Brighter Collective’s Post

Year: 2012. Ballet: The Slave and the Merchant. Company: Ballet Flávia Homobono. City: Imperatriz do Maranhão. Brazil has countless talents scattered around the world, and there we have a range of talents that are discovered and the vast majority fail to become what they were born to be. Many could evolve and be very useful to world dance due to their extraordinary abilities and physical condition. Why do they get lost? Lack of encouragement, poverty (which leads them to abandon their studies to work), early pregnancy (many girls start their sex lives too early, resulting in them becoming mothers before their time). Brazil unfortunately preaches very early sexualisation, and the problems are numerous. The art that is widely publicised, that has a high financial injection; it's the hindrance (frankly), carnival, trios elétricos, degrading and sexualised music, it's hard to fight against all this. Universities today are political militancies, art is used as militancy and victimisation with ideological flags, and true dance, the object made to bring relief, doesn't develop, doesn't evolve... And generations are lost without understanding the Hands that shake the box and leave everyone disorientated. I say all this with sadness. As a teacher, I understand my role in guiding and helping classical dance in my country and around the world. My humble contribution. However, I see people fighting over crumbs that fall from the tables of their rulers, the system is pushing and it's going to get worse. While the ants are fighting amongst themselves, the anteaters are feeding on everyone and will be gorging themselves on a lot of human flesh. Stop for a moment and, in the silence, listen to the wisdom and understanding that all that is shown is not all there is to be seen.

Announcing a three-day Exploratory Seminar to take place on February 26 - 28, 2024 in The Conference Room, Rock Hall, Boyer College of Music and Dance, Temple University in Philadelphia. It will not be live streamed so requires live attendance for anyone interested. Futures of Eighteenth-Century Dance Scholarship: What is Pantomime in Pantomime Ballet? Seminar I: Monday, February 26th, 9:30am -5:00pm Seminar II: Tuesday, February 27th, 9:30am -5:00pm Seminar III: Wednesday, February 28th, 9:30am -3:00pm Ballet pantomime (1760-1810) or ballet en action has traditionally been considered the predecessor of classical ballet. Several important reforms took place in the late eighteenth century, such as the abandonment of masks, the development of expressive gesture, and the attempt to choreograph tragedies adapted from theater without words, all of which made ballet pantomime possible. Nevertheless, this period is one of the least studied in the history of baroque dance, which leads to many unanswered questions concerning the role of the passions, the degree to which dance used theatrical gesture and/or to which theater itself became choreographic, how this balance or imbalance between dance and theater correlated with the relation of dance to the musical score, and therefore how we can define the term action. Finally, how did pantomime ballet express bourgeois subjectivity while also possibly serving as a vehicle for political agency. Discussions of eleven invited scholars and performers whose work has made a significant impact on this subject together with a reenactment of scenes from Noverre’s Agamemnon Vengé (Franko, Omedilla, Lindorff, Hazebroucq and Temple dancers) and a graduate student round table.

🚀 How New York City Ballet is Winning Over Young Audiences! New York City Ballet has had some clear success in attracting a younger crowd to performances. Here’s some of the key strategies they've been using: 🔹 Affordable Tickets: With the 30-for-30 program, anyone under 30 can snag any seat for just $30. They seem to be making ballet more accessible and more affordable for, well, more people. 🔹 Social Events for Young Professionals: Fun, post-show receptions and special evenings are turning ballet nights into social hotspots, perfect for networking and a great night out. 🔹 Cool Collaborations: Teaming up with artists like Solange has brought a fresh, youthful vibe to their performances, drawing in folks who might not have considered ballet before. 🔹 Engaging on Social Media: Dancers like Tiler Peck are sharing their lives on Instagram, making ballet dancers relatable and their art form more approachable. 🔹 Diverse and Inclusive Performances: By showcasing works from choreographers of color and featuring a diverse cast, they’re ensuring more people can see themselves represented on stage. 🔹 Focus on Wellness: Highlighting the importance of physical and mental health resonates with young audiences who prioritize well-being. The results? A big jump in younger ticket buyers, especially those in their 30s. New York City Ballet is not just reaching a younger audience—they’re winning over new fans who never thought they’d love ballet. Kudos to Jonathan Stafford, Wendy Whelan, and their whole team for opening the doors of ballet to a new generation! 🌟 The arts - yes, even ballet - are a place where everyone can feel welcome and excited to explore. #Ballet #AudienceDevelopment #PerformingArts #YouthEngagement #NYCB #InnovationInArts #CulturalDiversity #SocialMediaSuccess

