Url for  LaDanse Trailer on U-Tub: http://www.youtube.com/watch?v=1iU2l0XFrek&feature=player_embedded

My friend E. and I made it a point to sit in on the aisle in the last row when we went to see Frederick Wiseman’s latest film, La Danse, last night at the Brattle Theater in Cambridge–in case we needed to leave in a hurry.  We’d heard it was very long (120 minutes) and that it needed some editing.

But we ended up staying through to the end–partly because we wanted to take part in the question and answer session with Wiseman,  but mainly because, despite the film’s  length and some imperfections, we found it quite beautiful.

It’s cinema verite, shot by Wiseman with a handheld 16MM camera, of  practice, dress rehearsals, and behind the scenes discussions  at the Paris Opera Ballet, over 13 weeks in Paris in 2007.

I was fascinated by the sessions in which choreographers and coaches viewed and critiqued dancers  such as  Nicolas Le Riche, Marie-Agnès Gillot, and Agnès Letestu, among others.  In those scenes,  Weisman provides the rare opportunity to understand what emotions the dancers are asked to convey and how they do it; the  detailed movements that go into that; and  the occasional difficulty some dancers have in translating direction into specific action.

A photographer myself, I enjoyed the interspersing of arty still views of stairwells, window casings but,  because some outside shots of Paris and the Opera House seemed to repeat, I wondered if Wiseman had come away with too little covering footage.

It was also great to see some of what happens behind the scenes: the painstaking sewing of sequins into costumes, one by one; the serving of  apparently overcooked broccoli and fish with sauce in the cafeteria; the cleaning of the performance hall, and,  especially, meetings of administrators discussing their fundraising efforts–which, combined,  give some sense of what’s involved in producing some 250 performances a year.

Wiseman did a wonderful job of filming rehearsals for seven ballets: Genus by Wayne McGregor, Le Songe de Mede by Angelin Preljocaj, La Maison de Bernarda by Mats Ek, Paquita by Pierre Lacotte, Casse Noisette by Rudolph Noureev, Orphe and Eurydice by Pina Bausch, and Romeo and Juliette by Sasha Waltz.  Some of the more modern pieces seemed to go on  and on but most  were mesmerizing–and unlike any I’ve seen in the US.

Wiseman could, perhaps, have left out a few–and, because it’s hard to stare at a screen for three hours straight,  I’d have appreciated an intermission. (And,  no doubt, so would those who got up to go to the rest room in the middle, blocking our view of the screen).

I  found Wiseman’s fly-on-the-wall technique a bit disturbing–mainly because it showed almost no verbal interaction among the dancers, who were portrayed as objects to be molded and by teachers and administrators.  But perhaps that’s how it is in the dance world and in the company, described by artistic director, in one segment, as  “hierarchical.”

In the Q&A, Wiseman seemed reluctant to answer questions about content or meaning.  (When someone asked why he’d included a scene involving beehives on the roof of the opera house, he said that’s for the viewer to figure out–perhaps, I thought,  because it’s too obvious a metaphor).

Nor was Wiseman  forthcoming about his thought processes (or lack, thereof)  in structuring or editing  the film.  He spent a day looking around the building, then started shooting, he said. After 13 days, he returned with 130 hours of film; spent a year reviewing, culling, editing, reviewing, adding, cutting–and here we were.

It seemed to me that  the film could use more structure and that some scenes were repetitive–but given the beauty and grace of the dancers, I’m hard-put to say which sequences I’d leave out.

—–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish HarrisComBlog and Ithaca Diaries Blog.

Last night’s reading in Lincoln went well.  People laughed. In the right places.

That’s Neil O’Hara, facilitator of The Write Stuff, my wonderful writers group, in the background. The reading was held  held  in the beautiful  Lincoln, MA, public library, which along with the Lincoln Review, sponsors our group and the occasional public event.

