From my colleague Erica Stanton:
I am reminded of some wise words from educationist Elliott Eisner and look forward to a time when –
??? more importance is placed on exploration than on discovery, more value is assigned to surprise than to control, more attention is devoted to what is distinctive than to what is standard, more interest is related to what is metaphorical than to what is literal???.
From the personals in latest London Review of Books:
If you like attractive, personable, romantic types
I doubt very much that you'd get along with any of the other goofballs in this column. So write to me instead. I've kitted out my attic as a rumpus room with a Nintendo Wii and a mini fridge, and my mum hardly ever goes up there. M, 38.
In Luke Jennings’ review of Babel and Political Mother for The Observer on Sunday 23 May he writes: “Dramaturgs are the management consultants of the dance world, comfortably digging themselves into productions before toxifying them with theory and conceptual waffle”.
Raymund Hoghe – dramaturge to Pina Bausch for 10 years
Andre Lepecki – dramaturge to Meg Stuart
Guy Cools -– dramaturge to Akram Khan
Have these people really toxified the work of Khan, Stuart and Bausch?
I hate being critical of critics (it’s hard for it not to sound so petty) but Jennings’ comments tend to exacerbate the theory/feeling dichotomy in dance in the UK. That is, dance is either something that makes you think or makes you feel (and that the latter is preferable), and that it can’t be an experience that results in audiences slipping through and across thinking–feeling.
Reblogged from Capital Idea (http://apentimento.blogspot.com/2010/05/mystery-of-little-import-about-import.html)
The remarkable Mieskuoro Huutajat's version of Star Spangled Banner.
Would love to see the documentary "Screaming Men" _ anyone seen it somewhere?
Working with Bagryana Popov in Bitola, Macedonia, around about the time the All Blacks lost to France in the 2007 Rugby World Cup (and yes, that is relevant).