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| 3. - 11. September 2021 | in Hamburg at Metropolis Kino (3. - 5. Sept.) and Kraftwerk Bille (10. - 11. Sept.) and Online Stream | Tickets: 5€ - 35€ |
Contemporary dance companies world wide. A directory that includes links to web pages, postal addresses, telephone numbers, and e-mails.
Following the lifting of restrictions, we are delighted to hold a live company audition for our delayed projects. We are looking for versatile performers
I am 16 and have been studying dance (ballet, modern) for 8 years. I am really interested in contemporary dance, but so many of the performances I see
Global and inclusive transformative dance training program that is offered every summer in New York City.
Intermediate and advanced dancers from all over the globe are welcome to apply. It is led by Valeria Gonzalez, and guest emerging international choreographers, and guest speakers. Students will be trained in techniques such as, Contemporary, Floorwork and Improvisation.
Upcoming Intensive: July 5th - July 17th ...
Hi, I'm a freshman in high school and want to audition for AMDA's dance program in 3-4 years. I was wondering if I could get to a level high enough to
By Gary Nunn
Recently the major European football clubs tried unsuccessfully to form a Super League promising to “deliver excitement and drama never before seen in football”. A bank would invest 4 billion dollars, expecting earnings of 5 billion a year from broadcasting rights. Imagine football matches at Netflix, that is why some called it Soccerflix.
Fans watching football are supporters of a team, they want their team to win, they are there to cheer it. Under this project spectators would focus more on the game itself and less on who wins it. They would not really be tied emotionally to a team, but only look for thrills in the show. Players would be regarded even more as superstars performing for the audience.
This brings in mind dance performances, where there are no winners and losers, no goals to score, no adversaries. People watch mainly dancers in the leading roles, their dexterity and grace, their physical and artistic feats, achieved through long practice and talent. They enjoy the story, the music, the creativity of the choreographer. Dancers compete with themselves, not with each other.
If footballers are gradually regarded as dancers, why don’t dancers become like footballers? Why don’t they earn astronomical sums? It is because dance performances do not fill stadiums. A theater has 500 seats, a stadium has 50,000. This means a hundred times more money from tickets, plus much more from sponsors, plus even more from TV rights. A footballer gets paid 1000 times more than a dancer.
Why doesn’t dance fill stadiums? Even now, with meagre financing dance offers much more than football, much more than any sport. Imagine dance financed 1000 times more, it would be glorious! It would transform society altogether. Why doesn’t it?
(candidatures jusqu’au 13.05 inclus)
80 years ago, Europe around 1941: a great part of Europe is occupied, curfew is imposed, radio is forbidden, sometimes no electricity. Families stay long evening hours at home with nothing to do, under conditions leading to depression and nervous breakdown - they get desperate.
Grandparents come to the rescue - their memories go back to the time when people could produce their own enjoyment, when they did not depend on TV, on dining out, going to the cinema or attending events. They had active, not passive entertainment. Younger ones had lost the ability to take pleasure in relating stories, telling jokes, singing and dancing at home in good company.
The aged people became the soul of the party singing the old songs, dancing the dances and taking the whole family with them, plus the neighbors. This is how the half-forgotten songs and dances jumped one generation and survived, producing after the War a revival of folk dancing.
As dance professionals, think of your role in the present situation of pandemic, lockdown and curfew. People need you now and will need you after this crisis. You produce a vaccine against the virus of the soul: you know how to make people dance. You hear the call, answer it!
Alkis Raftis President of the International Dance Council CID, UNESCO, Paris
ICK is looking for experienced contemporary female and male dancers with high ballet skill for their ensemble. Please send your motivation letter, CV, portrait picture and Video material/links to...
JVIntensive takes place over 6 weeks from 19th July - 27th August 2021 at Jasmin Vardimon Company studios in Ashford, Kent. Each week will concentrate
Last week, the editorial house Contredanse included an amazing short piece of thought by Laurence Louppe in their Chronique #5. The text is in French and I could not resist to translate it and share it with all of you. Thanks to Laurence Louppe for her amazing power to say things in such an accurate way. Here it is:
“In fact, the choreographer would be the first researcher: getting out of the preexistent models, working on displacing the processes, giving oneself and others instructions that open to the unknown, to analysis, to the visit of operations and dispositions (like the Tuning Score of Lisa Nelson), trying new scores, exploring ways of improvising, observing what occurs and giving new frameworks to experience, isn’t this the very definition of a scientific act? Yet it is the very definition of a poetic act. Research in dance is first a research in art.”
Extrait from the paper Notes pour une recherche en danse in Nouvelles de Danse no 26, 2003.
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