Photographers Ken Browar and Deborah Ory coax the images from the Paris Opéra Ballet that Edgar Degas painted from American Ballet Theatre principal dancer Misty Copeland for the March 2016 issue of Harpers Bazaar in advance of MOMA's Edgar Degas: A Strange New Beauty.
Also check out their NYC Dance Project
Jordan Matter's project and book, Dancers Among Us, finds great pleasure in letting dance escape the studio and stage and find its place out in the world.
See also Ballerinas on the Streets of Bratislava
A book to make you dream. A book to take your breath away. A book not just for the dancers, but for the dancer inside of each us. Dancers Among Us now available at a bookstore near you! www.dancersamongus.com Video: Kevin Ban, Pamela Bob, Caleb Custer, Will Day, Travis Francis, Jamila Glass, Lindsay Thomas, Netta Rabin, Katie Yohe Video edit: Lindsay Thomas For a list of the dancers featured in the Dancers Among Us book, visit www.dancersamongus.com/dancers
Using just a simple mirror and clever camera placement, conceptual dance theatre company A House Unbuilt has created this: Fidget and Flail.
From Victoria Bradford on HUB:
"I've been making these small dance films for about a year and a half, and much of it started with me "running around in my living room," as one curator put it. Lately, however, my energies have been invested in more involved, devised choreographies with a full company of dancers, so when I turned to my latest living room of a studio, I found myself fidgeting to the point of flailing in an attempt to find a dance. And yet, by imposing a frame which restricted my own view of the body, I was overwhelmed with a feeling of dismemberment and a disjointing of the body. From this, my newfound body cultivated a dance in cycles of flailing collapse and fidgeting recovery."
I've been making these small dance films for about a year and a half, and much of it started with me "running around in my living room," as one curator put it. Lately, however, my energies have been invested in more involved, devised choreographies with a full company of dancers, so when I turned to my latest living room of a studio, I found myself fidgeting to the point of flailing in an attempt to find a dance. And yet, by imposing a frame which restricted my own view of the body, I was overwhelmed with a feeling of dismemberment and a disjointing of the body. From this, my newfound body cultivated a dance in cycles of flailing collapse and fidgeting recovery.
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