Category: Inside connection: links to other publications

Hello, terrestrial dancers! Even for the most ground-bound among us, it’s difficult not to wonder about gravity-defying aerial work, and Daniel Krieger is hardly an exception.

“After dancing on land and in the water,” Krieger writes (I want to hear more about that water business), “I was naturally ready for the next element. So I tried it in the air, which turned out to be no easy feat.”

True that.

The New York Times recently ran a sweet little piece about Krieger’s aerial adventures, something that many a floor-lover might be curious about. For anyone who’s tried it, it’s exhausting and fantastically playful, as Krieger discovers with help from Heather Hammond at Hype Gym in Manhattan. Read more here.

If you’re interested in taking classes in the Vegas area, Fern Adair Conservatory of the Arts is a great place to start. They offer classes in silks and lyra, a suspended metal hoop. Find the aerial schedule here.

And finally, to read about my own exploits in the air, find posts about my introduction to silks, an update after several months of classes, and this crazy thing called antigravity yoga, offered at Shine Alternative Fitness in Las Vegas.

Happy hanging!


What would you do for tuition money? A Penn State student cruises around New York subways with a pair of tap shoes and makes more money than at his job near the university. Dance pays, ladies and gents! Check out the short video from the New York Times here. The full story is available here.

Any thoughts on what kind of shoes he’s sporting? The video shows Bloch taps. If you have an idea, feel free to share below!

New York City Ballet alluded to the unseasonably toasty season in a sunny program choreographed entirely by Jerome Robbins. Decked out in simple costumes reminiscent of sandy shores and bygone days, dancers embodied Robbins’ familiar motif of fanciful youth.

The show included “In G Major,” “In Memory Of … ” and “The Concert.” Brian Seibert wrote a great review of the show for the New York Times, available here. If you’re just in the mood for eye candy, click here for the multimedia slideshow. Whether you’re shivering through the drafty season or basking in winter warmth, both are worth a look.

The National Endowment for the Arts analyzed census data from 2005-2009 and came up with something that isn’t news to a lot of dancers: only about 28 percent of this barre-grasping crowd has a full-time, year-round job.

That might sound like the other 72 percent spends long, empty days eating Ramen and scrounging for work. However, as a story in the LA Times chronicles, this isn’t necessarily the case, either. Dancers may profess being bad with numbers (although most of us can count to eight pretty well), but many are killer freelancers. As artists interviewed for Laura Bleiberg’s story attest, this can be a very effective survival strategy.

To meet some of the pro freelancers in Los Angeles, head over to the story above. For details on the NEA report, follow the link here. It’s chock-full of interesting stuff.

Do you have stories about freelancing to stay afloat, or landing a full-time job? Feel free to share in the comments!

“During this Christmas season, from the early days of December until mid-January, London is clogged, blighted, with stagings of The Nutcracker.” It is a state of affairs which would seem ludicrous were it not so artistically stultifying, and so horridly typical of artistic policies and artistic funding.”

So writes Clement Crisp in the Financial Times. He elaborates on this statement throughout the article, citing the myriad productions of the holiday standby and total potential theater capacities (250,000 audience members, by his reckoning) as evidence. Inertia rules, as he puts it, and even if you’re a sugarplum addict, his article is worth a read. Find the full version here.

What are your thoughts on Nutcracker traditions? Is the production perfect as a classic or in need of some reworking? Share your thoughts in the comments below.

Take an insane mashup by Greg Gillis, who fused bits of 373 different songs from all genres onto a single CD. Add a rebel ballet dancer — it’s been done before, but bear with me — a flash tapper and a slick, snazzy popper/street dancer. Throw them all into New York City, stir, and watch what happens for the next 72 minutes.

Director Jacob Krupnick dreamed up this recipe and the result is a vertiginous, improvisational jam between the three loosely defined characters throughout the five boroughs of New York City. Anne Marsen, the main character, boogies to the continuous track, bumping into fellow dancers John Doyle and Daisuke Omiya in her flamboyant frolicking.

Part of the film went viral earlier this year, but the creation was screened in its entirety on Dec. 8 at the Brooklyn Masonic Temple. If you enjoy artfully blended music, smile-inducing improv, man-on-the-street-style dancing and confused looks from passersby, visit the Girl Walk // All Day homepage to watch episodes of the project. For some interviews with the dancers and creators, head over to a story from the Wall Street Journal here. The first episode is below.

It could usurp those much-touted 10,000 hours of practice time researchers have said you really need to excel at something. (Find an excerpt of the original study here.) The New York Times ran a story recently about the effect of repetition as it stacks up against natural aptitude. Some of the observations are fascinating, especially for mildly obsessive individuals who spend countless hours grasping a barre.

Practice is important, certainly. But how far can talent go to compensate for fewer practice hours? What does a high I.Q. predict for an individual and at what point does a level of heightened intelligence yield diminishing returns?

Interested in reading more about practice versus predispositions? Check out the link here to read the full story.