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Jam Dancer

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About Jam Dancer

  • Birthday December 17

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  • Location:
    Tokyo
  • Interests
    Travel, Dance, Languages

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  1. I saw this and was hopi it would clarify the latter half of 2019 but unfortunately it didn’t. No clearer on what’s happening in December 2019/early January 2020.
  2. Given the mixed sources it’s not terribly sophisticated data I’m afraid but yes much of the interest to which I am referring is in classical/neoclassical ballet. I’ve no idea though if there’s increased interest compared to some other period...
  3. No i don’t think that’s the case. There is usually a vocal minority that tends to hog airtime which leads to people believing that they’ve heard from an entire group when only a few who’ve appointed themselves spokespeople have made their feelings known. Whilst the naysayers do exist, there are far more people who don’t make those kinds of statements and who simply have not had the exposure, others who are curious or others who think it’s perhaps beyond them and quite a large number of people who are just indifferent. This brings up the dreaded “r”’word, relevance. These people aren’t necessarily committed fans of the current popular/hip art forms but they don’t think classical music /ballet/opera is relevant to them or to today. I don’t know what the answer in today’s environment of shortened attention spans and what seems to be a lack of appreciation for history. What I do know however, from those I know who do dance outreach work is that there is interest in ballet across groups.
  4. I agree with this. I think most people get that the country is 82% white - the percentage is not the issue. The issue is that there is definitely talent in the other 18% that never seems to get tapped, encouraged and make it despite the interest and skills. There never seems to be much wringing of hands or gnashing of teeth over this. Instead when a few people of different persuasions make it through, they are treated like unicorns. The myth that people from certain groups are only interested in certain art forms seems to have become common place.😞 It’s not what I see on the ground when people are exposed to and get the opportunity to participate in different activities beyond what they’re “supposed to do.” This mistaken perception exacerbated because it is difficult for certain people to get in ( there are matters beyond the usual training being expensive and only a small percentage ever make it and certain groups not having the disposable income). And it’s not only the most obvious ism although that is surely present as it is across society as a whole. On a related note, I don’t usually go to the Notting Hill Carnival because it’s become such a bastardised version of what a real West Indian Carnival is meant to be. It (carnival) is usually about dancing (revelry and pageantry) which I love in all of its forms but there is little dancing at Notting Hill (and not much revelry and too little pageantry)... wasn’t aware it was only certain types as most people there don’t look like me.
  5. I would’ve begged, borrowed and sneaked aboard a London bound flight for that one... I had a sneaking suspicion that was in the works...
  6. Well I just bought tickets for the Royal Ballet when they visit Japan in June. I know it must be a huge cost to bring such a large company, costume, sets, etc such a long distance but my goodness, the tickets were eye wateringly expensive! £56 for the cheapest section and I dared to get the next section up which cost me £77. I got one ticket for Don Q and as there were no tickets for the gala at all on the NBS website, I was forced to go to Viagogo where tickets in the section before the last were £109. Viagogo whacked on another ¥4250 (£29) for delivery and 2 tickets later I’d paid £297. I think we may rethink the weekend in Yokohama and just schlep in and back home for the performance. I never complained about ticket prices at home and after I move back (thinking positively) to the UK I swear I never will complain. Now it looks like ramen lunches for next month or two after this spending spree. Eek 😬
  7. Horses for courses I guess because I have never really taken to George Balanchine’s version despite trying several times when I lived in New York. I don’t think there’s a perfect version (disliked ENB’s version) but I’ve come to appreciate the RB’s version.
  8. An inspiration and thankfully a role model as well.
  9. Spot on Lizzie1! Software development is a bit more complicated than the media makes it seems and I think ROH probably for itself in a pickle with what seems like some not fully thought through changes so let’s hope they get it right this time.
  10. I also saw both performances yesterday and I am of a similar opinion regarding Winter Dreams. Laura Morera’s interprétation conveyed much more emotion and made the farewell pas de deux difficult to watch for me. I’ve always liked Akane Takada and thought her to be a lovely lovely dancer so there was less of a surprise there. I think that she has become more comfortable coming outside herself and inhabiting the different characters and that’s become more apparent.
  11. Well you were correct. Apparently she was such an excellent Sylvia that she was promoted to Principal Dancer immediately after her debut performance on Saturday evening (10th)!
  12. Well mixed feelings on this... I’ll be in attendance at a couple of the performances for sure but sure wish they would’ve chosen something else. If I am really lucky perhaps Symphony in C will be one of the gala pieces. That’s two trips to Yokohama then!
  13. I adore Lambarena and love Frances Chung. I’d like to see the piece live but SFB has always had a bit of strange timing in its season that I’ve only ever managed to see the company abroad and never in it’s home city. Passing through London on June 8th 2019 and hoping to fit in a SFB performance and RB performance on the same day!
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