This year, Ballet Hispanico will celebrate its 47th anniversary. I know, I know. In the performing-arts world, we only go all out for a year that ends in zero or five. But what’s immodest about a company being proud of its achievements in other years? ... read more
AJBlog: Dancebeat Published 2017-04-25
“Moral Obligation”: My Chat with Cleveland Museum of Art’s William Griswold (plus Benjamin & Rub)
William Griswold has no interest in leaving the directorship of the Cleveland Museum for Art any time soon - not even for the top spot at the beleaguered Metropolitan Museum (for which I had presumptuously nominated him). ... read more
AJBlog: CultureGrrl Published 2017-04-25
Ella Fitzgerald At 100
It is impossible to find the perfect performance by which to remember Ella, ... read more
AJBlog: RiffTides Published 2017-04-25
"The time for reckoning is over. It’s time for action. And for action to be effective, we need inspiration. Doomsday scenarios won’t galvanize us; we need hope and a capacity to imagine the future we want to create. In short, we need new narratives. And who better to provide those than writers?"
"While most community arts programs for underserved youth were planned by caring, well-intentioned organizers, they are doing serious harm. They are designed to mitigate risk — to treat participants not as creative talent full of ideas and possibility, but as disadvantaged youth or, worse, cautionary tales in the making. Their target outcomes are preventing violence or pregnancy, lowering obesity rates or other deficits attached to their community’s identity — not to prepare our country for a future of innovation and economic participation. This must change."
"Winer’s beef, it should be clear, is not with her employers, about whom she had nothing but kind words in a brief interview today. She’s instead stepping down in protest over (or surrender to) the apparent collective indifference of readers to arts criticism, as a chill wind of click metrics has blown through the profession and shriveled word counts even for the most venerable of critical voices. After nearly 50 years on the aisle, Winer made clear, groveling for clicks is not how she wants to spend the rest of her life."
“To repeat the same sequence of eight notes over and over again while staring at the back of John Mellencamp’s head as amplified guitars and boisterous audience members drown out most of the sound—I can’t think of a greater privilege than that. The only thing better would be playing with Jon Bon Jovi, but I’m not getting my hopes up.”
"Counters keep track of average visit duration in any space where we use them and by tracking at our main entrance, special exhibition, and collection gallery we have a sense of visit duration throughout the building on any given day and at any given time. This has given us the opportunity to manage queues effectively at high capacity events because we know roughly what the average stay rate is and how quickly those lines will move."
Fifty Years Ago Canada Threw Itself A Giant Party (Looking Back, We Can See What A Different Time It Was)
1967 “was a year in which most Canadians felt good about themselves and their country.” A principal reason was Expo, which attracted more than 50 million people and was described by the respected Canadian writer Peter C. Newman as “the greatest thing we have ever done as a nation.”
"How can we change what we do so that we are bringing in more readers in more places to be more engaged. It’s not a question purely of page views, but more engaged: the term that encompasses both sheer numbers and the kind of readers they are, whether they are subscribers, how long they’re spending on the articles, where in the world they’re located. So what we want in classical music, and what everyone in the paper wants, is to be bringing our journalism to a substantive and engaged readership."
"When reading about the feeling of hopefulness in a novel, it can become an almost tangible thing, perhaps made out of the fiber of the pages you’re turning, or housed within the blackness of the ink used to print the words you’re reading. And hope can often be easier to hang on to in literature than in real life, where it might feel ephemeral, intangible, and unsteady. And now, more than ever, hope takes work."
UCLA Herb Alpert School of Music: Associate Director of Lowell Milken Fund for American Jewish Music
The UCLA Herb Alpert School of Music seeks an experienced administrator and university-level instructor to be the Associate Director, under the title of Academic Administrator Level III, of the newly formed UCLA Lowell Milken Fund for American Jewish Music, and to teach School of Music courses.
The position is a full-time annual (12-month) appointment. On average, about 80% time will be devoted to administration and 20% to teaching. The appointment will be in one of the School of Music Departments appropriate for the candidate; a Ph.D. in Musicology, Ethnomusicology or a related field, or a D.M.A. in Music, is required. Other qualifications include experience in event coordination and program development. Starting salary will range from Step 4 ($74,664) to Step 7 ($85,704), commensurate with experience.
The Lowell Milken Fund will support research, performance and public engagement activities about American Jewish music. Events will occur at UCLA and elsewhere.
A. Associate Director of the UCLA Lowell Milken Fund for American Jewish Music (80%)
- Help to establish and administer the Lowell Milken Fund for American Jewish Music, including managing its budget of approximately $500,000 per year and staff
- Plan, execute, and publicize lectures, concerts and other Fund events, in collaboration with the Fund's Director, UCLA faculty, and co-sponsoring units. This will include maintaining the Fund's website, assisting in applying for funds and grants, securing venues and accommodations for out-of-town guests, arranging catering, designing programs, and coordinating the activities of planners and participants.
