August 22, 2004
As someone who lived in Los Angeles and worked in the dance community for a number of years, I find the situation that dance companies face extremely appalling. When I read in Lewis Segal's very thorough article "Late for the Dance" (Aug. 8) that BalletFest, New World Flamenco Festival and more are being "hit" for extinction then I have to wonder -- are there any real champions of dance in Southern California? Everyone seems to care about the Bolshoi or American Ballet Theater, and there are always millions upon millions of dollars for big, opulent buildings, but now the bare pittance for dance companies is dwindling even more.
December 2, 2006
RE "Losing the Lion's Share," by Diane Haithman, Nov. 28: It would be enlightening to read a follow-up article taking a look at why dancers are pushed to make the choice between an artistically rewarding career and a contract that will allow them to earn enough money to pay their bills. In the past years, the financial situation of dance companies around the United States has become critical. The boards of directors of these dance organizations, state agencies such as the California Arts Council and the federal government are all responsible for the situation.
July 17, 1997 |
In a world that is tough, demanding and fiercely competitive, they are among the young elite. Lean and full of life, they come to the big brick building that houses the Boston Ballet with their muscles taut and their dreams fixed firmer still. Athletes and artists in equal measure, the young dancers who fill this prestigious group's corps de ballet are driven, determined and, to a one, immensely talented. But even in such rarefied company, Heidi Guenther stood out.
March 11, 2012 |
Gideon Obarzanek can trace much of his artistic drive to a creative restlessness that stems, he says, "from an interest beyond pure dance. " "How can dance coordinate with other forms?" he asks. "This has been a creative engine for me, in that I've been able to make unique works. But it's also a frustration. Because a part of me always wants to go off and do other things and then I keep getting pulled back into a dance context. " Since founding the Australian dance company Chunky Move in 1995, Obarzanek has consistently pushed the boundaries of how contemporary dance can be viewed and understood through mining his omnivorous interests in theater, film, visual art, science and technology.
October 8, 1988
Reading about the new partnership between Joffrey Ballet (based in New York and Los Angeles) and Cal State L.A. made me realize that even here art is about politics ("Joffrey and Cal State L.A.--Both to Benefit?" by Lewis Segal, Sept. 27). In the 10 years since I relocated from New York City, I see less and less support and opportunity for the Los Angeles dance companies. It never ceases to amaze me how the arts organizations and institutions continually look toward New York for their glory.
June 4, 1989
So, Aman's dirty laundry has finally been aired. In a piece more worthy of a gossip column than the arts and entertainment magazine of the Los Angeles Times, Perlmutter has revealed all. Or has she? Did she bother to check the accuracy of statements made by Anthony Shay and Bonita Edelberg with current Aman artistic directors Barry Glass and Leona Wood? Perhaps Mr. Glass and Miss Wood found other topics more interesting than gossip about disputes of more than a decade ago. It is a pity that Perlmutter chose to focus her article on this dead issue, rather than on the more interesting subjects of Aman's upcoming concert and world premieres, the state of ethnic dance in general and on the vibrancy of the arts scene that comes from having two such interesting dance companies in Los Angeles.
December 2, 1992 |
Before the centennial "Nutcracker" ballet festivities grab too much attention, let's take a few moments to cheer and reflect on the first appearance of the Paul Taylor Dance Company at the Orange County Performing Arts Center, last weekend. Modern dance--indeed, modern work of any kind--generally has taken a back seat at the center.
October 31, 1994 |
After reading Martin Bernheimer's commentary ("Balletic Blight Still Plagues L.A.," Calendar, Oct. 16), I felt I should set the record straight on the status of dance in Los Angeles. Bernheimer seems to think that the end-all and be-all for Los Angeles would be a ballet company. How does he propose we pay for it? And what do we do with the large number of dance companies that already exist? And, may I say, barely exist, in some instances.