November 2015 | Bulletin Board: Pin, Post, and Share

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The International Dance Educators Association (I.D.E.A.) will launch next summer at the first-ever international business conference for dance school owners and administrators, to be held July 30 to August 1, 2016, at The Phoenician in Scottsdale, Arizona. More details at ideadance.org.

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Dance in Time: November
November 7, 1989: President George H.W. Bush signs a law proclaiming May 25, the birthday of Bill “Bojangles” Robinson, as National Tap Dance Day. (See “Thinking Out Loud: Celebrating National Tap Dance Day,” May/June 2015.)

November 13: Expressionist dance pioneer Mary Wigman is born as Marie Wiegmann in Hanover, Germany (1886). Enrico Cecchetti, known for his method of ballet training and technique, dies in Milan, Italy (1928). Billy Elliot the Musical opens on Broadway (2008).

November 14, 1996: The revival of Chicago the Musical—still playing and now the longest-running Broadway revival—opens at the Richard Rodgers Theatre. (In January 2003 it relocates to the Ambassador Theatre, its current home.)

November 15: Alvin Ailey American Dance Theater performs for President Jimmy Carter at the White House (1978). The original run of the 1984 Tony Award–winning (in six categories, including best musical) La Cage aux Folles closes after nearly 1,800 performances (1987). Bunny Briggs dies in Las Vegas, Nevada (2014).

November 19, 1973: Savion Glover is born in Newark, New Jersey, where he now directs Savion Glover Productions’ HooFeRzCLuB School for Tap. (See our interview with Glover in “Talking Tap,” August 2014.)

November 20: Alexandra Danilova is born in Peterhof, Russia (1903). Balanchine’s one-act Swan Lake premieres at the City Center of Music and Drama in New York City (1951).

November 25, 1949: Bill “Bojangles” Robinson dies in New York City.


Quotable: Dancers on Dance

Ballets are just stylized versions of these seemingly basic movements [from ballet class] on a grand scale. If the basic strength and elegance of a barre class is like slipping on a little black dress, the challenge of dancing a full three-act ballet is like learning to accessorize for any occasion. . . . You have to know the appropriate way to adorn each story and character with your body. . . . The difference between being an amazing technician and being a soloist or principal is mastering those interpretive flourishes to tell the best story. Otherwise you aren’t a ballerina—you’re just another dancer.Misty Copeland (Life in Motion: An Unlikely Ballerina, 2014)