“Isn’t life just a little better when you’re dancing?” Laura Barton contrasts the exuberance of Kamala Harris with the lumpen anti-musicality of Donald Trump: https://lnkd.in/es_TbZvY
Prospect Magazine’s Post
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We've seen our fair share of Dancing with the Stars to know that when two dancers are in sync, they glide perfectly across the floor. However, it's obvious, and sometimes cringy if one pair is off. The same can be said about the client-agency dance. BLASTmedia President Lindsey (Peck) Groepper states," Mismatched expectations and a lack of clarity can result in missed beats, smashed toes and less-than-stellar outcomes. On the flip side, consistent communication, participation, trust and boldness can get you a perfect 10." Learn more about the delicate dance of the client-agency relationship via the link in comments.
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The science of art... or the art of science? I have long been fascinated by ground motion generated by concerts and sporting events.
Taylor tremor seismo-art. Each panel shows horizontal ground motion caused by fans dancing to each song at Taylor Swift’s Wembley, London concert. Up-down on your screen = north-south; left-right = west-east. The size of each dot is proportional to the level of ground motion.
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Assistant Manager, Visitor Experience at SFMOMA San Francisco Museum of Modern Art | Dancer/Collaborator with the Margaret Jenkins Dance Company | Dance Instructor
I find this a very hard pill to swallow at a time when we are having discussions about equity and inclusion. Especially for a predominantly black organization. I think that this is an extreme response from management to minor infractions on company policy. There needs be clear procedures and steps to holding accountability. Now you have an entire group of dancers out of work and no company for a season that is getting ready to start. This is exactly why dancers need unions to protect already fragile working relationships.
Nine former Dallas Black Dance Theatre main-company members are seeking reinstatement after an alleged attempt at union busting. The still-unfolding situation led the American Guild of Musical Artists to issue a Do Not Work Order on August 12, prohibiting AGMA, Actors’ Equity Association, and SAG-AFTRA members from performing services for Dallas Black Dance Theatre until the company agrees to enter into collective bargaining with AGMA. DBDT terminated all of its 2024–25 season dancers on August 9, shortly after posting a statement about the decision and an audition notice for new company members on Instagram. According to a later post issued by DBDT board of directors, the company terminated all main-company dancers for creating a video that “violated their contractual terms and our standards of artistic excellence.” The statement further says the decision is unrelated to the dancers’ decision to unionize earlier this year. Late Tuesday afternoon, AGMA sent out a call to demonstrate in Dallas on August 17. Members and supporters intend to stage a rally on the public sidewalks outside Dallas Black Dance Theatre while the company holds auditions. Read the full story here: https://lnkd.in/gxWCjUHt #dallasblackdancetheatre #AGMA 📸: A black and white photograph of a dance studio, with an orange bar at the top containing the text “AGMA Issues a Do Not Work Order as Fired Dallas Black Dance Theatre Dancers Seek Reinstatement.” Courtesy Getty Images.
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If you are planning a campaign with movement in, it is absolutely crucial that you have a #CastingDirector that has a background in performance like we do ! If the casting director doesn’t have a background in performance how can they tell the difference between dance styles .Also realistically how are they going to source the best dancers from different dance communities
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In case you need more weight.
I walked past two teenagers dancing as though their lives depended on it. This is right after I had coffee with one of the foremost violinists in the country. Her 35-year journey—since she was handed a violin at the age of five—is stuff that legends are made of. The photo I took of these two dancers might be the start of theirs. The silence was deafening. Their dance moves were disparate. In this sprawling underground pathway connecting an arts and business district, the only audible thing was the whirring machinery of a tired escalator. Amidst the glistening lights bouncing off the reflective walls and floor like stars made for the stage, I didn’t notice if they had headphones on or were dancing around the air of their own quietus... --- More at https://lnkd.in/g2tsEB8n. First published in April 2024.
