Yes We Mystic's video for "Working for the Future in the Interlake" is simple yet beautiful. As a dancer performs to the song, her silhouette gets faintly imprinted on a glow-in-the-dark screen behind her. Read the rest
It may only be April but if you want to look super cool at the office holiday party this December it is time to get to work! Read the rest
Tonight (Thursday, 3/23), San Francisco's magnificent contemporary dance company ODC launches their 2017 season that includes two world-premiere dances, live music, and reprises of Brenda Way's Walk Back the Cat and Kate Weare's Giant. Every year, ODC astounds me with creativity, freshness, and compelling narratives told through sublime motion.
More: "ODC show examines what we hold on to, through dance" (SFGATE)
Here's Bill Bailey moonwalking at the Apollo Theatre in 1955, a good decade or three before Michael Jackson perfected the move. Below, a video compiling that and other similar moves from the period.
For dessert, here's Bob Fosse in 1974's film of The Little Prince
Unlike the commercial clubs that existed to make a profit, Mancuso and particularly his event Love Saves the Day, offered a space for its members, often an LGBTQ audience, to celebrate nightlife without police interference.
“For me, the core [idea behind The Loft] is social progress,” he said in 2013. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. In New York City they changed the law [for entry into clubs, from] 18 to 21 years old; where can this age group go to dance? In my zone, you can be any age, a drinker or non-drinker, a smoker or a non-smoker. And that’s where I like to be.”
Playlist: David Mancuso presents The Loft:
This week on HOME: Stories From L.A.:
A roving. shifting company of dance and performance artists is nudging its audiences to think about home differently -- by bringing one-off, site-specific performances to houses, live-work spaces and tiny apartments all over the Los Angeles area. Meet homeLA.
This 2:47 showreel from Method Studios was produced for the Association of Independent Commercial Producers Awards, as an exuberant celebration of the many possibilities of motion-capture: simply combine talented dancers, pingpong balls, and computer graphics artists, shake and strain, and voila, the impossible is real. (via Kottke) Read the rest
On Thursday (3/17), the pioneering artists from San Francisco's contemporary dance company ODC will launch their 2016 season with a stunning array of world premiere pieces at the Yerba Buena Center for the Arts! See video teasers above and below. Tickets available here. I've seen many ODC performances over the years and the commonality between them is that they are all sublime. This Thursday is the first ever performance of ODC founder/artist director Brenda Way's "Walk Back the Cat," featuring an original score commissioned and performed by Paul Dresher, with visuals by RJ Muna and Ian Winters.
"'Walk Back the Cat,' a metaphor for retracing the complex backstory of an event, explores the skeleton of the creative process," Way says. "How does context affect meaning in dance? Developing from pure movement ideas into a dramatic scenario, the work is conceived as a kind of choreographic puzzle, which ultimately comes together in a scenario inspired by Thomas Hart Benton’s muscular and vital murals of American City Life in the 1930s."
The other pieces in the 2016 season include:
* KT Nelson’s new work, "Going Solo," for the exceptional Private Freeman
* Reprise of Nelson’s explosive 2015 hit, "Dead Reckoning"
* Kimi Okada’s "humorous I look vacantly at the Pacific…though regret"
* An unprecedented co-commission from NY choreographer Kate Weare who brings her fiery movement to the ODC dancers with the world premiere of "Giant"
"I look vacantly at the Pacific... though regret":
Football is about one thing and one thing only: dance. As far as I can tell American rules football is where men in elaborate costumes, featuring tight pants, seek to stop other men from dancing.
Colloquially known as a touchdown celebration, the body of rules and regulations managed by the credible governing body, the National Football League, seems to focus on allowable practices to bar the opposing team from dancing. After they've determined what you can do to stop a dancer, and what things are permissible to get the dancer on to the dance floor, known as an "end zone," the NFL then heavily regulates what type of dancing is appropriate.
We have seen Footloose, sad things happen when you try to stop people from dancing. In the NFL this frustration frequently seems to present as abuse and other ugly, unacceptable social behaviors.
I do like the commercials.