Other readers included Susan Coppack, Mary Ann Hales,  Ellen Morgan and Manson Solomon.   Here’s a link to the Write Stuff Blog, http://lincolnwritestuff.blogspot.com/ which, in turn, links to this and other write stuffers’ blogs,  courtesy of  blogmeister Geoff Moore.

Mark S. Hoffman took the photo. Thanks, Mark!

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish Harriscomblog and Ithaca Diaries blog.

Lowell Open Studios Photo

I was wonderfully suprised and impressed by Lowell Open Studios–held this weekend in the old milltown about 45 minutes north of Cambridge.  Two huge old mill buildings, five floors each, at 122 Western Avenue,  have been transformed to include  beautiful artist’s studios, a museum, sound studios and a cafeteria, with artists’ living quarters in the works.

My friend Mark and I enjoyed seeing friend Adrien Bisson’s nature and portrait photography (unsolicited plug: they’re fabulous; he’s available to shoot  corporate, family, and educational events).      .

We then drove to the center of town, where  mills and artists are showcased in what has become  Market Mills and the Lowell National Historic Park.    Across the courtyard outside the reception center, we found the Brush Art Gallery and Studios, where  a photograph by friend Paul Weiner was displayed  in an all-cat exhibit.

We enjoyed the show which, eclectic in form if not content, included a patchwork quilt, sculpture, photography, and painting, with proceeds donated to homeless kitties. A  highlight was that these cats did not make me itch.

Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish HarrisCom Blog.

Having completed an excellent three-evening course on Dreamweaver  just this week at Cambridge Community Television in Central Square,  I urge Cantabridgians to take part in one of the focus groups to be conducted in early October–all related to the Cambridge’s technology future  and the role of Comcast, which, by law, sponsors CCTV, in the community.

Here’s the info–lifted in its entirety, I confess–from an email CCTV sent to me yesterday.

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish Harriscomblog.

Karen Davis and Mark Orton–Cantabridigians until this summer–invite all to  a reception and opening celebration for  their new gallery on Saturday, September 12, 5:30 to 7:30  pm at 114 Warren St. in Hudson, NY.  

Called–not surprisingly–the Davis Orton Gallery, it’s located on an architecturally rich street famous for its antique shops, galleries and restaurants. 

 The first Davis Orton exhibition will feature  Meg Birnbaum’s series of black and white photographs of county fairs throughout New England made using a plastic toy camera.

These evocative images with their antique quality and timeless subjects present a wistful look back while revealing clues that remind us of their contemporary origins.

 Birnbaum is an award-winning fine art photographer and graphic designer based in Massachusetts. She has work in the permanent collection at the Museum of Fine Arts, Houston, the corporate program of the DeCordova Museum and other private and corporate collections. ‘Corn Dogs and Blue Ribbons …’ has recently been exhibited at the Griffin Museum of Photography.

The exhibit will also include  photographs by  Moira Barrett, Karen Davis, Ellen Feldman, Cassandra Goldwater and Frank Tadley.

The Davis Orton Gallery exhibits contemporary photography, mixed media and a growing number of artist-published photobooks, Davis said.  The goal of the gallery is to present mid-career artists and emerging artists whose work deserves a broader audience.

Davis and Orton have taught at Lesley College. While I miss having them close by, I’ve visited them in Hudson and am excited that they’re moving through art into action.

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.  We also publish HarrisCom blog.

At long last, the new Alexander Kemp Playground on the Cambridge Common is open!

 It’s the most unusual playground I’ve ever seen–with a dragon boat, water games, a group swing, gardens,  natural woods, covered areas, its own hill,  a “fantasy area,” and  sand everywhere. “It’s like one big sandbox,” my friend Edie commented. Parents will be happy to know that it  even has a shower–modernistic, with gracefully intertwining curvy pipes–to clean off kids’hands and feet.

