Before she came to public attention as the ethereal electro-pop siren Oh Land, the Danish musician Nanna Fabricius was a small-town girl who dreamed of becoming a ballerina. She left home for Stockholm at age 15 to pursue those ambitions until a back injury ended her career. Still, she often dreams about her first creative pursuit. An actual dream, in fact, inspired her new music video for “Cherry on Top,” a twinkling ballad on her 2013 album “Wish Bone,” produced by TV on the Radio’s Dave Sitek. In it, she went into a dance studio — only to discover that she wasn’t a dancer, she was a piano player. The dream seemed an apt expression for the song, which, she explains, is about “taking off the blinders and seeing the world all around you.”
The video, which premieres here, is a dreamlike fantasia, shot at the Alvin Ailey Dance School and featuring a bevy of child dancers and the model Helena Christensen. In it, Fabricius plays a substitute piano teacher at the dance studio. By choosing that role, she says, she felt she was closing the book on her past. “Since I’ve stopped dancing I’ve had so many dreams about being a dancer and being in the classroom again,” she explains. “But this one was a personal breakthrough in a way, because even in my subconscious I didn’t consider myself a dancer anymore.”
And there are still tickets available to YAGP’s Closing Night Celebration on April 11!
Mikhail Baryshnikov, the founder and artistic director of the Baryshnikov Arts Center, is opening a campaign to raise $1 million for artistic fellowships named for the composer John Cage (1912-92) and the choreographer Merce Cunningham (1919-2009). The effort, to be announced on Thursday, is intended to give artists a place to work, specifically in Studio 6A, a 43-square-foot top-floor space at the Baryshnikov Center in Midtown Manhattan. The room, which is column free with a glorious view of the Hudson River, is to be called the John Cage and Merce Cunningham Studio. Mikhail Baryshnikov, the founder and artistic director of the Baryshnikov Arts Center, is opening a campaign to raise $1 million for artistic fellowships named for the composer John Cage (1912-92) and the choreographer Merce Cunningham (1919-2009). The effort, to be announced on Thursday, is intended to give artists a place to work, specifically in Studio 6A, a 43-square-foot top-floor space at the Baryshnikov Center in Midtown Manhattan. The room, which is column free with a glorious view of the Hudson River, is to be called the John Cage and Merce Cunningham Studio. [Source]
HE’S a New York City policeman who’s seen it all before but, even so, dancer Reiko Hombo‘s airborne assault was an arresting sight. Hombo, a senior artist with the Australian Ballet, was on a high after her opening night performance at New York City’s Lincoln Centre: “I’ve just come off stage and I can’t wipe the smile from my face. I feel so lucky to be dancing in New York.” [Source]
Young men perform daring aerial dances in a crowded New York City subway car. Read the story here: http://nyti.ms/112IdFj
John Cage made «Variations V» in 1965 for the Merce Cunningham Dance Company. He and David Tudor settled on two systems for the sound to be affected by movement. For the first, Billy Klüver and his colleagues set up a system of directional photocells aimed at the stage lights, so that the dancers triggered sounds as they cut the light beams with their movements. A second system used a series of antennas. When a dancer came within four feet of an antenna a sound would result. Ten photocells were wired to activate tape-recorders and short-wave radios. Cecil Coker designed a control circuit, which was built by assistant Witt Wittnebert. Film footage by Stan VanDerBeek and Nam June Paik’s manipulated television images were projected on screens behind the dancers. The score was created by flipping coins to determine each element and consisted of thirty-five «remarks» outlining the structure, components, and methodology. The specific sound score would change at each performance as it was created by radio antennas responding to the dancers’ movements. In this photograph «Variations V» is performed for a television taping session in Hamburg. The photocells were located at the base of the five-foot antennas placed around the stage. Cage, Tudor, and Gordon Mumma operate equipment to modify and determine the final sounds. The project was also presented at the Philharmonic Hall in New York, 1965. [Source]