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	<title>Musical America Blogs &#187; The Torn Tutu</title>
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		<title>A Masterwork by Israel Galván</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9050</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9050#comments</comments>
		<pubDate>Fri, 04 Jan 2013 16:18:04 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Belén Maya]]></category>
		<category><![CDATA[Bobote]]></category>
		<category><![CDATA[Caracafé]]></category>
		<category><![CDATA[Chicuelo]]></category>
		<category><![CDATA[David Lagos and Tomás de Perrate]]></category>
		<category><![CDATA[Eloísa Cantón]]></category>
		<category><![CDATA[Flamenco]]></category>
		<category><![CDATA[Isabel Bayón]]></category>
		<category><![CDATA[Israel Galván]]></category>
		<category><![CDATA[Jacques Lacan]]></category>
		<category><![CDATA[Leni Riefenstahl]]></category>
		<category><![CDATA[Lo Real/Le Réel/The Real]]></category>
		<category><![CDATA[Pedro G. Romero]]></category>
		<category><![CDATA[Rachel Straus]]></category>
		<category><![CDATA[Roman]]></category>
		<category><![CDATA[Saville]]></category>
		<category><![CDATA[Sinti]]></category>
		<category><![CDATA[Txiki Berraondom]]></category>
		<category><![CDATA[Uchi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9050</guid>
		<description><![CDATA[Consider this scene. Galván hammers an old upright piano apart with his sputtering footwork. In doing so, he destroys the harmonic integrity of the instrument. When he forces the piano apart, we hear its strings shrieking as they stretch. We see Galván in a deep lunge with his muscular arms working to push the battered object to its breaking point. But the piano doesn’t dissemble. Instead its strings, like Galván’s wiry body, produce a shrill, taut dissonance, one that is awe-inspiring in its intensity. At this moment, the image of the persecuted gypsy becomes real: Galván, stripped of his shirt, dances while caught in a barbed wire fence. His angular, contorted gestures and his sharp, hard footwork eviscerate him as they reveal the unique quality of his dancing, which bends the tradition of the Seville school of flamenco beyond recognition.]]></description>
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		<title>A Dance Labyrinth by Kyle Abraham</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8221</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8221#comments</comments>
		<pubDate>Mon, 12 Nov 2012 02:48:38 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Benjamin Britton]]></category>
		<category><![CDATA[Boyz n the Hood]]></category>
		<category><![CDATA[Donny Hathaway]]></category>
		<category><![CDATA[Fred McDowell]]></category>
		<category><![CDATA[Harlem Stage Gatehouse]]></category>
		<category><![CDATA[Hurricane Sandy]]></category>
		<category><![CDATA[J.S. Bach]]></category>
		<category><![CDATA[John Singleton]]></category>
		<category><![CDATA[Kyle Abraham]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[Pavement]]></category>
		<category><![CDATA[peter grimes]]></category>
		<category><![CDATA[Philippe Jaroussky]]></category>
		<category><![CDATA[Rena Butler]]></category>
		<category><![CDATA[Sam Cooke]]></category>
		<category><![CDATA[Some Day We'll All Be Free]]></category>
		<category><![CDATA[Souls of Black Folk]]></category>
		<category><![CDATA[The Wasteland]]></category>
		<category><![CDATA[W.E.B. Dubois]]></category>
		<category><![CDATA[West Side Story]]></category>
		<category><![CDATA[What's the Matter Now]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8221</guid>
		<description><![CDATA[The world premiere of Kyle Abraham’s Pavement, seen at the Harlem Stage Gatehouse on November 3, evokes a vision of urban youth careening through a dark world. Abraham begins Pavement by marking a spot with his downcast arm.  Then he lassoes his body, drawing a circle with his outstretched limbs. He moves loose, full force and in searching manner, as if looking for a clear compass. When a white dancer enters, he stops Abraham, lies him face down on the floor, and brings his hands to the base of his spine. Abraham’s arrest is done without emotion. This lack of drama makes the event feel doubly devastating.]]></description>
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		<item>
		<title>A Dance That Still Strikes The Heart: Martha Graham&#8217;s Chronicle:</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8053</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8053#comments</comments>
