Join us! Let’s Dance!

Some cool ballet terms images:

Join us! Let’s Dance!
ballet terms
Image by Dance & Performance Institute
Summer + Institute

Why gather here, now under the banner of New Waves? We’ve gathered an outstanding faculty: Dyane Harvey-Salaam, co-founder of Forces of Nature Dance Company, who returns to Trinidad after 40 years when she worked with Astor Johnson Repertory Dance Theatre; Ananya Chatterjea, Scholar-in-Residence, who just won a Guggenheim for her visionary work that she describes as a “call to action”; Philadelphia’s hip-hop ambassador, Rennie Harris; Jamaica’s Chris Walker; visionary performance artist, Akuzuru; associate artistic director of Ronald K. Brown/EVIDENCE, Arcell Cabuag; Founder of Canada’s Ballet Creole, Patrick Parson; the prolific, Sonja Dumas, myself and Dave Williams. We’ve all gathered, connected in a delicious composition of professional, cultural, personal and psychogeographic relationships, visions, and alliances.

The root system of a tree is five times more extensive than the tree itself, and reaches far underground to form a solid base for growth and nourishment. I look to those rhizomatic qualities of connection, heterogeneity, multiplicity and asignifying rupture to grow the Institute. Let’s start with the asignifying rupture: Autonomy. Its primary source is the body of the participants, faculty, and staff. Autonomy is vital in the creation of horizontal, rather than hierarchical structures and to the resistance of hegemony. Autonomy gives the Institute the freedom to exist; in any way for it to succeed, as per its own terms.

Systems of connectivity are reflected by our virtual office and Open Source concepts embedded even into the programming (as in the case of the Meeting Space). With time consciously left for contemplative and deliberative spaces; spaces in which new space and creation can be made – reading, choreographing, writing, designing; we can explore new ways of thinking and doing dance and performance, of questioning the limits of space and context, of sharing and making meaning that could permanently re-create and re-emerge. And like the rhizomatic root, if separated into pieces, each separate piece may give rise to a new plant.

Hungarian State Opera House
ballet terms
Image by Jorge Lascar
The Hungarian State Opera House (Hungarian: Magyar Állami Operaház) is a neo-Renaissance opera house located in central Pest, (a part of Budapest), on Andrássy út.

Designed by Miklós Ybl, a major figure of 19th century Hungarian architecture, the construction lasted from 1875 to 1884 and was funded by the city of Budapest and by Emperor Franz Joseph of Austria-Hungary. The Hungarian Royal Opera House (as it was known then) opened to the public on the September 27, 1884.

It is a richly-decorated building and is considered one of the architect’s masterpieces. It was built in neo-Renaissance style, with elements of baroque. Ornamentation includes paintings and sculptures by leading figures of Hungarian art of the time including Bertalan Székely, Mór Than and Károly Lotz. Although in size and capacity it is not among the greatest, in beauty and the quality of acoustics the Budapest Opera House is considered to be amongst the first few opera houses in the world.

The auditorium holds 1261 seats. It is horseshoe shaped and – according to measurments done in the 1970s by a group of international engineers – has the 3rd best acoustics in Europe after the Scala in Milan and the Paris Opera House. Although many opera houses have been built since, the Budapest Opera House is still among the best in terms of the acoustics. In front of the building are statues of Ferenc Erkel, composer of the Hungarian national anthem, and the first music director of the Opera House. He was also founder of the Budapest Philharmonic Orchestra. The other statue is of Franz Liszt, the best known Hungarian composer.

Each year the season lasts from September to the end of June and besides opera performances the Opera House is home to the Hungarian National Ballet.

Many important artists were guests here including Gustav Mahler the composer who was director in Budapest from 1887 to 1891 and Otto Klemperer who was music director for three years from 1947 to 1950.

In the 1970s the state of the building prompted the Hungarian State to order a major renovation which eventually began in 1980 and lasted till 1984. The reopening was held exactly 100 years after the original opening, on the 27th of September 1984.
The Opera House is on the left in this view of 1896.

The second house of the Hungarian State Opera is Erkel theatre. It is a much bigger building and it also hosts opera and ballet performances during the opera season []

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