By Jenifer Ringer
“A glimpse into the delicate psyche of a dancer.” —The Washington Post
Jenifer Ringer, a central dancer with the recent York urban Ballet, was once thrust into the headlines after her weight used to be commented on through a brand new York occasions critic, and her reaction ignited a public discussion approximately dance and weight.
Ballet aficionados and aspiring performers of every age may want to subscribe to Ringer behind the curtain as she stocks her trip from scholar to celebrity and candidly discusses either her fight with an consuming illness and the media typhoon that erupted after the days evaluate. An strangely upbeat account of existence at the degree, Dancing via it's also a coming-of-age tale and an inspiring memoir of religion and of overcome the physique concerns that torment all too many girls and males.
Read or Download Dancing Through It: My Journey in the Ballet PDF
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Extra info for Dancing Through It: My Journey in the Ballet
Sample text
They were supplanted, but without land reform or any threat to their ownership of property. (1966b: 190) The basic unit, ‘house and land,’ remained intact. Wealthy landholders could continue the patronage of traditional ritual and aesthetic performances they had heretofore supported, and even decide to take on patronage anew of kathakali by creating their own troupes (kaliyogam). 26 Performance in the kerala context The situation in Travancore, southern Kerala, was quite different. There Martanda Varma Maharaja came to the Travancore throne in 1729 and reshaped the political realities of the area.
It became noted for its distinctive emphasis on ‘technical virtuosity’ demanded by performance of the four Kottayam plays. (Panikkar 1993:35–7) A social history THE ‘MATURE’ YEARS: THE ROLE OF THE RASIKA/SAHRDAYA/ CONNOISSEUR AMONG PATRONS Royal patronage and involvement remained the mainstay of kathakali throughout the mid- to latenineteenth century where rulers and/or wealthy landholding families continued to patronize kathakali because it had become a tradition, and/ or because they took an active interest in the art.
In this chapter I trace the social and performance history of kathakali in order to understand the ways in which patrons and connoisseurs have shaped the life of the tradition, its structure and techniques, its repertory, its evolving aesthetic and practice of connoisseurship, and therefore their pleasure(s). From the available historical and anthropological literature, I examine the role and place of patrons and connoisseurs within Kerala’s social hierarchy, as well as within the artistic tradition in each of four phases of kathakali history: 1 The formative years from the origins of kathakali in the late seventeenth to the late eighteenth century, by which time the genre had evolved into what we recognize as kathakali today.