The playground was designed, says Parks Supervisor Kelly Write (and city documents) to foster play as a “formative learning experience in which children exercise their bodies and minds,  develop motor skills, strength and fitness, creativity, social skills, a sense of discovery, and an understanding of the outdoor environment. ”

 To me, it just looks like fun. 

The playground was funded by the MA Executive Office of Energy and Environmental Affairs and the family of Alexander Kemp, a boy who passed away at an early age  but “loved to play,” according to a plaque erected just outside Kemp’s elegant gate. 

Since it opened a few days ago, it’s been  incredibly crowded with parents and their kids…So, clearly, I’ll have to wait ’til evening to picnic at the large table there, with friends.  

I’d much like to know who designed this magical place. And also: when are they going to take down the “no parking” signs that have made it even more difficult than usual the neighbors (me!)  to find a spot?  

More information about this and other Cambridge parks and playgrounds is available from  the Community Development Website.

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA–as is  HarrisCom Blog.

Cambridge managing consulting firm Scientia Advisors (my client!) has released a fascinating study about growth in the neurostimulation technology markets. 

Scientia has found that these technologies–electrical devices implanted to stimulate portions of the brain, spinal cord and sacral nerve– are growing at a rate of 16 percent –and are beginning to supplant drugs as the treatment of choice for certain conditions.

The study, described in the August 21 Medical Device Daily and in a press release issued yesterday, suggests that these new technologies have fewer side effects and could help cut health care costs by doing away with the need for lifelong drug regimens. Scientia   recommends that device companies become involved in this growth area.

More at www.Scientiaadv.com or http://blog.harriscom.com.

Anita Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

This blog is called New Cambridge Observer–so I guess I should jump into the fray over last week’s arrest of  Harvard Professor Henry Louis Gates by Cambridge Police Sergeant  James M. Crowley.   

Gates, 58, who is black and walks with a cane,  had gotten out of a cab in front of his home on Ware St, couldn’t find his house keys and, while he and the cab driver were breaking into the house in broad daylight,  someone called the police.

To begin with,  I can’t understand why anyone would impugn the intentions of  the woman who called the police :  911 tapes reveal that she said she wasn’t sure if it was a break-in and that she doesn’t mention race.

I CAN understand why Crowley would insist that Gates  come outside after showing proof that he lived there;  it’s possible, tho unlikely, that someone inside the home was dangerous,  in trouble, or pressuring the owner, in some way.

I can also understand why Gates would be upset: no doubt the incident triggered memories of his own and others’ experiences of deep racial prejudice between white cops and black men.  I can also understand why Gates would  lash out verbally, and why his resistance would trigger the officer’s reflexive  response to an unruly citizen: handcuffs and arrest.

It’s harder for me to understand why President Obama lost his usual cool and say the officer reacted “stupidly” but I’m glad that he  backed off and invited both parties to the White House to discuss the matter over  a beer.

A friend rightly points out that, rather than just let things go each of the parties took the extra step: calling the police; demanding to come inside, pushing back, jumping into a local fray.  My friend suggests that behind all that is fear: of break-ins, of losing hard-won respect and status, of  loosing criminals into the community, of criticism–in a time of war and heightened economic stress.

All true.

But now, news commentators are questioning everyone’s motives. This morning, one of them questioned Obama’s choice of drink for today’s powwow and called  him a racist who hates whites;  another (is it politically correct to mention that her skin appeared to be dark?) that Obama is a “racial opportunist ” whose administration is corrupt, and that he used the term “stupidly” to draw attention away from his difficulties in getting health reform through Congress.

This epiode has often been called a “teachable moment.”  Might I suggest that it’s a moment that has gone on too long? We get it. It’s a moment whose time has passed.

Let me know what you think!

–Anita Harris
New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA, as is harriscomblog.wordpress.com, which focuses on issues related to media, public relations, and HarrisCom clients–such as health, science, technology and the environment.  All entries are copyrighted by Anita M. Harris, the author.