, as well as undergraduate and postgraduate students of dance, theatre and performance studies who are taking specific courses on community dance. It is also accessible to emerging and professional community dance practitioners.
This book focuses on the myriad ways that people collectively remember or forget shared pasts through popular dance. In dance classes, nightclubs, family celebrations, tourist performances, on television, film, music video and the internet, cultural memories are shared and transformed by dancing bodies adapting yesterday’s steps to today’s concerns. The book gathers emerging and seasoned scholarly voices from a wide range of geographical and disciplinary perspectives to discuss cultural remembering and forgetting in diverse popular dance contexts. The contributors ask: how are Afro-diasporic memories invoked in popular dance classes? How are popular dance genealogies manipulated and reclaimed? What is at stake for the nation in the nationalizing of folk and popular dances? And how does mediated dancing transmit memory as feelings or affects? The book reveals popular dance to be vital to cultural processes of remembering and forgetting, allowing participants to pivot between alternative pasts, presents and futures.
This book explores the development of cognitive skills related to reasoning and creativity, two strands that can intertwine to work together at times but may also be at odds. Spontaneity and freedom from constraint, characteristic of the thinking of young children, may be essential to creativity, which has prompted many to question how much we lose as we progress through childhood. Research and common sense tell us that effort, practice, and study are necessary for the highest levels of creative accomplishment, yet such intentional exertions seem antithetical to these hallmarks of creativity. In this revised and expanded second edition, leading scholars shed new light on creativity's complex relationship to the acquisition of domain-based skills and the development of more general logical reasoning skills. Creativity and Reason in Cognitive Development will be an essential reference for researchers, psychologists, and teachers seeking to better understand the most up-to-date work in the field.
This is the biography of the life of artist Robert James (Bob) Webb, spanning a century of ups and downs of a nation, lovingly told by his wife, Katheryn Webb. At a young age, he was taken under the wing of the famous portrait painter, Fred Mortimer Lamb and later he apprenticed with the famous artist, John Singer Sargent. So impressed was Sargent with Bob's work and work ethic, he recommended Webb to the Secretary of the Navy to join the newly created Camouflage Department. He went on to become the first camouflage artist in the Navy during WWI. He decorated Ringling's mansion, painted murals in churches and his final job was working for John D. Rockfeller as head of painting and decorating at the historic village in Williamsburg, Virginia. Bob Webb lived life to the fullest and left grand memories; his effusive nature was big and tender, generous yet frugal. He also left a legacy in his art works; long to be remembered from Massachusetts, New Jersey, New York, North Carolina, Florida, and Williamsburg, Virginia; in historic places, mansions, libraries, churches, and many public places where his art played an important part.