Dance Season in Terrassa, Spain, Pays Homage to Alicia Alonso

Dance season in Terrassa, Spain, pays homage to Alicia Alonso Barcelona, January 15, (RHC)-- The 38th Dance Season of the Terrassa de Barcelona Cultural Center in Spain will pay homage to prima ballerina assoluta Alicia Alonso, organizers announced on Thursday. During the homage-paying gala, set for April 10th, renowned dancers with Ballet Nacional de Cuba –the flagship Cuban classical dance company founded and directed by Alicia—will dance emblematic ballets immortalized by Alicia Alonso. Alicia developed a long, fruitful artistic life, combining her work as a dancer, choreographer, and dance professor. She died in October 2019 in Havana at the age of 98. For this season, from January 29th through December 18th, Terrassa de Barcelona has planned an ambitious programming with some 20 dance performances, featuring 17 Spanish and foreign dance troupes, among them Ballet Nacional de España, Russian State Ballet of Siberia, directed by prestigious choreographer Viacheslav Mijailovich Gordeev; the Jivoy Dance Company with soloists from the Mariinsky Theatre Ballet of Saint Petersburg and Acosta Danza, directed by prestigious Cuban dancer and choreographer Carlos Acosta, among other dance companies. Ballet classics like Giselle, Coppelia, and Nutcracker and performances by leading dancers and soloists with New York City Ballet, the Antonio Márquez’ troupe, and the American company Ailey II, complete the program. With this new dance season, Terrassa de Barcelona Cultural Center renews its commitment to culture and the dance world after a 37th season marked by COVID-19. https://www.radiohc.cu/en/noticias/cultura/244725-dance-season-in-terrassa-spain-pays-homage-to-alicia- alonso Radio Habana Cuba.

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Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style.
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Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people.
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2016 - 2017 Season Passion
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How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
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National Ballet of Cuba to Make First Appearance in Capital Region As One of Four U.S
National Press Contact: Rebecca Davis Public Relations Rebecca Davis 347-432-8832 (m.) [email protected] Press Contact: Kristy Godette – 518-584-9330 ext. 125 518-316-1435 (m.) [email protected] National Ballet of Cuba to Make First Appearance in Capital Region as One of Four U.S. Locations Saratoga Performing Arts Center to present three performances of Alicia Alonso’s Giselle on June 6, 7 & 8 Saratoga Springs, NY – National Ballet of Cuba (BNC), internationally renowned as one of the premier ballet institutions in the world, will make its first appearance at Saratoga Performing Arts Center as one of just four U.S. locations on its tour, presented in partnership with Skidmore College. Known for its exuberant flair and historically informed style that are uniquely Cuban, BNC will perform three performances of Alicia Alonso’s classic Giselle on June 6, 7 and 8. National Ballet of Cuba was founded in 1948, by the legendary ballerina Alicia Alonso who – at the age of 97 – remains the Director of the company to this day. The Alicia Alonso National Ballet School, created in 1950, is attached to the professional company and is now the largest ballet academy in the world with more than 3,000 students. Alumni of the school perform in leading companies around the world. BNC’s tour will be the company’s 11th tour in U.S. cities with the last one taking place in 2015. Alicia Alonso is one of the most important personalities in the history of dance and is renowned as a leading figure of classical ballet.
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International Dance Day 2020 Brochure in English, Double Pages
International Dance Day 2020 International Dance Day 2020 Message Author Gregory Vuyani MAQOMA Dancer, choreographer South Africa Online Celebration www.international-dance-day.org InternationalInternational Dance Day 2020 Dance DayMessage Author: Gregory 2020 Vuyani MAQOMA Editorial – Let‘s Celebrate International Dance Day 2020 And this intention is even more important during the time of social distancing. We need to encourage. We need to keep our passion alive. That is the reason the members and friends of dance are continuing to celebrate International Dance Day in 2020 online: www.iti-worldwide.org is showing initiatives of encouragement and support and www.international-dance-day.org is presenting actions concerning the celebration of the Day and translations of the message. For 2020 the Executive Council of ITI in alignment with the Dance Committee of ITI and World Dance Alliance selected Gregory Vuyani Maqoma, the eminent dancer, choreographer and dance educator from South Africa, to share his inspiring thoughts about dance, peace and mutual understanding. Please celebrate dance on 29 April 2020. Let‘s be thankful to those who take care of individuals who are ill. Let´s be thankful to those who help to soothe the pains of those who are old and need special care. And let´s be grateful of those who are guiding us with In times of in Covid-19 virus-related “confinement”, health and encouragement and makes us aware of what is important for now well-being are of utmost importance, even if we have to change and for the future of mankind. our habits and routines.
