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I first saw a video of Maya Plisetskaya dancing when she died early last month. Though I grew up going to the ballet with some frequency, and took lessons for eight years, lately I’ve been bored by it. The gestures, generally speaking, do not move me. They feel overdone, maybe even out-of-date. Or it could just be that I haven’t been seeing the right ballets, or that my cheap, back-row seats haven’t allowed me the intimate view that a dance benefits from. So was my thinking when watching Plisetskaya on the screen, dancing The Dying Swan at age 61.
Plisetskaya, born in Moscow in 1925, danced for the Bolshoi Ballet during Stalinist rule, and continued to dance for the company through the 1980s. In light of Wendy Whelan’s recent retirement from the New York City Ballet, unwillingly, it seemed, at age 47, it’s still impressive and hopeful to see Plisetskaya dancing with such spirit in Tokyo in 1986.
The lighting of the Tokyo performance is notably low, drawing modest attention to Plisetskaya’s silvery, slender figure on the impenetrable black stage. Still, her rubbery arms ripple out like waves, as if boneless. Her legs sharply pick up off the floor, her neck gracefully elongating in place, as the light, nimble creature she’s embodied finds its way in the dark. Tchaikovsky’s wavering low notes build gracefully and painfully to a shrill before gradually descending again. As the music’s pace picks up, so do Plisetskaya’s feet. Panicking, she turns in circles, her arms flapping up and down. She gives into the floor, her arms now weakly fluttering and her head bowing to her knees. After being in her presence for only less than four minutes, I have the aching sense that a being so full with life has been lost.
The city brought shows to life that will be talked about for years to come.
Our favorite LA shows of 2021, brought to you by the writers and editors of Hyperallergic.
On view in Abu Dhabi until February 5, 2022, the paintings and sculptures in Modernisms shed new light on artists like Parviz Tanavoli, Fahrelnissa Zeid, and M.F. Husain.
Full Spectrum spans 40 years of the artist’s career and provides an efficient crash course for anyone new to Edmonds’s work.
A show at the Prado valorizes cross-cultural flows while muffling ruptures, and two contemporary art exhibitions critique Hispanic legacies to investigate how art history occludes power.
SMFA at Tufts is seeking applications for at least four full-time Professor of the Practice positions in Sound/Sound Installation, Ceramics, Sculpture, and Drawing.
International Court of Justice Rules Azerbaijan Must Stop Destroying Armenian Cultural Heritage in Artsakh
The ruling points to major implications for protection of all cultural heritage during peacetime.
Afghan refugee Amin didn’t feel comfortable telling director Jonas Poher Rasmussen his story without a way to conceal his identity. Rasmussen explains the process to Hyperallergic.
Yemen Blues brings their sonic blend of Yemenite, West African, and Jazz back to Joe’s Pub in New York City this December, featuring opener Ahmed Alshaiba.
Now that’s change.
Michael Steinhardt was in possession of over 180 objects smuggled from 11 nations by “crime bosses, money launderers and tomb raiders.”
“Jobless, futureless, in constant fear of arrest and death at the hands of the Taliban, we do not live but merely exist,” says an open letter published by Artists at Risk.