NCBAE’s What’s the 411? gives our community the opportunity to meet some of the dopest folks we know! This series will introduce new concepts, people doing extraordinary things in their fields, shed light on little known topics and invite viewers into a world there are no limits to what we can and are doing! Meet one of our faves- thee David Choate of Revolution Dance Theatre! Learn why #BlackBoyJoy is essential in dance and what RDT has coming up next. Grab your Hot Chocolate tickets here and add it to your holiday traditions: https://lnkd.in/gKZGjcZh Did you know 👇🏾? 1. Black men have played transformative roles in dance theatre since the early 20th century, with icons like Alvin Ailey, who founded the Alvin Ailey American Dance Theater in 1958. Ailey’s company not only showcased Black talent but also redefined modern dance by incorporating African-American cultural themes and storytelling into its repertoire. 2. In recent years, Black male dancers have gained visibility in classical ballet, an area historically dominated by white performers. Artists like Misty Copeland’s frequent partner, Calvin Royal III, are breaking barriers as principal dancers in major companies like American Ballet Theatre, inspiring a new generation of young Black male dancers to pursue ballet and contemporary dance at elite levels. 3.Black dancers often face disparities in access to training, funding, and mentorship compared to their white counterparts. Dance programs in historically Black communities are often underfunded, limiting opportunities for Black dancers to receive the same rigorous early training that is common in predominantly white institutions. This can affect Black dancers’ career paths, especially in genres like ballet, which require specialized training from a young age. #NCBAE #art #entertainment #dance #blackbodies #RevolutionDanceTheatre #blackboyjoy #mistycopeland #ballet #HotChocolate

How Ballet Austin is Turning New Ticket Buyers Into Longtime Fans: IDENTIFY NEWBIES. Ticket scanners play a doorbell sound when a newcomer’s ticket is scanned. It’s an easy way for team members to identify who needs an extra welcome. SURPRISE AND DELIGHT. A designated “social ambassador” offers newcomers a small welcome gift (usually a piece of chocolate) and helps curate their hour before curtain. CREATE UNIQUE TOUCHPOINTS. They offer a series of lobby experiences that allow patrons to connect with the art in whatever ways are most enriching for them. SET THE MOOD WITH MUSIC. A good playlist has the power to significantly enhance the pre-show and post-show atmosphere. The music even follows guests into the parking lot. GIVE PLENTY OF NOTICE. Use real-time texting to notify audiences if there’s heavy traffic or if the parking lot is likely to fill. EMPOWER YOUR STAFF TO PROBLEM SOLVE. If a ticket didn’t print correctly, a Ballet rep goes down the stairs to get the ticket reprinted—not the guest. Read more on Capacity Interactive’s blog: https://lnkd.in/e8VdrMUr

🩰 Celebrating Women Founders in Ballet 🩰 In honor of the women shaping the dance industry, Dance Data Project® presented a comprehensive listing of women-founded ballet and classically based professional companies in the United States. Tracking these women-founded ballet companies is essential for recognizing the role women play in shaping the American ballet sector. From innovation to regional influence, these companies embody talent, resilience, and endurance. This has the power to inspire aspiring dancers, choreographers, and industry leaders, challenging norms and pushing boundaries. For example, did you know that the first American ballet company, the Chicago Opera Ballet, was established in 1910? Dorothy Alexander made history in 1929 as the first woman to found a ballet company, laying the groundwork for future women pioneers in the field. Despite facing significant obstacles, many of these women established their companies before laws were enacted to protect women's rights. From the Equal Pay Act to the Equal Opportunity in Education Act, these women defied barriers to creating successful ballet companies. Here, 179 ballet companies founded or co-founded by women between 1929 and 2024, were compiled. The data distinguishes between currently active (i.e. Ajkun Ballet Theatre - Founded by Chiara Ajkun in 2000 Alabama Ballet - Founded by Dame Sonia Arova (Thor Sutowski) in 1981 Albany Berkshire Ballet - Founded by Madeline Cantarella in 1969 American Ballet Theatre and defunct/inactive companies, shedding light on the enduring impact of women in ballet. Methods & Limitations: DDP sourced founder names, gender, and years active primarily from company websites, social media, news articles, and archival resources. Despite their best efforts, they acknowledge the possibility that not all women-founded ballet companies are included, and invite contributions and feedback to enhance their understanding of women's contributions to the dance industry. #Arts #Culture #Dance #Ballet #Women #Data #Innovation #Empowerment #Representation #Leadership