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Propuesta De Proyecto Cátedra Unesco
PROPUESTA DE PROYECTO CÁTEDRA UNESCO Cátedra Iberoamericana de Danza “Alicia Alonso” Instituto Universitario de la Danza “Alicia Alonso” Universidad Rey Juan Carlos A. DATOS INSTITUCIONALES 1. Título del proyecto: Cátedra Iberoamericana de de Danza “Alicia Alonso” 2. Fecha de comienzo prevista : Curso académico 2014/2015 3. Duración: 4 años 4. Ámbitos o disciplinas a que se refiere: Enseñanzas Artísticas Universitarias e Investigación en las áreas de Artes Escénicas, Danza, Música y Circo, preservación del patrimonio material e inmaterial 5. Nombre y dirección : Instituto Universitario de la Danza “Alicia Alonso” adscrito a la Universidad Rey Juan Carlos . Dirección: Universidad Rey Juan Carlos, Campus de Fuenlabrada, c/ del Molino s/ nº, C.P 28943, Fuenlabrada, Madrid, España 6. Facultad(es) / Departamento(s) participante(s): Instituto Universitario de la Danza “Alicia Alonso” adscrito a la Universidad Rey Juan Carlos 7. Institución de ejecución: Instituto Universitario de la Danza “Alicia Alonso” adscrito a la Universidad Rey Juan Carlos Director del proyecto: Alberto García Castaño Currículum: (ANEXO II). Universidad Rey Juan Carlos, Campus de Fuenlabrada, c/ del Molino s/ nº, C.P 28943, Fuenlabrada, Madrid, España. Telf: +(34) 91 488 81 77 - Fax: +(34) 91 141 20 43; Email: [email protected] 8. Copartícipes Universidad Iberoamericana de Santo Domingo, República Dominicana Dirección: Avenida de Francia 129, Gazcue, Santo Domingo, República Dominicana. Email: [email protected], Teléfono: (809) 689-4111, Fax.: (809) 687-9384 Universidad Autónoma de Santo Domingo, República Dominicana. http://www.uasd.edu.do - E-Mail: [email protected] Alma Máter, Santo Domingo, República Dominicana Teléfono: (809)535-8273 Fax (809)508-7374 Fundación del Nuevo Cine Latinoamericano.
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Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective.
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Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.
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“Alicia Alonso” University Dance Institute ______
“Alicia Alonso” University Dance Institute ____________________________________________________________ Last Names: García Castaño First Names: Alberto Osvaldo ID No. 50749972-N e-mail: [email protected] Work Centre Instituto Universitario de Danza “Alicia Alonso” Campus Universidad Rey Juan Carlos Edificio de Gestión Despacho: 004 Camino del Molino s/n 28943 Fuenlabrada, Madrid Tel: 91 488 84 54 Personal Address: C/ Juan Álvarez Mendizábal, 10 esc. externa 1ro. Izquierda, 28008 Madrid Résumé Education and training: - Bachelor's Degree in Economics. University of Havana - Master's Degree in Development Cooperation. Universidad Complutense de Madrid, Spanish Agency of International Cooperation. - Certificate of Proficiency in Academic Research. Universidad Complutense de Madrid. - Doctorate Programme: Economic, Social and Institutional Integration of the European Union Department of Applied Economics IV, Faculty of Sociology and Politics, Universidad Complutense de Madrid. - Seminar “Human Rights in Ibero-America", Universidad Complutense de Madrid. - Postgraduate Course "The Historic, Artistic and Cultural Value of Colonial Architecture in Cuba". Provincial Centre of Plastic Arts and Design in collaboration with the Centre for Restoration, Conservation and Museum Studies and the University of Havana. - Postgraduate Course "Environmental Design in Havana”. National Museum of Fine Arts in collaboration with the José Antonio Echevarria Polytechnic University. - Postgraduate Course "Ergonomics for Design" University Institute of Foreign Trade of Havana and the University of Venice. - Postgraduate Course "The Economics of Culture". National Association of Economists of Cuba, Ministry of Culture and the University Institute of Art of Havana. - Postgraduate Course "Advertising Debates". University Institute of Foreign Trade. - Postgraduate Course "Legal Problems of Foreign Trade". University Institute of Foreign Trade, Havana. Training Placements (AECID- Spanish Agency for International Development Cooperation.