		<pubDate>Thu, 01 Nov 2012 14:36:36 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Blakeley White-Mcguire]]></category>
		<category><![CDATA[Chronicle]]></category>
		<category><![CDATA[Fall for Dance Festival]]></category>
		<category><![CDATA[Martha Graham]]></category>
		<category><![CDATA[Martha Graham Dance Company]]></category>
		<category><![CDATA[Michael Marquez]]></category>
		<category><![CDATA[New York City Center]]></category>
		<category><![CDATA[Steps in the Street]]></category>
		<category><![CDATA[Terese Capucilli]]></category>
		<category><![CDATA[The Juilliard School]]></category>
		<category><![CDATA[Wallingford Riegger]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8053</guid>
		<description><![CDATA[Martha Graham’s Chronicle speaks against the rise of fascism, but it also reveals a universal message. Everyone should fight for causes. On September 30 at New York City Center, The Martha Graham Dance Company’s performance of Graham’s 1936 masterwork concluded the second program of the Fall for Dance Festival.]]></description>
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		<series:name><![CDATA[The Juilliard School]]></series:name>
	</item>
		<item>
		<title>Fall for Dance Festival: Recapping Program 1, 2 and 5</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7859</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7859#comments</comments>
		<pubDate>Thu, 18 Oct 2012 00:42:04 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Blakeley White-Mcguire]]></category>
		<category><![CDATA[Charles Wuorinen]]></category>
		<category><![CDATA[Christopher Wheeldon]]></category>
		<category><![CDATA[Chronicle]]></category>
		<category><![CDATA[Circa]]></category>
		<category><![CDATA[Craig Hall]]></category>
		<category><![CDATA[Deseo Y Conciencia]]></category>
		<category><![CDATA[Evel Knievel]]></category>
		<category><![CDATA[Fall for Dance Festival]]></category>
		<category><![CDATA[Fang Yi-Sheu]]></category>
		<category><![CDATA[Five Movements Three Repeats]]></category>
		<category><![CDATA[Fortune]]></category>
		<category><![CDATA[LPD-Laboratory Dance Project]]></category>
		<category><![CDATA[Maria Pages]]></category>
		<category><![CDATA[Martha Graham]]></category>
		<category><![CDATA[Max Richter]]></category>
		<category><![CDATA[Memoryhouse]]></category>
		<category><![CDATA[Merce Cunningham]]></category>
		<category><![CDATA[No Comment]]></category>
		<category><![CDATA[Otis Clyde]]></category>
		<category><![CDATA[Pam Tamowitz]]></category>
		<category><![CDATA[Stanford Makishi]]></category>
		<category><![CDATA[The Bitter Earth/On the Nature of Daylight]]></category>
		<category><![CDATA[The Juilliard School]]></category>
		<category><![CDATA[Tyler Angle]]></category>
		<category><![CDATA[Wendy Whelan]]></category>
		<category><![CDATA[Yaron Lifschitz]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7859</guid>
		<description><![CDATA[The seventh annual Fall For Dance Festival came to a meaty close on October 13.  Program five at New York’s City Center trafficked in high testosterone, thanks to China’s LPD-Laboratory Dance Project’s No Comment (2002) and Yaron Lifschitz’s Circa (2009), which is also the name of the Australian acrobatic troupe. In both works the body was treated like a battering ram.]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=7859</wfw:commentRss>
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		</item>
		<item>
		<title>Political Mother: Bring Earplugs and Irony</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7802</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7802#comments</comments>
		<pubDate>Sat, 13 Oct 2012 14:53:13 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Brooklyn Academy of Music]]></category>
		<category><![CDATA[Daniel Craig]]></category>
		<category><![CDATA[folk dance]]></category>
		<category><![CDATA[Hasidic]]></category>
		<category><![CDATA[Hofesh Schechter]]></category>
		<category><![CDATA[Leni Riefenstahl]]></category>
		<category><![CDATA[Nazi Germany]]></category>
		<category><![CDATA[Next Wave Festival]]></category>
		<category><![CDATA[Political Mother]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7802</guid>
		<description><![CDATA[Hofesh Schechter is a slippery soul. In Political Mother, seen October 11 as part of Brooklyn Academy of Music Next Wave Festival, the Israeli-born choreographer cloaks his earnestness in irony. The 80-minute, 2010 work is structured through a series of blackouts in which 12 dancers and seven musicians evoke the demagoguery in politics, and entertainment.]]></description>
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		</item>
