“Receiving this year’s Kennedy Center Honors are television host Oprah Winfrey, musicians Paul McCartney and Merle Haggard, dancer and choreographer Bill T. Jones and lyricist Jerry Herman. The honorees will be saluted during a Dec. 5 all-star gala and sold-out performance at the Kennedy Center (which will be broadcast Dec. 28 on CBS).”

more

[Graphic and text from the Washington Post. Caption: "Bill T. Jones performs his work "As I Was Saying...". Jones, 58, won a Tony this year for his choreography in the musical "Fela!" based on the life of Nigerian composer and activist Fela Anikulapo Kuti. "It's almost like being told you have 11 Tony nominations," he said of his selection. "I don't take good news well. I have a psychic freeze."]

For details click here

Li Cunxin left his home in rural China and his way of life to pursue ballet in the United States, a journey chronicled in “Mao’s Last Dancer,” a new movie by Bruce Beresford.

For more details click here

Scott Heron, Kristin van Loon, and Arwen Wilder in Smithsoniansmith. Photo by

There’s a sequence about two-thirds of the way through Smithsoniansmith, the dance piece by Scott Heron and Hijack Dance that finishes its run at Dixon Place’s Hot! Festival this weekend (Thurs.-Sat., tickets $10 advance), that captures the way this trio explores movement. Dancer Arwen Wilder walks up to the free-standing set door positioned center-stage, opens it, walks through, and at just the moment she slams it shut behind her is shoved back through it by Kristin van Loon. Then she repeats. Through the door, slam, forcibly repulsed. This happens about five times in a row as Heron performs a loose solo, until van Loon and Wilder join him for a coordinated phrase, and then the entire process repeats.

A lot of hay has been made already about Smithsoniansmith‘s visuals–the denim (there’s more denim in the show than in the line waiting to get into a Boss concert), the trash aesthetic, the seeming bewildering succession of scenes that vary from the opening where a nude Heron wearing baseball gloves on both hands is decorated by one of his co-performers, to a comic send-up of a sort of prelapsarian idyll, to constructing a shopping cart jalopy only to send it crashing (literally) into the audience.  But at heart, this is a dance piece developed by three artists with a strong choreographic vision and performed with balls-to-the-walls energy: it’s rough, visceral, doesn’t belabor technique, and keeps the audience thoroughly entertained throughout the roughly hour-long performance.

Thematically, smithsoniansmith was built out to explore the rather abstract concept of recontextualization. The piece was developed through an exploratory process which included taking the stage directions from a pair of plays by Genet and Shepherd, as well as exploring an interest in the use of garbage in visual art (the artists specifically reference unMonumental, the New Museum show from late 2007, as an influence).

The visuals are powerful, and the artists clearly love to play. Simple props, like used tin cans, will be purposed and re-purposed and (in a rather literal image) recycled for yet other purposes. But the artists don’t limit themselves just to the visual palette. A lot of the show they perform in heavy shoes, which adds a hard percussive element to the work, reinforced by the slamming of the door at various points throughout.

But for all that, it’s in the movement that the artists really shine in much more subtle, thoughtful ways. Parts can be rough–the trio takes turns throwing one another off a pile of blue jeans, fighting to be king of the denim mountain, and at one point, Heron goes down with the door on top of him. Like I said, the movement is frequently loose and informal, but it’s still controlled and highly expressive, and frequently laugh-out-loud funny. All three artists have a history of coming at dance and exploring non-traditional movement, Heron having spent a couple decades working with Deborah Hay and van Loon and Wilder—based in Minneapolis—have collaborated with Morgan Thorson in the past.

For details click here

Puppeteer/Actor/Dancer
Multiple Rehearsals Begin: Approximately Aug.30,2010
Tour One: September 12 thru December 3 2010
Tour Two: January 28–April 17, 2011

Bits N’ Pieces Puppet Theatre is looking for a puppeteer/actor/dancer performer for our national tour of The Ugly Duckling for school children.
The puppeteer must perform in our 40lb. 9ft. tall, backpack puppets as well large head costumes. Please see our website<puppet world.com>

Director: Holli Rubin Type: Live Project Union: Non-Union

For contact details and applications click here

Vermont Newspaper 7 Days has a great article about John Killacky, the incoming E.D. of the Flynn Center. Read the article here. There’s another, similar, article at Burlington’s Free Press. Both offer a great overview of Killacky’s career – an amazing journey from dancer to arts administrator, including stops at Pew, The Walker, and San Francisco Foundation, among many other notable gigs.

