Los Tarantos -1963 with Antonio Gades and Carmen Amaya

Los Tarantos

In this movie, Carmen Amaya ¨la capitana¨ shows why many consider her to be the best flamenco dancer ever, the fastest. Los Tarantos is a classic. Nominated to the Oscars, the repertoire cannot get much better with Antonio Gades dancing as well.

Carmen Amaya was already very famous worldwide in 1963, she had danced in the best theatres in Europe and America. She died shortly after.


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The Red Shoes – a must-see ballet movie

Oscar winning movie The Red Shoes (1948) shows the insides of a ballet company and the drama life of a ballerina Victoria Page who is forced to choose between her ballet vocation, in the hands of authoritarian impressario Boris Lermontov (most likely modeled on Serge Diaguilev-who I wrote about in a previous posting), and her love life with composer Julian Craster.

Victoria becomes the prima ballerina of the new ballet “The Red Shoes”; the parallels between her story and that of the ballet are obvious: A pair of magical shoes that permit her to dance gloriously but tragically prevent her from stopping. According to Lermontov there is no time for love in a dancer´s life “Ballet is a religion”.

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The film is a classic for its multicolor photography, the choreographies of Robert Helpmann and the good novelization of the original fairy tale of Hans Christian Andersen. Many artists like Kate Bush have based their works on the Red Shoes.

From my perspective, since this takes place in Diaguilev´s time and it is a modern ballet, the choreography may not be my personal favorite and the dancers may be too robust in the movie. However, it is important that at that time Russian companies started to believe in doing the “total work of art”, that is, paying attention to every element that intervened with a show. The choreography, the stage design, the music and costumes were placed in the hands of intellectuals and modern artists, whose contributions interacted with one another on the stage, giving rise to some of the most interesting milestones in 20th century dance.

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The Sleeping Beauty – November 1st. Theatre Leman, Geneva

Kiev Ballet

The Kiev Ballet visited Geneva with the Sleeping Beauty Ballet. Music of Tchaikovski, Choreographed by M. Petipa.

The King, Floristan XIV celebrates the batism of her daughter Aurora, dancer Tetiana Tsygankova in the picture. The fairies bring her presents: beauty, generosity, etc. Fairy Carabosse, dancer Margaryte Kuznietsova, arrives angry for not being invited to the party, throwing a spell on Aurora: during her 16th birthday she will pinch her finger and die. The other fairies transform the spell into a deep sleep, saving her from death. And so it happens, she falls into a deep sleep until Prince Désiré, dancer Konstyantyn Vinovoy (seen in the picture) saves her with a kiss of love. They marry and live happily ever after.

The great performance of Aurora, that is, of Tetiana Tsygankova and Fairy Carabosse, Margaryte Kuznietsova, has risen the level of the Kiev ballet. They were light, expressive, emotive, and simply put, fantastic. One could feel they were true and believable. The prince on the other hand. was a good dancer, though not very exquisite, acting entirely too feminine and old to match a role adequate to accompany Aurora. No pun intended, but hard truths can oftentimes overwhelm the sense and feeling of reality great ballets are capable of in a performance when dancers and actors do not aesthetically adhere to the believability of the show.

The ballet troupe was confusing. They were in a party and some looked as if they were in pain. Aurora fell sleep with the spell and some of the dancers were smiling! Non sense, as the story goes, the dancers are in a final wedding party and two dancers pose resembling very serious facial expressions while the others look as if they were having the time of their lives, wearing broad smiles. Technically, some of them were very good, but most appeared too thin and therefore inexpressive. Some of their faces appeared so boney that they actually resembled an inability to even show proper expression, forcing some viewers to be further distracted from the story. Others seemingly had a lot of tension in their necks, a fairly common mistake in some dancers. Whenever going on point shoes you see the tension and rigidity.

Overall, a good ballet, worth seeing. Big congratulations to Aurora and Carabosse!

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The Editors- October 12th 2013 Vernier sur Rock, Geneva

Singer on the piano    Here at Made From Dance, it is in our own opinion that most great listeners in this generation cannot help at some moment in their lives having a secret passion so to speak, or a certain admiration for the darker and more melodic side of alternative rock. The Editors, birthed out of Birmingham, UK definitely captivated these sonic waves, having put on a good show in Lignon, just outside of Geneva center.

       Undoubtedly, it can be hard for the general public in Geneva to comprehend the importance of having modern music in their daily lives. With the continual growth in social media, great bands have seemed to become obsolete due to the saturation contemporary youth must digest and radio airwaves oftentimes leave us all with nowhere to hide from  the shallow, stagnant, and repetitive teeny bopper bubble gum pop attracting so many “just-gotta-sing-along-or-I-don’t understand” types of listeners.

