I’m having trouble feeding my blog, because I have so many issues dancing (!) around on my head… I’m writing about all of them at the same time, and nothing is ever ready to post! I’m so confused I posted THIS before it was ready, sorry!
Issue #1: the recent episode of Bolshoi x Stanislasvski conflict involving Ivan Vasiliev brought back memories of several similar conflicts, involving both him and other dance professionals, that often guest around the world. It made me reflect on the current ability of ballet companies to effectively cope with the changes in their reality: the increasing numbers of independent great stars; the cost/benefit of their productions; customer satisfaction; visible aging of their audience in live performances; globalization of information; the new ways (mostly digital and far from ideal, but THERE, their importance increasing as we speak) to access ballet/dance productions; the inadequate competitive attitude in a risk situation. I wonder if their funding agencies impose restrictions to effective management? It seems (lack of information!) they have, most of them, professional managers, so why are they so slow to adapt? Does that sound too businesslike? Well, it should!!! Dance companies, as every enterprise and institution nowadays, CANNOT ignore good business practices! Ignore them, nowadays, is to be doomed!
Issue #2: important dance professionals in UK complained about UK dancer’s training – they say contemporary dance schools do not prepare them well enough. On it’s wake, I became aware of information on UK’s Dance audience’s, agencies and training (I did not know where to find that, before). There is a LOT to think and ponder about here, and I follow the debate, and write to clear my ideas, and re-think, and get new information, and re-write… It has been highly interesting, but I’m still processing all these new data!
Issue #3: the general Prodigal Son Parable feeling about Ivan Vasiliev’s “return” to Bolshoi, and its consequences – there are very nice, really exciting consequences, and also, I foresee, some that may not be that nice. As always, Ivan Vasiliev has my interest as himself, but also as an emblematic dancer who raises issues that go far beyond him. There is a difficult, tense, even painful trade-off between an artist’s right and need of independency, and the means to realize his artistry – in Performance Arts even more than other kinds of Art. When I see dancers and choreographers potential unfulfilled, I long for them to find a “home” to fully realize them, but… which of the dance agencies available nowadays is willing to let them realize their potential to it’s full extent? Not a new question, and I don’t have an answer! I keep a keen eye on all agencies I can… there seems to be a great polarization: those “homes” that can afford to stage properly the greater ones, are the less bound to favour their individuality, and vice-versa! Either way, the artist looses, and WE loose!… that’s why I cannot but worry and wonder about solutions! This issue, obvioulsy, is related, but not the same, as Issue#1.
Issue #4: what is Dance about, nowadays? A recent interview of my amazing Natalia Osipova brought me once again to this issue. She is SO accomplished, I cannot imagine a more beautiful 2nd Act Giselle as hers, OR a more fiery Kitri, and the improbable possibility of a dancer to excel the way she excels in BOTH prooves her greatness! She is, however, haunted by doubts about herself, and seeks harder and harder for perfection, but to such an extent! it broke my heart…! Problem is, to be perfect does not mean, necessarily, to create magic, and she, sensitive as she is, KNOWS that, and fears that. Is perfection important to create an objet d’art? If at all, in what ways, and what KIND of perfection? When I reflect about this, I always feel Terpsichore – “the joy in dancing” – looking, very interested, over my shoulder…
Issue #5: I have a post to finish about overuse of strange – and ugly – movements and costumes in contemporary dance (that I love). I’m reticent about them, and try to explain why – just a humble, but as so often here, radical personal opinion. It involves body-language, the symbolic universe of a culture, and relates the way we see and interpret movements with words, smells and music – for now. I wouldn’t dare to question their artistic value or the creator’s need of them, but I can give a feed-back on how I receive/perceive them!
… and new issues keep arising!
It strikes me as little odd that in “other lives I lived”, in business, science, human science – and for all I can see but lived not, in other kinds of Art and every other organized human activity, issues like that are deeply important and openly and fiercely discussed… but I find so little open discussion and open opinions in Dance! I want to stand up and cry BRAVO everytime I see someone dismiss platitudes and state unconformity in a loud voice! … in good time, all these voices will grace this pages! But they are few, too few…