March 29th: USArtists International, April 14th: Arkansas Arts Council Individual Artist Fellowship, April 30th: Copenhagen International Choreography Competition, May 7th: Atlantic Center for the Arts Mentoring Artist-in-Residence Program, May 22nd: National Performance Network - Creation & Development Fund, May 31st: National Dance Project Travel Fund, June 1st: New York Choreographic Institute Residency, June 1st: Sadie-Rose Residency Program, June 12th: National Dance Project Production Grant - New England Foundation for the Arts, June 30th: South Arts Professional Development & Artistic Planning Grants
There is an increasingly acute issue surrounding women’s roles in ballet. In the last few seasons the Royal Ballet stage has seen record numbers of female characters brutalised and killed. Emily, Mary-Jane, and Annie eviscerated in Sweet Violets, Justine hanged and Elizabeth murdered in Frankenstein, Stephanie raped and Mary shot in Mayerling, the girl raped in The Invitation, the youngest sister hanged in Las Hermanas, and the woman raped and murdered in The Judas Tree. Consider this body-count alongside the number of recent abstract works in which women are split, splayed and otherwise manhandled, and certain embedded attitudes reveal themselves.
https://www.dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.png00Isabelle Vailhttps://www.dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngIsabelle Vail2017-11-15 16:35:002019-02-13 02:57:09The Guardian: Royal Ballet triple bill review – yet more sexual violence