- Field ideas and assist in developing event proposals.
- Coordinate periodic meetings of associated faculty and staff.
- Work with Development offices in the Herb Alpert School of Music and other campus units to secure ongoing funding.
- Represent the activities of this Fund in interactions with off-campus partners.
B. Teach one course in the UCLA Herb Alpert School of Music (20%)
Teach one large undergraduate lecture course (and oversee teaching assistants) in the UCLA Herb Alpert School of Music during the regular academic year. Depending on teaching needs, a graduate-level seminar may also be considered for your workload (instead of the undergraduate course). Specific subjects taught will reflect the expertise and teaching experience of the instructor.
The University of California seeks to recruit and retain a diverse workforce as a reflection of our commitment to serve the people of California, to maintain the excellence of the University, and to offer our students richly varied disciplines, perspectives and ways of knowing and learning.
The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy see: http://www.policy.ucop.edu/doc.
Apply At: http://apptrkr.com/1000635
"The British Library has launched a preservation and access project which will save almost half a million rare and unique recordings which are threatened by physical degradation or stored on formats which can no longer be played. ... Recordings include oral histories from WWI and WWII, Cornish brass bands, local dialect from the UK regions, drama and literature readings, regional radio, traditional music, pirate radio recordings, music from around the world and the sounds of rare and extinct species."
"Next season, Best Sound Design of a Musical and Best Sound Design of a Play will be reinstated to the list of competitive Tony Award categories with a new voting process. In addition, it was determined that for similar reasons, the category of Best Orchestrations will adhere to this same new voting process. The Tony Nominators will nominate for these categories as in the past. However, voting on the winners of the three categories will now be the responsibility of a subset of the overall voter pool based on their professional affiliation."
Corinna da Fonseca-Wollheim looks at the still-common dynamic that the opera explores via myth: as Savage puts it, "It's a common delusion, particularly among women, that their love is transformative. That they can find their damaged man and, by loving him, they can save him, restore him, fix him, make him a better person."
"Niche reality shows reveal a range of American cultures and give the audience a new experience: the chance to plunge into others’ unfamiliar realities. Dividing “reality” into ever more microscopic fields, the joyously weird new contest shows celebrate the deviations from the normal, amplifying a subculture’s arcana to stadium size. A cynic might cavil that networks are merely exploiting the American viewer’s new taste, trained by social media, for variety and distinctiveness."
"I saw O'Keeffe rise unsteadily to one knee, and then to her feet. She looked shaken. 'Well,' she said, with a thin smile, 'It seems we're not having chicken.'" Calvin Tomkins remembers a visit to the artist at her summer home in New Mexico, the Ghost Ranch, in 1973.
"The feeling that every advertiser wants to evoke in millennials is nostalgia; that warm, comforting sensation that one experiences when recollecting the past. People usually feel nostalgic for their own past, commonly referred to as autobiographical nostalgia. But oddly enough, they can also feel nostalgia for time periods when they weren't alive; perhaps their parents played old music to them when they were young, and now, they associate those sensory details with positive memories."
The project by the American Shakespeare Center, in Virginia's Shenandoah Valley, "invites writers to submit plays inspired by each of Shakespeare's, on a schedule coordinated with the theater's season. Two winners will be chosen each year, and will be performed in repertory along with the Shakespeare play that inspired them, starting in 2019. (Each winning playwright will receive $25,000.)"
'Art Criticism Shouldn't Be The Consumer Reports Of Art' - Blake Gopnik On The Art Of Art Journalism
"I think art critics should be more like science journalists. We should be some kind of intermediary between the smartest people who talk about art, the smartest writing from art historians and the general public." (podcast)
That Ballerina Fired For Being Too Tall? She's Headlining A New Ballet Company That's Making Diversity Its Focus
Sara Michelle Murawski made headlines in January after the Pennsylvania Ballet told her (shortly before she went onstage) that her contract wasn't being renewed because she's too tall to fit in visually with the company's other dancers. Now she's joining the American National Ballet, a new company, launching this fall in Charleston, that's making a point of engaging gifted dancers of varied physiques and skin tones - and giving them a decent standard of living. (Oddly, neither Charleston City Paper nor The Post & Courier seem to have reported on the ANB yet.)
"The protests started almost immediately after the presidential election. ... And it hasn't let up. Each Trump proclamation has seemed to inspire a new round of agitation and action. ... Whether this ideological high alert will produce good art is one question; whether the art will do any good is another." Carl Swanson explores the battle lines.