For details click here

Name: Raphael Xavier
Title/Occupation: Dancer (Breaker)/choreographer
Organization/Company: Solo artist/Rennie Harris Puremovement

1. Where did you grow up and how did you end up where you are now?

I grew up in Wilmington, Delaware. Started Breaking in 1983 and ended up in Philadelphia in 1998. I was in a Hip Hip version of Romeo and Juliet called Rome and Jewels that was created by Dr. Rennie Harris. He took me on the road from that point on and it wasn’t until I witnessed first hand what he was doing that I started to believe that everything that was in my head as a writer, photographer, dancer and rapper had the potential to be put on stage. I ventured out on my own and started olive Dance Theatre in 2002 that went on to become pretty successful dance company and still tours today. I went on a solo venture to find myself after a spine injury that pretty much paralyzed me. Dance is a practice and a 27 year career for me so I continue to create new work and search for opportunities to allow me to keep moving as a mature dancer.

2. Which performance, song, play, movie, painting or other work of art had the biggest influence on you and why?

I’m inspired by many things but I have to say that anything out of the ordinary inspires me. Rennie Harris inspired me to dance and think big, Rome and Jewels inspired me to take a chance on my own works in theatre, flatland BMX inspired me because I started riding and dancing around the same time and the fluidity and beauty of the tricks make me think about using the same ideas and concepts for dance. The connections and transitions, the unexpected movements of BMX and the unexpected movement of Breaking are one in the same to me. To this day I think of those same things with a twist of percussion and odd tones and get a new concept for movement.

3. What skill, talent or attribute do you most wish you had and why?

It has to be speaking a different language. I’ve been around the world and still can’t speak more than one language. I never thought I would leave the country so I wasn’t interested. I spent 6 months in Brazil and learned Portuguese but when I came back to the states I didn’t have anybody to talk to and I lost most of it. But it’s important to communicate with as many people as you can. Dance is one way but
everybody is not a dancer. And it ultimately expands your personality.

4. What do you do to make a living? Describe a normal day.

I’ve been fortunate to dance for a living. I do many things. Voice overs, music/production, photography, film and television, etc. So i’ve managed to sell music and get voice over gigs as well as film and television. But dance has been my job for the past 15 years. Dance in theatre with an ensemble or solo. I don’t dance for film and television and don’t really have an interest to do that unless it’s my own project. It’s been a great thing to be able to dance as a Hip Hop dancer in another form that most Hip Hop dancers don’t know about. They limit themselves by closing off possibilities. They want to stay true to the form and it takes away from their growth. They don’t really know what they think they know. It’s hard to do but it teaches you a lot while you’re doing it and it’s worth it in the long run. I’m not in this for the moment. It’s been 27 years so the moment has passed and transferred into something else.

5. Have you ever had to make a choice between work and art? What did you choose, why, and what was the outcome?

I made a choice in 1998 to work or quit my job and dance. I quit my job and took an offer to go on the road with Rennie Harris Puremovement and ended up on the road ever sense. I’ve been funded and supported by major funding organizations, performed and major theatres in the U.S. and Internationally. My first work premiered in May 2002 and toured the same year up until 2005. People told us it was going to take 3 years to create a tour and we did it in 2 months. Now I’m performing at the NOW Festival 2010. It’s time to fly again. After 3 years of conjuring up ideas for dance and teaching and performing abroad, my spine injury was a time for reflection, healing and growth. I’m looking forward to the show and see what people have to say about it. I want to make it an evening length project and tour that as a solo work. With this economy, I think it’s an attractive concept for presenters. The outcome of all that is a grounded Hip Hop dancer with a job to continue. There’s books to write, shows to make, panels to speak on and generations who want to learn what I’ve learned from people like Dr. Rennie Harris.

****

Raphael Xavier will be appearing in week two of REDCAT’s New Original Works (NOW) Festival from July 29-31. For more information click here.

For details click here

We are Currently Seeking dancer for professional theater performance “Chicago" which will be recorded, and performed in front of audience. Customs will be provided as well, You must be able to attend rehearsal which in held in San Bernardino as well as our performance.

*If you are interested please email me back ASAP!! your contact, along with pics to haitain_angel06@yahoo.com so you can be considered.

*Please don’t hesitate to contact me via email even if you are late for the rehearsal, don’t worry about dates I can squeeze you in if you are talented!

Thank you for your time good luck on your search have a great day!