      Fortunately, when Editors rolled into town on Saturday, October 12th, the songs flowed elaborately through the venue, providing concert-goers a gift of originality, renewed spirits that other musical styles may still have a chance to inspire and flourish in Geneva’s future apart from the boring hip hop MCs at Summer park festivals doing little or nothing on-stage except trying hard to be cool.

      That all being said, there were some disappointing factors that kept the show from being great. For one, the time lapse between acts was ridiculous, leaving listeners with more than enough time to finish 6-10 drinks between sets had they wished. Secondly, the venue was more like a high school that rented their gymnasium out for the night. Thankfully the lighting served to derail the poor aspects of the ambience. Okay, enough about the exterior qualities and more about the music…

         The Editors positively dealt with any shortcomings, displaying impressive stage presence, particularly from frontman Tom Smith. There are no words to even describe drummer Ed Lay’s solid rhythms, making it seemingly difficult at times to note the difference between natural drumming and a drum machine. Guitarist Justin Lockey’s lines ad riffs were as tantalizing as the records, particularly on the older songs off the band’s debut record, The Back Room like Blood.  All in all, it is safe to say that a band with a great reputation for consistency in good performances did it once again, even if it was a somewhat difficult location. Cheers Editors…

R&L Green

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Ken Robinson talks about Education and Creativity


In the link above, Ken Robinson, this incredibly intelligent man, explains that all of us are creative when we are born but we lose the creativity with age because of our educational systems. That for most people, as they grow up, their bodies serve just as a means of transportation of their heads and they start focusing on the upper part of it, thinking only of the movement of their hands. We need to acknowledge different types of intelligence by nurturing creativity.

He talks about GILLIAN LYNNE, dance choreographer of Cats among other musicals, whose teachers thought she had a learning disorder because she could not stop moving when listening to music, when in reality she was a fantastic dancer.


After listening to this video, I feel so glad I am not the only one who needs to dance to express my feelings. I have spent the day after every funeral in a room dancing. It was the only way to dance away my pain and when I listen to music I suffer if I am not dancing. I am sure many of you feel this way. Hope you like it. Let me know what you think.

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Carmen. Feb 26th 2013 at the Theatre Léman, Geneva


Embraced by the magnificent opera of Bizet, the dancers of the Ballet Royal Héritage tried staying coordinated in very fast and changing steps. Despite the good jumps of some of the male dancers, the overall impression displayed a lack of merging between the choreography and the singing of the opera, and ill-prepared performances by some of the dancers. Luckily, Igor Yebra & Oksana Kucheruk, stars of l´Opera National de Bordeaux, saved the play.

Igor´s facial expression transmitted all the way to the back row of the Léman Theatre and Oksana´s complete dominance of point shoes (held by a only a thin lace) allowed her to stay balanced even on top of a cheap moving wood-wheeled platform that was their only scenery on stage to simulate a different setting. At some point it was scary to see and with another stage she could have showed more of the Spanish pícara attitude of her gypsy role. This was overtaken by the scary platform. The costumes seemed very low budget as well, and were more reminiscent of Hawaii than Spain. It was a pity to see such great stars in such a limited environment only having the possibility to rely on sheer talent to fill the stage.

R&L Green



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The Raveonettes. Feb 15th 2013 at L´Usine, Geneva

                                                    THE RAVEONETTES

                                     15-02-2013 L’usine Theatre Geneva

The Raveonettes

         For most lovers of original music, particularly atmospheric and dreamier rock n roll, Geneva, Switzerland would likely appear next to last on the list in terms of offering great places to see and experience a band like the Raveonettes.

In a city engulfed with a reputation for attracting people who only care about money, a city notably lacking in innovative music and the possibility for youth and adults alike to be turned on to any other musical styles apart from the cliche, poor, repetitive commercial pop pushed by the radio stations, it must come as a surprise to any passionate listener who found his or her way out to Theatre L’usine last Friday evening to bear witness to a performance of a band doing modern original works with a sound so rarely ever heard or talked about in these parts of the world.

Sure, Geneva can offer the occasional traditional conservatory-based concert for classically minded musicians and listeners…. but then there are the Raveonettes, a band that has subsequently increased in popularity over their twelve years in existence, selling out venues and receiving notoriety all over the world for their own brand of distorted, melodic, effect-driven music featuring fuzzy, delay-washed guitar tones reminiscent of surf rock greats like the Ventures or Dick Dale mixed with Shoegaze bands like Slowdive and My Bloody Valentine.

Whereas many bands choose to forget their older records and focus primarily on new material, Friday’s show couldn’t have been any farther from the truth, as the Raveonettes opened their set with ‘Hallucinations’ off 2007’s Lust Lust Lust, luring the crowd in with Sune Wagner and and Sharin Foo’s beautifully executed vocal harmonies (a detail that would carry them successfully through the show’s entirety). Their second number kicked the audience right in the face with the immediate impact delivered on ‘She Owns The Streets’ off the band’s newest album, Observator. Guitar tones couldn’t have sounded much cooler echoing throughout the L’usine’s concert hall.