		<item>
		<title>La Sylphide at the Slovak National Theatre</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7795</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7795#comments</comments>
		<pubDate>Fri, 12 Oct 2012 22:52:28 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Andrej Kremz]]></category>
		<category><![CDATA[Anna Pavlova]]></category>
		<category><![CDATA[August Bournonville]]></category>
		<category><![CDATA[Bratislava]]></category>
		<category><![CDATA[H.S. von Lövenskjold]]></category>
		<category><![CDATA[Kvetoslava ]]></category>
		<category><![CDATA[La Sylphide]]></category>
		<category><![CDATA[Marie Taglioni]]></category>
		<category><![CDATA[Marilyn Monroe]]></category>
		<category><![CDATA[Martin Leginus]]></category>
		<category><![CDATA[Niehls Kehlet]]></category>
		<category><![CDATA[Oliver Jahelka]]></category>
		<category><![CDATA[Royal Danish Ballet]]></category>
		<category><![CDATA[Slovak National Theatre Ballet]]></category>
		<category><![CDATA[Veronika Hollá]]></category>
		<category><![CDATA[Viola Mariner]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7795</guid>
		<description><![CDATA[The Slovak National Theatre Ballet in Bratislava is not a destination point for international balletomanes, but it should be if one wants to see August Bournonville’s La Sylphide up close and personal. In the city’s neo-Renaissance theatre, the 92-year old ballet troupe performs regularly. Being there on October 6 felt like visiting the interior of a Faberge egg.]]></description>
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		</item>
		<item>
		<title>Music and Dance Partnerships</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7515</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7515#comments</comments>
		<pubDate>Wed, 26 Sep 2012 15:53:29 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Alexei Ratmansky]]></category>
		<category><![CDATA[Alice Tully]]></category>
		<category><![CDATA[Apollon Musagète]]></category>
		<category><![CDATA[Ashley Bouder]]></category>
		<category><![CDATA[Chinese Zodiac]]></category>
		<category><![CDATA[Christopher Wheeldon]]></category>
		<category><![CDATA[Doris Humphrey]]></category>
		<category><![CDATA[El Sistema]]></category>
		<category><![CDATA[Ellen Bar]]></category>
		<category><![CDATA[Enjoy Your Rabbit]]></category>
		<category><![CDATA[Francisco Ruvalcaba]]></category>
		<category><![CDATA[Gabriela Poler-Buzali]]></category>
		<category><![CDATA[George Balanchine]]></category>
		<category><![CDATA[Guggenheim Museum]]></category>
		<category><![CDATA[Igor Stravinsky]]></category>
		<category><![CDATA[Jose Limon]]></category>
		<category><![CDATA[Justin Peck]]></category>
		<category><![CDATA[Kathryn Alter]]></category>
		<category><![CDATA[Limon Dance Company]]></category>
		<category><![CDATA[Michael Atkinson]]></category>
		<category><![CDATA[Missa Brevis]]></category>
		<category><![CDATA[Monte Carlo]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[Peter B. Lewis Theater]]></category>
		<category><![CDATA[Peters Martins]]></category>
		<category><![CDATA[Simon Bolivar National Youth Choir]]></category>
		<category><![CDATA[Sufjan Stevens]]></category>
		<category><![CDATA[Tiler Peck]]></category>
		<category><![CDATA[Work & Process]]></category>
		<category><![CDATA[Year of the Rabbit]]></category>
		<category><![CDATA[Zoltan Kodaly]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7515</guid>
		<description><![CDATA[Another event that featured music as much as dance was the September 17 Alice Tully Hall performance of the Simón Bolivar National Youth Choir and the José Limón Dance Company. The highlight of the one-night only occasion, celebrating Venezuala’s El Sistema, was Missa Brevis. ]]></description>
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		</item>
		<item>
		<title>Eclipse, A New Work for BAM&#8217;S Newest Space</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7188</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7188#comments</comments>
		<pubDate>Mon, 10 Sep 2012 19:14:11 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Adam Weinert]]></category>
		<category><![CDATA[Anthony McCall]]></category>
		<category><![CDATA[Apollo]]></category>
		<category><![CDATA[BAM Richard B. Fisher Building]]></category>
		<category><![CDATA[CC Chang]]></category>
		<category><![CDATA[Eclipse]]></category>
		<category><![CDATA[Jonah Bokaer]]></category>
		<category><![CDATA[Judson Church Theatre]]></category>
		<category><![CDATA[Martha Graham]]></category>
		<category><![CDATA[Merce Cunningham]]></category>
