Skip through our festival impressions as of 2005 HERE
NEWSLETTER ARCHIVE 2001 June, 2001
Newsletter 15.06.01My precious Juicees and Juicettes,
I hope you like what was put online from the ImPulsTanz boys and girls... all information is now available on www.ImPulsTanz.com, web based registration has already started, tickets will be available from June 12 on.
I myself secured my hip hop classes rrrrrright away - no messing around here!
Actually this is not why I am stealing your time, something emotional is why: While ImPulsTanz has completed its programmation, the scholarship programme danceWEB has finished its selection process. About 45 young dance artists have been selected from - what I heared - more than 1.000 applications and will be awarded with a danceWEB 2001 scholarship. And these 5 weeks here in Vienna can evoke quite fundamental feelings - check this out:
"danceWEB is an experience, like timetravelling is an experience, or landing on the moon, or waking up in Timbuctoo. Nothing can prepare you for this!"
So says Suzanne Bentley, danceWEB 2000 scholarship recipient from New Zealand. Beauty, no?
Now as I already have you listening, I want to also share a letter from French/American dancer Mira Peck, who got nominated by the Artistic Committee for this summer‘s danceWEB programme. I personally found her
letter tender and passionate, modest and self-conscious... maybe it warms YOU up, too!?
(Why don‘t you) Stay-ay-ay just a little bit longer
"Better than Famous"
Lately I‘ve been working at "The Grand Hotel" in Amsterdam doing Turndown (that‘s one of the services five star hotels offer their guests). I go in, smile, close the curtains, change the towels, turn down a corner of the bedspread, leave a Belgian chocolate on the pillow and close the door leaving a light burning. For some extra cash I took this small job because it allows me to dance during the day and because (the clincher) I thought maybe I could meet some famous people. It didn‘t matter whom, just "famous people". I was so miffed when I first started working there a week ago and my supervisor told me I just missed Burt Reynolds by only two days. Man! That would have been so cool to see Burt Reynolds! In person! To knock on his door and say "Excuse me sir, would you like your bed turned down?" And he would say yes of course and we‘d get chatting and he‘d probably give me abig tip or an emerald bracelet and I could say later, "yeah, I met Burt Reynolds, he‘s nice".
Not that I really care about Burt Reynolds, or even really know who he is. I couldn‘t name five movies he was in, even if he himself asked. He‘s just a name.
In fact, most of the people in the hotel aren‘t even around when you turn down their rooms, and when they are, they‘re usually talking on the phone or putting on makeup in the bathroom, doing normal stuff that normal people do. Napoleon stayed there once, but they don‘t remember.
Actually, the best part of the job is meeting the people working there, not the people staying there. In the canteen you meet people from all over the world, interested in every possible thing you could imagine. Because the thing is, nobody is actually a turndown person or room service attendant or banqueting waitress really; they‘re always something else.
Last night I started talking to Patricia, my new turndown buddy. At our eight o‘clock break in the canteen. She asked me about dancing, what‘s it like, is it hard, where I‘ve been, what I‘ve done. I started talking and all this stuff just spilled out. I was fairly quiet my first few days at the job and everyone was surprised my voice could get so loud. Suddenly I realized the whole room had become quiet and everyone was listening to me. I was just explaining about my recent project and how we had live feed as well as rehearsal footage broadcasted on a huge screen while we were dancing, and about the instruments that looked like alien harps that were hooked up to a computer and made any sound imaginable: violins, thunder, heartbeats. "It was on pointe, but really contemporary steps." I said.
"Now what do you mean," Patricia said, "You keep saying that, but what does ‚contemporary‘ mean?"
"Well, in Ballet there are certain aesthetics, lines, proportions..." I fumbled, "but in more modern work, anything‘s possible, every choreographer has their own style. In Stop-Motion we did so many things off-balance and just .... crazy stuff."
"Well, like, can you show me?" she asked.
"I could bring a video."
"No, no, show us right now." Heads nodded at the other table. I was a bit skeptical. It‘s different with dancers, say then with singers, who, if asked to, will usually with no hesitation belt out into song, but dancers usually feel as if they need perfect conditions.
I searched faces for signs of suppressed laughter, and seeing none, stood up nervously and stepped into an open space between the tables. It was really quiet. I explained a bit about ballet technique, and in my little apron demonstrated some differences between that and Pieter‘s choreography. I danced a small sequence, and then another. When I finished, to my utter amazement, there was huge applause and it echoed off the tiled walls.
I blushed deep red when everyone started dancing to the sink to put their dishes away and the couple from the laundry started waltzing.
Patricia told me later, "You see, it‘s so much more fun meeting the employees than the famous people, you‘re better than famous, you have a passion and your whole life ahead of you."
Yes, my whole life, and I wish I could just tell you that I really really really wanted to come to danceWEB, and that I‘m passionate, talented and committed and that would be all, and you would give me a Scholarship. But I know it‘s not that easy, and there is much competition but I would love this opportunity. I hope this little story shows you a little bit about myself, that I am creative and indipendent and that I will dance anywhere and would love to, soon at danceWEB.