On Tuesday's Central Standard, we invited a variety of artists to discuss how their practice has evolved as they have moved from one stage of life to another.
As a ballet dancer embarked on retirement from the stage and into a teaching and choreographing role at the age of 32, he sat down with a visual artist who has more than forty years of studio experience and a legendary jazz saxophonist. The three compared notes across genres.Â
This weekend,Â the second annual Kansas City Dance Festival gets under way, assembling dancers and choreographers from the local, national and international stage.
A recent rehearsal foundÂ dancers LoganÂ PachciarzÂ and Molly Wagner working on a pas de deux under the watchful eye of departing Kansas City Ballet ballet master James Jordan, as theyÂ honed both steps and expression during a walk through of the late Todd Bolenderâ€™s "The Still Point."
The modern pointe shoe has kept ballerinas on their toes since the early 20th Century.
Each delicate, custom-made satin and leather shoe endures a punishing routine that begins even before a dancer places a shoe on her foot.
As part of an occasional series called Tools of the TradeÂ about performers and their relationship to the tools that make their work possible, I talked to members of the Kansas City Ballet about shoes.
Choreographer Victoria Morgan, artistic director and CEO of the Cincinnati Ballet, based her narrative ballet, Cinderella, on the classic story by Charles Perrault, as well as drawing on her own experience dancing the title role in previous productions. The Kansas City Ballet presents the work, which opens this weekend.
It's been nearly 120 years since the publication of Bram Stoker's gothic novel Dracula. But his tale of the Count, who stalks living creatures and survives on their blood, continues to this day to be interpreted and popularized in theater, television, film, and dance. This season, the Kansas City Ballet is staging choreographer Michael Pink's Dracula, based on Stoker's classic work.
Many ballets often depend on the concept of tension, whether in the muscles of the dancers or the story itself. That may be even more evident in the Kansas City Ballet's production of Dracula, opening this Friday.
In bringing the iconic character to the stage, the company is venturing to its dark side with a production that is the first in the Ballet's history to come with parental discretion advised.Â
It's the ultimate collaboration for three dancing companies in Kansas City. The Kansas City Ballet will join forces with Owen/CoxDance Group and Wylliams/Henry Contemporary Dance to present a triumvirate of original work .
On Friday's Up to Date, we talk about why this collaboration is so groundbreaking and what it means for dance culture in the city.
The Kansas City Ballet is joining other dance companies around the country â€“ from Boston Ballet to the Alvin Ailey American Dance Theater â€“ to create a training ground for young dancers: a second company.Â
Devon Carney, newly appointed artistic director of the Kansas City Ballet, described the second company, Kansas City Ballet II (KCB II), as a "natural next stage of development," based on the Balletâ€™s growth in recent years.
For most dancers, the off-season is a time of rest and recuperation from the rigors of performance. But six months ago, Kansas City Ballet dancers Anthony Krutzkamp and Logan Pachciarz began to plan a more ambitious summer break.
St. Patrick's Day is a cultural and religious holiday that takes place every March 17 â€“ and itâ€™s been embraced widely in America by descendants of Irish immigrants. Kansas City's celebration began early this year withÂ the annual St. Patâ€™s Senior Ball.
Air Guitar. It sounds like something you should only do in private, but itâ€™s become an international phenomenon â€“ a combination of sport, comedy, mime, and performance art, with ample hair tossing, fret scaling, and hip thrusting.
When it comes to line dancing, most people think of country & western dances like the Boot Scootinâ€™ Boogie.Â But in African American communities all over the country, â€śsoulâ€ť line dancing is everywhereâ€”at wedding and retirement receptions, nightclubs and parties.
The Kansas City Ballet is the first of the resident companies to announce its inaugural season at the Kauffman Center for the Performing Arts.
By Laura Spencer
Kansas City, MO â€“ When the Kauffman Center for the Performing Arts opens in 2011, its three resident companies will include the Kansas City Symphony, the Lyric Opera of Kansas City, and the Kansas City Ballet.
Ailey Camp is one of the legacies of the Kansas City Friends of Alvin Ailey. It's more than a summer camp for kids who want to dance. Alvin Ailey started the camp with the idea that dance could be a vehicle for growth and personal development among the community's youth.