We just doubled down on our vision, mission and values. After completing our very successful third season, we invested serious time and energy deeply, candidly reassessing--and, ultimately, boldly reaffirming--why we exist, who we serve, what we do, and how we do it. Our vision, mission and values have not changed fundamentally--the underlying impetus for disruption remains unchanged; however, we realized we are ready to be--must be--even bolder in our aspirations, declarations, and pursuits. There is no room for timidity in our quest for change--within ballet, within our community. Founder’s Concept: "Our name is drawn from Pittsburgh’s rivers. Two rivers meet here to become one. Confluence dance Theatre is a group of dancers, all with unique artistic voices, who come together to create new work. The company was founded out of a desire to give artistic voices to those who have been marginalized by the mainstream dance community and those who wish to find their own voice artistically. Confluence was created to be a safe space for ALL dancers, regardless of weight, ethnicity, sexual orientation, gender identity. I personally felt excluded from the classical ballet world as a queer, Black woman and wanted to create a space of radical inclusivity, where we could rebuild the image of ballet in a way that included all dancers. I wanted a space where dancers could dance at their highest level without sacrificing who they are at their core." ~ Moselle Haney, Founder, Our Vision: A world where ballet is a beacon of inclusivity for both artists and audiences, celebrated for its transformative social impact. In this world, ballet artists are empowered to create and perform works that reflect a rich confluence of diverse perspectives, embodying the full spectrum of human experience. Our Mission: Sustain a radically inclusive sanctuary for artists with diverse perspectives, empowering them to thrive. Through the education, innovation, and performance of ballet, we aim to build a more inclusive community for artists and audiences alike.   Our Core Values: Active Diversity, Equity, Inclusion, and Accessibility: We commit to a continuous, proactive approach to embracing and promoting diversity in all forms. Deliberate Artist Safety, Belonging, and Well-being: We prioritize the holistic well-being and sense of belonging for every artist. Intentionally Seeking and Embracing Diverse Points of View: We actively seek out and cherish a wide range of perspectives to enrich our work. Driving Artistic Excellence: We strive for the highest standards of artistry and innovation in all our endeavors. Being Artistically Bold; Taking Big Creative Risks: We encourage boldness and bravery in our artistic choices, embracing creative risks. Collaboration: We value and nurture collaborative efforts, recognizing that collective creativity leads to greater artistic achievements. #radworkshere #ballet #pittsburghbusiness #mission #vision #DEI #art #gpac

Looking to wake up "sleepy" event attendees? Event & Conference Designers can gain inspiration from Susan Jaffe's, the Artistic Director of American Ballet Theater, simple yet bold move to walk out on stage after a matinee performance and make an unexpected announcement of a dancer's promotion to principal dancer. The dancer didn't know about this, neither did the audience. 😮 The response was massive: "A roar followed". Jaffe felt into the moment and her inspired action brought a "needed jolt" ⚡ . Where can you take simple inspired action in your event design, moving beyond your business-as-usual program?

Year 8 boys, The Nutcracker, and Strictly come dancing? 🤔 Any relationship? Well yes, of course, and a business lesson too. Strap yourself in for this one! Some years back on the last school day of the year I taught a challenging year 8 class. I was taking musical requests for seasonal music. (Spent ages researching Christmas songs from around the world for students far from home!) One boy requested the Sugar plum fairy from the Nutcracker. (Yes, he was musical and came from Eastern Europe.) The only version I could find was a video of a Russian ballet dancer. I apologised that it was a video, but the class said that was fine. I looked at some of the boys in the room with reservations. Not my ideal audience for ballet. 🩰 Imagine my surprise. 🤨😐🤔🤫 Total silence as the whole room watched. 👏👏👏👏 A round of applause. 💃 A long discussion from the boys on footwork, armology and musical interpretation. 🤯 10 10 10 10 10 10 10 That is incidental learning. ✔ Twenty years ago boys would have been unbearable. Six years ago they were informed and able to make a critical analysis on something they had never engaged in themselves. Thank you Strictly. 💖🌟💖🌟💖 Culture (the things we do and the way we do them) is always changing. Technology has rocketed the speed of change. It doesn't matter if you have always done things the same way, or that nobody in your industry worries about things like customer experience or communication with your clients. It only matters that the public are now accustomed to being kept at the centre of the exchange. And they can recognize what is going wrong when it does. Scary eh? With good reason. Anyone can do a critical testimonial these days.

Group dance refers to a performance in which multiple dancers perform together, either in synchrony or with coordinated movements that complement one another. This form of dance can be found across many cultures and dance styles, from traditional folk dances to modern performances, and can vary widely in purpose and execution. In a group dance, unity and coordination are key, as the dancers must move together or in patterns that create a cohesive and visually pleasing performance. Group dances can tell stories, represent cultural traditions, or simply entertain. They often rely on formations, where the dancers change positions or create shapes on the stage, adding to the dynamic nature of the performance. Common examples include classical ballet ensemble performances, hip-hop dance crews, traditional group dances like Irish step dancing or the Indian Bharatanatyam, and competitive cheerleading routines. These dances highlight the importance of teamwork, timing, and collective expression. Group dances are often used in celebrations, ceremonies, festivals, and competitions, bringing people together and fostering a sense of community.