		<category><![CDATA[Sara Procopio]]></category>
		<category><![CDATA[Tal Adler-Arieli]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7188</guid>
		<description><![CDATA[Choreographer Jonah Bokaer and visual artist Anthony McCall’s world premiere of Eclipse inaugurated the BAM Richard B. Fisher Building with six sold out performances from September 5th through 9th. The hour-long work (seen on the 9th) in the new black box theater was configured so that the audience flanked four sides of the dark, carpeted stage space. The performance began when Bokaer approached one of the lowest hanging bulbs and knelt to Thomas Edison’s invention. Like the sun god Apollo, Bokaer’s penetrating gaze into the bulb’s opaque surface caused its illumination.]]></description>
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		<item>
		<title>DanceNOW Festival at Joe&#8217;s Pub</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7120</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7120#comments</comments>
		<pubDate>Thu, 06 Sep 2012 17:08:45 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Adam Barruch]]></category>
		<category><![CDATA[Alvin Ailey Foundation]]></category>
		<category><![CDATA[Barbara Streisand]]></category>
		<category><![CDATA[Charlie Chaplin]]></category>
		<category><![CDATA[DanceNOW]]></category>
		<category><![CDATA[I Had Myself a True Love]]></category>
		<category><![CDATA[Joe's Pub]]></category>
		<category><![CDATA[Lover Come Back To Me]]></category>
		<category><![CDATA[New Directions Choreography Lab]]></category>
		<category><![CDATA[Pina Bausch]]></category>
		<category><![CDATA[Sydney Skybetter]]></category>
		<category><![CDATA[The Juiliard School]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7120</guid>
		<description><![CDATA[Adam Barruch’s I Had Myself a True Love had my vote as the winner of the DanceNOW Challenge at Joe’s Pub. On September 5, Barruch’s competition was nine other choreographers. Just like a prime-time dance competition, the sold-out audience was invited to judge and pick a favorite. The challenge for the artists was  to create a work in under five minutes for the tiny cabaret stage that makes, in the words of producer Sydney Skybetter, “a clear concise artistic statement.” The odds were tipped toward Barruch. He was the only choreographer with two works on the program. Last year he was a DanceNOW winner. This year his new hyper-expressive solos to recorded music sung by Barbara Steisand opened and closed the hour-long evening at the smartly renovated Joe’s Pub.]]></description>
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		<item>
		<title>Seeing Dance (and Bullfights) in Spain</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4928</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4928#comments</comments>
		<pubDate>Mon, 28 May 2012 15:19:19 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[AIDS]]></category>
		<category><![CDATA[Ballet Flamenco de Madrid]]></category>
		<category><![CDATA[Cancanilla de Malaga]]></category>
		<category><![CDATA[carmen]]></category>
		<category><![CDATA[El Huerto Espacio Escénico]]></category>
		<category><![CDATA[Flamenco]]></category>
		<category><![CDATA[George Bizet]]></category>
		<category><![CDATA[José Greco]]></category>
		<category><![CDATA[Juan Antonio Muñoz]]></category>
		<category><![CDATA[Lola Flores]]></category>
		<category><![CDATA[Madrid]]></category>
		<category><![CDATA[Manuel Badás]]></category>
		<category><![CDATA[Obra Social de Caja]]></category>
		<category><![CDATA[Plaza de Toros de Las Ventas]]></category>
		<category><![CDATA[Saint Sebastian]]></category>
		<category><![CDATA[Salamanca]]></category>
		<category><![CDATA[Sara Lezana]]></category>
		<category><![CDATA[Saulo Sanchez G]]></category>
		<category><![CDATA[Sebastián]]></category>
		<category><![CDATA[Sebastián Heredia Santiago]]></category>
		<category><![CDATA[Spain]]></category>
		<category><![CDATA[Strange Fruit]]></category>
		<category><![CDATA[Teatro Nuevo Apolo]]></category>
		<category><![CDATA[Veronica Santos]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4928</guid>
		<description><![CDATA[While the New York Times paints Spain as a country on the verge of collapse, the view from the streets of Madrid and Salamanca is quite different. At Madrid's Plaza de Toros de Las Ventas on May 27, the stadium was packed. Though the bullfights are a far cry from ballet or experimental dance, the posture of the toreadors (bullfighters) are inescapably similar to the stance of flamenco dancers]]></description>
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