Dance anthropologist Judith Lynne Hanna, who (on top of her scholarly work) has served as an expert witness in legal proceedings against exotic dancers, “has spent her career getting us to think about dance’s relationship to society. … She hadn’t performed since college when she got a call from a music video producer, who caught a video of her dancing with her 13-year-old grandson. The rockers of Egg Drop Soup loved her energy and flew her out to Los Angeles for a day-long video shoot. We spoke to Hanna about the experience.”
Marie’s tour with the Nutcracker Prince in Act II includes, of course, Spanish chocolate, Arabian coffee, and Chinese tea. New York City Ballet is one of several companies that has rethought how those dances — tea, in particular — play to American audiences in the 21st century. To wit: out go the Fu Manchu mustache and pointy fingers.
“A former dancer and once rising star of Ballet San Antonio remains in jail accused of sexual assault after he was found not guilty recently of a different sexual assault charge. In both cases, Hugo Ihosvany Rodriguez, 27, was accused by female dancers in the ballet company.”
A ballerina who contended with anorexia nervosa for years, Anais Garcia, who is just over five feet tall, has reached 105 pounds, a safer weight than the 79 pounds of a year ago. In her gray turtleneck sweater and casual black leggings, her extreme thinness remains apparent. “For the past five years, I’ve done nothing but hate and try to disown my body,” she says.
“Westerners often imagine the [“Oriental”] dancer as the femme fatale. But the dancer is not a femme fatale. She is a mother.” In an interview that cites a Lacanian psychoanalyst and an anthropologist, the dancer known as Malak, born and raised in Spain and now an established instructor in Cairo, talks about the power of belly dance and the relations (of several sorts) between dancer and viewer.