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When interviewed recently, playwright Jeremy O Harris has said he is “so excited’ to bring the “Black Out nights” initiative to the West End again. He’s referring to ‘Slave Play' which is set to open in the West End in London on 29 June for a limited season. Directed by Robert O’Hara, this play about race, identity, and sexuality in 21st century America has already seen success on Broadway, becoming the most Tony-nominated play of all time. A number of untruths about the Black Out nights have since surfaced -let’s unpick them. Black Out nights were introduced by O Harris for this production in 2019. He explains; “The idea of a Black Out night is to say this is a night that we are specifically inviting Black people to fill up the space, to feel safe...in a place where they often do not feel safe.” He also said, “it is a necessity to radically invite them in with initiatives that say, ‘You’re invited. Specifically you.’” Black Out nights are NOT ‘segregated’ nights, they are nights where tickets are ‘by invitation only’ and are sent to community groups and organisations which are predominantly representative of Black people. So why are Black Out nights necessary? ‘Invitation only’ events take place across the UK on a regular basis where the invitees are predominantly white organisations; ask yourself - where’s the outcry? Jeremy O Harris put it; “there are a litany of places in our country that are generally only inhabited by white people, and nobody is questioning that”. We know that theatre audiences in the UK are predominantly white, 93% in fact. The reasons for this include Black people not feeling welcome in historically white spaces, a distinct lack of Black talent in theatre, and high ticket prices creating a barrier for those from lower socio-economic backgrounds- in which Black people are disproportionately represented. The price is an issue which was addressed by the Black Out initiative when O Harris did it in 2019 through the availability of low cost and free tickets. Ultimately, challenging this initiative is to challenge progress as taking an equitable approach such as Black Out is anti-racism in action. You can find out more here: https://blackoutnite.com
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This ad is simply magic.
TICK followed TOCK followed TICK followed TOCK followed TICK Today marks the 25th Anniversary of Guinness ’Surfer’ (1999) Directed by Jonathan Glazer “Back in 1999 no one was asking for a black and white ad with horses sharing a choppy sea with surf dudes soundtracked by electronic dance music and passages from Moby Dick. Why would they? There’s no frame of reference for it. The uncomfortable truth (for some) is people don’t know what they want until you give it to them. 'Surfer' is a film of instinct, emotion and gut feel born from inarguable logic. It’s not a film that’s trying to please people with what we think they want.” - Andy Jex, CCO, TBWA\London Happy St Patrick's Day! Sláinte! Director: Jonathan Glazer Production Company: Academy Films Produced: Nick Morris Yvonne Chalkley (Agency Producer) Account Executive: Gavin Thompson Creative Director: David Abbott Copywriter: Tom Carty Art Director: Walter Campbell Directors of Photography: Ivan Bird, Don King (water), Lee Allison (aerial) Production Designer: Ben Myhill Editor: Sam Sneade, Sam Sneade Editing, London Sound Design Wave Studios, London Sound Designer: Johnnie Burn Music Production Company: Soundtree Music Limited Music Supervisor: Peter Raeburn VFX: The Computer Film Company, London VFX Designers: Dan Glass / Adrian de Wet / Paddy Eason / Tom Debenham VFX Artists: Gavin Toomey / Alex Payman / Joe Pavlo VFX 3D Supervisor: Dominic Parker Starring: Chadwick "Dino" Lanakila Ching(surfer) Louis Mellis (voiceover) Music - “Phat Planet” by Leftfield
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By joining the Sharemnt Group [LinkedinGroup.ShareMNT.com], you can interact with other members, comment on their posts, and get feedback on your own ideas, you can also post your own content and get exposure to a wider audience. 👉 To join the Sharemnt Group on LinkedIn, you can also follow these steps: 1. Search for "Sharemnt Group" in the search bar at the top of your homepage. 2. Click on the group name and then click on the blue "Join" button. "If you liked this post, please show your support by commenting under the original post. We have locked the comments on this post to encourage you to engage with the author directly. Thank you for being part of our sharing community!"
When street performers are better than today's pop artists.
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What does it take for Black audiences to feel at home in the theatre? This question looms over producers at predominantly white institutions as they hope to encourage people to return to the theatre following Covid-19’s shuttering impact. Playwrights Dominique Morisseau and Jeremy O. Harris have been at the helm of a grassroots movement with a promising answer: Black Out nights. Now Black Out performances are filling houses across the country. https://lnkd.in/dubqe_s3 Award-winning playwright Branden Jacobs-Jenkins talked recently about ‘Black Out nights’. In the UK it was drawn into the culture wars (though interestingly it hasn’t been in the US) with even Prime Minister Rishi Sunak criticizing the practice for being exclusionary (it’s not). “It’s just a misreading of what those nights are. In America we have a strong black audience that buses in to see 'The Color Purple' or whatever… it’s an audience that’s a privilege to have so a black out night is not that uncommon of an idea.” Would he consider such nights at his shows? “I’m not averse to it… my plays tend to draw diverse audiences and I like to feel people be in the space together and listen to them laugh or not. But if people thought it was helpful then sure. It’s all a marketing scheme. It’s all about selling tickets, so sure.” https://lnkd.in/dfD-Mfxm Read more about Black Out here: https://blackoutnite.com/ #SweibelArts #BlackOutNights #AudienceDevelopment
Black Out: An Ongoing National Movement of Audience Curation
https://www.americantheatre.org
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