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Alicia Alonso En Sus Muchos Personajes. Anne
14 15 una primera ojeada a los nuevos bailarines que había edad temprana y su herencia española se combinaban contratado la compañía. Ya que tenía amistad tanto para hacerla sobresalir en ese cuarteto. con Kirstein como con el fotógrafo Seymour, asistí a la sesión organizada por éste. Y allí estaba Alicia Una hora más tarde, durante un ensayo general del Alonso, una pequeña de ojos negros en un bello tutú, segundo acto de El lago de los cisnes, Alicia estaba lleno de encajes, con una pierna alta en ese famoso en la parte de atrás del escenario, recatadamente arabesque, sostenida por dos galanes. bailando la variación del Pas de trois1 , mientras que los solistas del primer elenco ensayaban en el centro Esta nueva joven me fascinó y la miré durante toda del escenario. La laboriosa Alicia no pasaba realmente la sesión de fotos, admirando la flexible facilidad inadvertida, ya que llamó mi atención y encontré su con que hacía cada pose y cómo comprendía las ejecución dulcemente correcta. Y esto era un índice instrucciones, aunque hablaba poco inglés. para la totalmente delicada joven bailarina que ALICIA siempre estaba trabajando, aprendiendo, haciendo. La función en el estadio esa noche no fue especialmente memorable, pero algunos meses más tarde, el Ballet Al día siguiente vi una Theatre estuvo en Chicago durante seis semanas. La EN SUS MUCHOS función del Ballet ALONSO Caravan en el teatro. PERSONAJES La compañía bailó el estreno “En el principio POR ANNE BARZEL de Charade o La debutante, de Lew Christensen, un ballet jocoso que trataba era ese arabesque”.
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Alicia Alonso, Una Giselle Eterna
Alicia Alonso, una Giselle eterna Alicia Alonso, la llegendària ballarina cubana, ha mort als 98 anys, segons el que ha informat el Ballet Nacional de Cuba que ella mateixa va fundar i dirigir. “Art, ensenyança i patiment, les tres coses que han marcat la meva carrera”, solia explicar la mateixa Alonso, que va ballar més de mig segle tot i els problemes de visió. Alonso es va convertir en la figura del ballet clàssic més important de l’Amèrica Llatina en aconseguir el títol de prima ballerina assoluta. Nascuda el 21 de desembre del 1920 a l’Havana, filla de pares espanyols, Alonso va començar la formació artística el 1931 a l’escola de ballet de la Sociedad Pro-Arte Musical. Més tard es va traslladar als Estats Units, on va estudiar amb Enrico Zanfretta, Alexandra Fedórova i altres professors destacats de l’School of American Ballet. El seu nom original era Alicia Ernestina de la Caridad del Cobre Martínez del Hoyo, però quan es va casar amb el mestre Fernando Alonso va adoptar el seu cognom, que va mantenir fins i tot després de divorciar-se’n. Patia un problema en un ull des que tenia 19 anys que li dificultava la visió, però això no feia trontollar la seva energia desbordada, els seus moviments secs i la seva seguretat. Tenia un estil molt propi que la va fer destacar de les altres ballarines. Va debutar al final de la dècada dels anys trenta als musicals Great lady i Stars in your eyes de Broadway. Però la carrera d’Alonso es va disparar amb el seu ingrés a l’American Ballet Theater, quan es va crear el 1940.
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