The News Review:
- Dancer: ‘Why take it away from us?’
- Waltzing to political pas de deux
- Countdown is on so make plans.(Entertainment)
- In the Studio: Franz Ferdinand Say Third Album Is ‘More Dance Than…
- Partnership in dance discipline
Dancer: ‘Why take it away from us?’
St. Petersburg Times – Dec 28, 2007
She was mostly bedridden before she started coming to the tea dances two years ago. Now she is one of the more popular dancers at the Coliseum. "If my body would let me I would break-dance" she said. "This is my home. " Liquerman began attending after he moved to St. Petersburg from New York City afterhis wife died from breast cancer. He hadn't danced since he got married and had children more than 40 years earlier.
Waltzing to political pas de deux
BBC News – Dec 28, 2007
A struggling minority government at the mercy of opposition forces would not have been best placed to take full advantage of extra powers bestowed on it under the Government of Wales Act. In the early hours of 4 May Lib Dem assembly group leader Mike German said it was time for the parties to engage in a “waltz” to form a government. What followed was more akin to a 1980s break dance.
Countdown is on so make plans.(Entertainment)
Free with registration – Register-Guard – AccessMyLibrary.com – Dec 28, 2007
It’s the last Buzzworthy of 2007. Even more sad is all the things we didn’t accomplish this year. We didn’t stage dive at the Black Forest or break dance.
In the Studio: Franz Ferdinand Say Third Album Is ‘More Dance Than…
Rolling Stone – Dec 28, 2007
”That one it’s clear is a keeper. And Franz have thirty-four or so other new songs in various stages of completion ? as well as an idea about the overall direction of their new record. “When we did the second album the dance and synthesizer side of what we do maybe went to the side and the rock side came to the fore a little bit” says Kapranos. “I suppose we’re heading back to the idea of dance music. It’s more of a dance record than a rock record. ”And after blazing through the writing and recording of its second album 2005’s You Could Have It So Much Better the band is taking its time on the follow-up. “There was a real almost frantic frustration within the band to get back into the studio when we did that second album” says Kapranos… “This time we wanted to spend more time developing and also I suppose allowing songs and sounds to evolve more before we ended up writing an album and absorbing more music and ideas and I suppose life itself. And when I say life I mean life off the road because I wouldn’t classify life on the road as real life. ”To that end Franz took their first real break since the band began its album-and-tour cycle in 2004 and the members of the group scattered around the world to unwind. “We completely stopped ? Franz Ferdinand was no longer a part of our lives” says Kapranos who used the downtime to produce an album by Brit rockers the Cribs. “It was almost like we had to clear the filth of those years of touring from our personalities and our relationships with each other. ”Indie-rock purists might be shocked by Franz’s likely choice of producer: They’ve recorded tracks with Brian Higgins a British pop hitmaker who’s previously worked with Kylie Minogue Cher and the girl group Girls Aloud. “It appeals to my contrary side” says Kapranos.
Partnership in dance discipline
The Australian – Dec 28, 2007
But a movement or a step will never be the same because the person doing it is not the same. "And if it is the same person they will always do it slightly differently each time theydance. " During a rehearsal of dance company Chunky Move’s latest work Mortal Engine which premieres at next month’s Sydney Festival Cunningham’s words resound. As the company’s artistic director and choreographer Gideon Obarzanek asks two dancers to repeat the same passage you are reminded of the challenge of recreating an of-the-moment interpretation. Mortal Engine depends on this exact replication. Obarzanek’s collaborator Frieder Weiss a German interactive software creator and a team of lighting and sound technologists track the dancers’ movements through an infra-red beam. The movements are then reproduced as patterns which appear on a large screen that dominates the performance space or as sounds we hear… Unexpectedly new pattern sequences can come from nowhere. For the crew it is like dealing with another recalcitrant cast member. "It has a life of its own and it changes" Obarzanek explains during a lunch break. "It changes with what the dancers are wearing or with the most detailed calibration of any other part of the system. In a way no performance is really the same. And because the dancers don’t have a set music pattern the work is pliable and changing. You’re never quite sure what’ll happen.