Bigthink - Category Features and Ideas Feed

Re: What challenges do women in business face?

Bigthink — Thu, 06 Mar 2008 18:35:43 +0100

DiSesa has always worked in boys' clubs.

Trasncript: I have always worked in boys clubs. All the advertising agencies that I have been in where male dominated and although they where always a lot of women in the company, there weren’t that many women at the higher level than very very few women at the very top of ladder and I think that the business would be more successful if they were more of women at the top of the game, because I think the combination of men and women together is powerful combination, when you only have one kind of person making all the decisions, its kind of not good. So, I have always encourage women to go as far as they can go, its hard for women in male dominated cultures, because the people that you are trying to impress and the people who you need promotion from a men, and they may not for your comfortable with you, you feel what do you to make a man feel more comfortable with you, so that he will see you as somebody he wants on his team.

Recorded on: 2/29/08

FEATURE: Twyla Tharp on Video and Choreography

Bigthink — Tue, 05 Feb 2008 20:55:25 +0100

One of the greatest dance choreographers ever, Twyla Tharp, discusses how video technology has changed the very nature of her work.

why am i such a great dancer?

Bigthink — Sat, 19 Jan 2008 21:53:27 +0100

: is it in my genes, is it learned, or did my significant other bring it on?

Twyla Tharp on the Role of Video and Choreography

Bigthink — Thu, 17 Jan 2008 17:09:59 +0100

: Twyla Tharp, among the greatest choreographers of her generation, has been archiving videos for 40 years. In this interview, she explains the value of video to dance. Source, Beet.TV

Re: Dance as part of a University Education

Bigthink — Tue, 08 Jan 2008 20:15:58 +0100

: I could not agree more with your ideas. I think a lot of the problems with dance in the American academy, at least, dovetails with problems facing the humanities in general and physical education (when it does not concern big sports teams). In the early 20th century dance entered the academy either as a humanities discipline or as a part of physical education. And it was always the lowest on the totem pole. Part of the problem also comes from within dance. For example, dance teachers, writers, and administrators continually say that dance is ephemeral when clearly it is no more ephemeral than any other performing art and it has a well-established notation system and just as much documentary resources as any field. But, never fear: OSU now has a PhD in Dance; Temple University's Boyer School of Music has a PhD in Dance...and these programs are not Performance Studies.

Stopping participation until site is more user friendly

Bigthink — Tue, 08 Jan 2008 20:05:23 +0100

: Until bigthink.com becomes more user friendly with features like the means to edit ideas (and other problems mentioned in the help forums) and other features it is best to suspend the contributions that I had planned to make.

Dance as part of a University Education

Bigthink — Tue, 08 Jan 2008 03:33:05 +0100

: Universities nationwide--especially the Ivy Leagues--often categorize dance as an extracurricular activity only, and not as an intellectually founded method of knowing and doing. Why is studio art often an accepted curricular pursuit, but not dance? Why music? And acting? Dance history and theory are often popular academic replacements for technical or composition classes in dance. But having these courses only--and not supporting classes that put into practice important ideas about experiencing the world physically--is equivalent to taking chemistry without a chemistry lab. How can we legitimize dance theory and practice as an integral part of an intellectual education? For more information, see this recent New York Times article: "Mind and Body at Yale," by Claudia LaRocco. http://www.nytimes.com/2007/09/23/arts/dance/23laro.html?_r=1&oref=slogin

Dance Criticism at the New York Times: Introduction

Bigthink — Mon, 07 Jan 2008 18:28:31 +0100

: I would like to begin a conversation about the recent state of dance criticism at the New York Times. I hope for each one of my statements to be roughly 750 words and posted everyday on to this website until Valentine's day in February of 2008.

Ever since john Martin (b. 1893; d. 1985) first reported on changes in American concert dance in the first part of the 20th century, the NYT has been a national and international standard bearer of dance criticism. To be mentioned in the NYT is a major boon to presenters, funders, choreographers, performers and anyone in dance.

The NYT influence translated into socio-economic power within the American concert dance world because what it says about dance often contributes to opinions about who gets funding, who gets presented, and who is promoted.

Few instances of public criticism of dance reporting in the NYT appear. Yet, as I hope to analyze, we need this criticism now more than ever.

Until tomorrow.