To further captivate the audience, they threw in some of their distinct classics like ‘Blush’, ‘Dead Sound’, and a personal of mine, ‘Lust’, before reverting back to new material, performing a pulsating, ‘Curse The Night’ along with some other formerly released greats such as In and Out of Control’s ‘Gone Forever’ and the love based themes apparent in song titles, ‘Love In a Trashcan’, ‘The Great Love Song’, and ‘Love Can Destroy Everything’.

Based on musical performance, the Raveonettes couldn’t have sounded tighter, nor conveyed their musical spark any clearer. Nevertheless, a sense of disappointment or lack of energy towards the concert’s end seemed to loom in the air among the band members, whether it arose from a feeling that the audience may have been more bland than at shows in other countries, or perhaps it was a disinterest in continuing to woo the devoted fans attending as a result of a few drunks with no poise dancing offbeat and whom probably had mistakenly arrived at the L’usine that night thinking they were at a dance club spinning Black Eyed Peas. Perhaps it is an unhealthy note to attach to such a cool venue with a great band playing that night. Despite the unnecessary distractions, the Raveonettes shined on till the end and graced the audience with an encore of ‘Evil LA Girls’, before saying their goodbyes and thank yous.

Oftentimes, it never fails me to question that perhaps the reason an increasing amount of society this day and age care so little for going out to see a quality performance may in fact be due to the one or two that always seem to be a nuisance rather than an added benefit at a show. Regardless, the L’usine Theatre proved to be a fantastic place to see one of the most melodically inspiring and catchy modern rock bands out there today. Bravo Raveonettes!

R&L Green

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Conversaciones entre personajes sin hablar

En el baile hay miles de movimientos, gestos, caras, que reemplazan a palabras, al no poder hablar. Yo aprendí que hay verdaderas conversaciones entre personajes y que lo divertido de ir a ver ballets es no sólo entender la técnica sino ver cómo hablan sin hablar y como se expresan y cambia mucho de una persona a otra. Tuve que hacer yo misma movimientos que eran frases que no hubiera descubierto si no me los hubieran explicado, por ejemplo como decir: bailemos! girando las manos entre sí, en Gisele.
El Royal Opera House ha sido grabado y las grabaciones están disponibles en youtube para ver como hacen ensayos, entrevistas, etc.
Os dejo una en la que la maravillosa directora, Monica Mason, explica los sentimientos, gestos y conversaciones de la malvada hada Carabosse en La Bella Durmiente. Qué expresividad la de esta mujer, mirad al final cómo se entiende perfectamente lo que dice sin hablar. Espero que os guste!

Gestos en La Bella Durmiente

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Mi bailarina favorita-Alessandra Ferri

Mi bailarina preferida es Alessandra Ferri, nos dice tantas cosas sin decir nada y sin aparente esfuerzo. En esta prodigiosa escena de Romeo y Julieta vuelve a probar que para muchos es nuestra musa del baile y si encima le acompaña la música de Prokofiev poco más se puede pedir. Después de ver esto, ¿quién se atreve a dedicarse al baile? Mejor mirar con admiración a las estrellas o si no al menos tener claro a qué aspirar, a parecerte en algo a esta maestra.


Ver video. Romeo y Julieta. Alessandra Ferri y Angel Corella

Biografía Alessandra Ferri

Alessandra Ferri nació en Milán, Italia, donde comenzó sus estudios de danza en el teatro Alla Scalla. A los 15 años, su prematuro talento le permitió ganar el prestigioso Prix de Laussane, el cual fue la llave para ingresar en 1980 al Royal Ballet de Londres como miembro del staff estable. Con sólo 19 años, en 1983 fue ascendida a primera bailarina de la compañía y elegida por Sir Kenneth MacMillan para bailar los roles protagónicos de Romeo y Julieta, Mayerling, A different drummer y Valle de sombras (los dos últimos fueron creados por MacMillan especialmente para ella). Ser la favorita del gran coreógrafo escocés hizo que su nombre se lanzara a la fama: ese mismo año recibió el premio Sir Lawrence Olivier, y el New York Times y la revista Dance Magazine la nombraron “Bailarina del año”.

Continue reading

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La exposicion de Caixa Forum en Madrid muestra la historia de los ballets rusos y la importancia de la figura de Diáguilev, empresario cultural que fue imprescindible para la evolucion del baile. Éste contrató a los mejores artistas para que pusieran su granito de arena en los ballets como Matisse, Picasso, Falla, Stravinsky, Prokófiev entre otros y tuvo en sus compañia a bailarines de la talla de Nijisky, Pávlova o Fokine.
Esta exposicion es muy interesante y no os la podeis perder. Esta hasta el 3 de Junio.

Foto de Nijinsky. Bailarín favorito de Diáguilev hasta que se casó en secreto y al descubrirse fue despedido de la compañía.
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