Pay is: $250-& up
Rehearsal date:
*Monday June 28th through Friday at 9:00am-12:00pm*

(Casting Director)
Annanie Francois Director: Zac Type: Theatre Union: Non-Union

For contact details and applications click here

[work] + {play}

Join us Friday, June 25 from 6:30 – 10:00 pm for the opening of [work] and to celebrate and honor Jo Kennedy as she heads off to {play} after 10 years of outstanding leadership as President & CEO of the Visual Arts Center of Richmond.

Opening June 25, this annual display of work by the Center’s talented array of teachers offers the community an opportunity to get to know the individual artists who make the Center a dynamic place. The show, entitled [work], also include entries submitted by several staff and board members who work as artists in addition to their professional roles.

At 8:00 PM on Friday, June 25, VisArts staffer and dancer Ashley Valo presents Tailored, performed by Cindy Eide, Eliza Diener-Brazelle and Casey Royer. Valo choreographed the dance in colaboration with the performers. “This is the outcome of combining technically trained dancers with one who has an ever-growing love for dance,” Valo explained.

[work] remains on view through August 1, 2010.

(Image: Pamela Rose-Rennolds, “Dream of Spring”, 2010, Ceramic ; Jeff Vick, Green crystal bottle,  2010, Ceramic)

For details click here

We are producing TELEVISION special and Large Scale Theater Show.
We are inviting applications from international performers to play following characters (break up given)
We are looking for specially an international ACTRESS and DANCER who is interested in collaboration and creating a new platform in Bollywood through a very special production currently titled “ The ZED” Pilot in India, objective to bring show to US/Europe etc. Initial test collaboration would be for six months (extension as necessary) based on initial outline to create and record new pilot work and any necessary marketing/PR, showcasing etc.

Synopsis:
“ The ZED ” (The story of a love stronger than the forces of nature)
It all started out with a theatre director who met with an unfortunate accident on the night of his opening show. Everyone believed he perished in the accident. For many years he lived under his theatre alone and shut out from the world above. On one faithful day, the theatre is re-opened and a new show is about to be launched. His curiosity gets the better and he makes his way up to the main stage from the darkness. He saw a group of 6 exceptional dancers and one beautiful girl standing in the back. She isn’t the best dancer but he makes a decision to take her under his wing and train her.

Break up of Roles:
RIYA: A lead female actress cum dancer _(age between 25 & 35)

NEHA: A very successful cunning stage star _Vamp _(age between 25 & 40)

FRIEND MONY: Riya’s’ true friend _age between 20 & 30

DANCER: A confused girl with habit of forgetting the things very easily. Should be a very good dancer and actress with comedy touch.

TWO female and TWO male dancers: just for 4 dance sequences without much dialogues age 20 to 35

Director: SATISH DESHMUKH Type: Theatre Union: Non-Union

For contact details and applications click here

Name: Ryoji Sasamoto

Title/Occupation: Dancer

1.  Where did you grow up and how did you end up where you are now?

I was born and grew up in Chiba Prefecture in Japan. Chiba Prefecture is located in the south of Tokyo.  I moved to Yamanashi Prefecture to attend my high school and lived there for 3 years.  After graduation, I came to New York, and I live in Brooklyn now.

2.  Which performance, song, play, movie, painting or other work of art had the biggest influence on you and why?

I have been strongly influenced by my father.  He is a sushi chef.   I love his sushi and have been eating it since I was a kid. Even now, I eat his sushi whenever I go back to Japan.  I still get a lot of strong impressions and discoveries through the taste.  I think that it is not easy to impress people no matter what we do.  When I started dancing,  I have realized that he is a great performer.  And I want to be such a performer like him.

3.  What skill, talent or attribute do you most wish you had and why?

I would like to develop an ability of feeling the distance between the audience and myself on stage. I think there is a possibility that it becomes only self-satisfaction and it is dangerous for dancers.  However, I think that I am capable of making conversations with the audience by it.

4.  What do you do to make a living? Describe a normal day.

I belong to some dance companies.  I make a living by performing and rehearsing with the companies. In the past, however, I occasionally could not earn enough to live in spite the fact that I was very busy.  My parents supported me in that situation.

Right now, I cannot accept jobs in New York because I have a long-term commitment in Japan that is coming soon. I am looking for jobs that are short term or random projects.

5.  Have you ever had to make a choice between work and art? What did you choose, why, and what was the outcome?

It hasn’t happened to me yet.  However, I think that I will be in situations where I have to make choices in order to move forward.  I have made choices for my dance jobs as a dancer.  When I had the support from my parents, I have rejected a paid job with a dance company and chosen to dance in my favorite artist’s work.  I think that this fact that I was able to choose what I wanted will be my big treasure in the future.

More Details Here