February 2016 | Bulletin Board: Pin, Post, Share

Click! What’s new online at the Rhee Gold Company                            

Visit the DanceLife Retreat Center website at danceliferetreat.com for information on and to register for summer 2016 workshops and intensives: Rhythm Works Integrative Dance Certification Workshop, July 8–10; Tap Intensive, July 12–13; Jazz Intensive, July 14–16; Ballet Intensive, July 18–20; Musical Theater Intensive, July 21–22; and Hip-Hop Intensive, July 23–24.

rheegold.com dancestudiolife.com danceliferetreat.com dancelifeconference.com danceteacherstore.com ideadance.org


Dance in Time: February

February 4, 2001: Bojangles, a biographical drama about the life of Bill “Bojangles” Robinson, premieres on Showtime, with Gregory Hines in the title role.

February 8, 2006: A ceremony in Washington, DC, commemorates the donation of the Alvin Ailey American Dance Theater archives to the Library of Congress.

February 10, 1989: Tap premieres, starring Gregory Hines, Sammy Davis Jr., Suzanne Douglas, Joe Morton, Savion Glover, and Terrence E. McNally, with choreography by Henry LeTang and cameos by Arthur Duncan, Bunny Briggs, Howard Sims, Steve Condos, Harold Nicholas, and Jimmy Slyde.

February 12, 1881: Prima ballerina Anna Pavlova, whom Encyclopaedia Britannica Online names “the most-celebrated dancer of her time,” is born in St. Petersburg, Russia.

February 14, 1946: Gregory Hines is born in New York City. Among his many accomplishments, Hines was a leader in the advocacy movement for legislation establishing National Tap Dance Day, now celebrated annually on May 25, Bill “Bojangles” Robinson’s birthday.

February 15, 1952: Bill T. Jones is born (as William Tass Jones) in Bunnell, Florida. Jones won two Tony Awards for best choreography, for Spring Awakening in 2007 and Fela! (which Jones also co-wrote and directed) in 2008.

February 22, 1935: The Little Colonel premieres, featuring Bill “Bojangles” Robinson and Shirley Temple in what is considered the first interracial dance pairing in the Hollywood motion picture industry.


Quotable: Dancers on Dance
[W]hen I first began choreographing, I never thought of it as choreography but as expressing feelings. Though every piece is very different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else—the music, the set, the movement and whatever is said. I don’t know where one thing stops and another begins, and I don’t need to analyze it. It would limit the work if I were too analytical.
Pina Bausch
(“When Avant-Garde Meets Mainstream,” by Stephen Holden, New York Times, September 29, 1985)