1. What aspects made Béjart’s work revolutionary?
2. Name one famous choreographer who he influenced.
3. With Mona Ingelsby’s International Ballet company, Béjart danced the role of _____ in _____ _____ 239 times.
4. True or False: Béjart’s reinterpretation of masterpieces like Stravinsky’s Rite of Spring disregarded the original story lines.
5. Béjart was the first ballet choreographer to create a piece of dance to what type of musical compilation?
6. How many schools did Béjart open?
7. These schools emphasized not only ballet but also _____ _____ and _____.
8. True or False: Boloreo, the signature solo he created for his star performer, lover and muse, Argentinian dancer Jorge Donn, has only since been danced by Mikhail Baryshnikov.
9. What aspect of his life inspired his 2000 Nutcracker?
10. Often compared to a rock concert-like experience, Béjart’s grand theatrical spectacles were performed in what type of venues?
1. Unconventional music, he explored spirituality, philosophy and sexuality and portrayed artistic figures as superstars;
2. Sasha Waltz, Angelin Preljoçaj, Boris Eifman and/or Pina Bausch;
3. Siegfried; Swan Lake;
5. Musique concrete;
6. Three (Mudra, Mudra Senegal and Rudra);
7. World culture and philosophy;
8. False; also danced by Maya Plisetskaya and Vladmir Vasiliev;
9. It was inspired by his boyhood obsession to reconnect with his dead mother;
10. Sports arenas and circus tents
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.