A Young Dancer S Apprenticeship

An autobiography of a Canadian ballet student who, while still in her early teens, was offered the chance to study and tour with the Moscow City Ballet.

A talented young dancer and his brilliant teacher In this long-awaited memoir, dancer and choreographer John Clifford offers a highly personal look inside the day-to-day operations of the New York City Ballet and its creative mastermind, George Balanchine. Balanchine’s Apprentice is the story of Clifford—an exceptionally talented artist—and the guiding inspiration for his life’s work in dance. Growing up in Hollywood with parents in show business, Clifford acted in television productions such as The Danny Kaye Show, The Dinah Shore Show, and Death Valley Days. He recalls the beginning of his obsession with ballet: At age 11 he was cast as the Prince in a touring production of The Nutcracker. The director was none other than the legendary Balanchine, who would eventually invite Clifford to New York City and shape his career as both a mentor and artistic example. During his dazzling tenure with the New York City Ballet, Clifford danced the lead in 47 works, several created for him by Balanchine, Jerome Robbins, and others. He partnered famous ballerinas including Gelsey Kirkland and Allegra Kent. He choreographed eight ballets for the company, his first at age 20. He performed in Russia, Germany, France, and Canada. Afterward, he returned to the West Coast to found the Los Angeles Ballet, where he continued to innovate based on the Balanchine technique. In this book, Clifford provides firsthand insight into Balanchine’s relationships with his dancers, including Suzanne Farrell. Examining his own attachment to his charismatic teacher, Clifford explores questions of creative influence and integrity. His memoir is a portrait of a young dancer who learned and worked at lightning speed, who pursued the calls of art and genius on both coasts of America and around the world.

Lauren Miller Griffith and Jonathan S. Marion introduce the concept of apprenticeship pilgrimage to help explain why performers travel to places both near and far in an attempt to increase both their skill and their legitimacy within various genres of art and activity. What happens when your skill-level surpasses local training opportunities, whether in dance, martial arts, or other skills and practices? Apprenticeship Pilgrimage provides a new and exciting model of apprenticeship pilgrimages—including local, regional, opportunistic, and virtual—that practitioners undertake to develop embodied knowledge, skills, and legitimacy unavailable at home. For most people, there is a limit to how much training is available from the teachers and classes at home. As skill and know-how increase, the resources and training opportunities available become limits on one’s learning. Similarly, a practitioner’s legitimacy may be suspect without exposure to appropriate cultural context, such as ties with the homeland of certain dance forms or martial arts. Whether for skill alone, or activity-specific legitimacy, individuals may feel compelled to travel for training. Such travelers see themselves quite differently from other tourists, and the seriousness with which they pursue their journeys makes it appropriate to call them pilgrims. Given the goal of learning from and developing their own skills by training with experts at their destinations, apprenticeship pilgrims is even more appropriate. Rather than focus on specific geographic regions or genres of apprenticeship, this book builds a robust theoretical framework for understanding the role of travel for developing expertise in embodied genres. This book links and expands on the existing scholarship concerning anthropologies of education and tourism, but takes new strides in exploring the global circumstances wherein skill development requires travel. Throughout, the authors use apprenticeship pilgrimage as a robust new framework for considering the interrelated roles of going, learning, and doing for identity construction within contemporary globalization. For more information, check out A Conversation with Lauren Griffith and Jonathan Marion

First published in 2005. The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalization of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period. Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts.

Reports for 1980-19 also include the Annual report of the National Council on the Arts.

A realistic, fast-paced reimagining of the Sleeping Beauty fairytale full of royalty, romance, and danger. This masterful combination of love and heartbreak—combined with the novel’s surprise ending—is everything fans of fantasy, historical, and medieval fiction yearn for. Rose has been appointed as a healer’s apprentice at Hagenheim Castle, a rare opportunity for a woodcutter’s daughter like her. While she often feels uneasy at the sight of blood, Rose is determined to prove herself capable. Failure will mean returning home to marry the aging bachelor her mother has chosen for her—a bloated, disgusting merchant who makes Rose feel ill. When Lord Hamlin, the future duke, is injured, it is Rose who must tend to him. As she works to heal his wound, she begins to understand emotions she’s never felt before and wonders if he feels the same. But falling in love is forbidden, as Lord Hamlin is betrothed to a mysterious young woman in hiding. As Rose’s life spins toward confusion, she must take the first steps on a journey to discover her own destiny. The Healer's Apprentice: An award-winning historical romance—a creative retelling of the Sleeping Beauty fairytale—by author Melanie Dickerson Perfect for readers ages 13-18 and adults who enjoy historical romances similar to Eva Ibbotson’s A romantic, fast-paced read—sure to entrance fans of fairytale retellings

Those featured in Volume 10 include Margaret Martyr, a singer, actress, and dancer whose "conjugal virtues were often impeached," according to the July 1792Thespian Magazine. The Diction­ary describes this least constant of lovers as "of middling height, with a figure well-proportioned for breeches parts. [Her] black-haired, black-eyed beauty and clear soprano made her an immedi­ate popular success in merry maids and tuneful minxes, the piquant and the pert, for a quarter century."