You might have heard the saying: “Those who can, do; those who can’t, teach.” In fact, if you’ve worked in the arts, not only have you most likely heard this, but you might also consider what I feel is the implied third part of this phrase, “Those who can’t do either, administrate.” This article is ultimately about arts administrators; read on for more.
Articles Tagged as Mind of the Artist
The period between Black Friday and Boxing Day is
commonly the most financially rewarding for big and
small businesses alike. Ballet is no exception. During this period, ballet companies
across the country throw their biggest annual holiday party, which helps keep many a ballet company afloat, providing essential operating funds.
Just as big and small businesses benefit from holiday spending,
freelance dancers like Barry Kerollis benefit from The Nutcracker. Read on to see how this Philadelphia-based dancer navigates the ups and downs of Nutcracker madness.
I am passionately in love with being onstage. It’s terrible. The can’t-eat-can’t-sleep-euphoric kind of love. When you find that love early in life it’s hard for much of anything else to stand up in comparison. And when it does, you fall in deep because that’s the only way you know how.
"Outside of change, the only constant in art is community," writes choreographer, dancer, and educator Helanius Wilkins. Read more about his thoughts on creating conducive artistic communities by working collaboratively and symbiotically with fellow members of the creative class.
Joan Myers Brown has had an extraordinary career. The founder of Philadanco!, one of Philadelphia's preeminent dance companies, as well as the driving force behind both the International Conference of Black Dance Companies and the International Association of Blacks in Dance, Myers Brown has lent her artistic guidance, her nurturance of many dancers and choreographers, her visionary leadership and grace under fire to many in the dance field. On June 13, she will be honored by Dance/USA for her contributions to the field. Read this personal account about Joan from long-time Philadelphia dance critic Merilyn Jackson.
On Thursday afternoon, June 13, during Dance/USA's 2013 conference in Philadelphia, Barbara Weisberger, respected doyenne of dance, will
receive the Ernie from Dance/USA for her visionary leadership and contributions to the field. The prize,
named for the first recipient, Ian Ernie Horvath, arts advocate, dancer,
and founder of the Cleveland Ballet in his native city, is fitting for Weisberger as Horvath was both a colleague and a friend of hers. Read more about the woman who was Balanchine's first child student and later the founder of the Pennsylvania Ballet.
Get to know Aaron Dworkin before he gives the opening plenary on Thursday, June 13, 2013, at 9:30 a.m. at Dance/USA’s 2013 conference.
The word “design” implies both planning and execution.
Many people think lighting design is created in the technical rehearsal. This is not so. Others see the myriad pieces of arcane drawings and paperwork that surround the professional designer and think that they constitute the design. Again, not so.
The lighting design is created in the designer’s head over the course of several weeks before the production loads into the theater. Read on for a perspective on working with lighting designers.
As I obtain more experience and knowledge in the field of dance, I hope that someday I will be able to be a mentor to a young artist like myself. I feel organizations like Dance/USA and programs like the Institute for Leadership Training are vital for the future of dance.
“Dance is a handed-down art form. We almost take this for granted in the studio, and don’t even think about it as it is occurring. It is how young dancers become seasoned and powerful performers; and how experienced dancers absorb the craft of creating dance work on their paths to becoming choreographers. But there is a world of opportunity to pass on knowledge and experience outside of the studio as well, and this has more to do with opening someone to the possibilities in front of them – be that artistic or intensely practical.”