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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

The take-no-prisoners world of high finance and ruthless business deals has long been a tantalizing subject for artists. From filmmaker Oliver Stone’s 1987 “Wall Street,” with its antihero Gordon Gekko spouting “greed is good,” to Damien Lewis’ slick hedge fund mogul Bobby Axelrod in the Showtime series “Billions,” movies and television allow those of us in the 99 percent a glimpse at wha..

Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

MCB’S Rebecca King Interview Part I: Ballet and Social Media


Photo: Photo credit: Gene Schiavone
Written by: Sean Erwin
Article Rating

 

We all feel it -- that compulsive inner imperative to respond to multiple streams of instant messages, 5+ email accounts, Twitter feeds, Facebook updates, LinkedIn prompts -- social media demands form a part-time job that, for many of us, has become an essential part of living and working.

And the world of ballet is no exception. As recently as May 2015, Paloma Herrera, principal ballerina with American Ballet Theater, gave as her main reason for retirement the inability to keep up with the demands social media placed on her.

Clearly the effects of social media have begun to show even in ballet. Wanting to understand more clearly what these were, we recently turned to Miami City Ballet’s Rebecca King for help.

King hails from Northern California but graduated in 2006 from Philadelphia’s Rock School for Dance. King then trained at the Miami City Ballet School, spent a year there as an apprentice before being promoted to Corps De Ballet in 2008.

However, King is also known as a social media entrepreneur. Her blog, tendusunderapalmtree.com, has been connecting with audiences on issues relating to the world of ballet since 2010. She also has a very active Twitter account with over 3,000 followers. For this reason she was just the person to talk to about the effects the new social media technologies may be having on the tight-knit world of ballet.

Artburst: Was there was a specific moment or event that inspired the blog?

RK: It was 2010 and I was on summer layoff. I started doing the online blog because I realized that at the time there was nothing really like it out there. I knew that for the audience the dancers on stage seem like mystical creatures, difficult to connect with. Also, remember, the interest in ballet is not what it used to be and so I saw a potential to build a bridge to audiences and to make things more interesting.

You actually have two Websites -- one is your blog, Tendus Under a Palm Tree, and the other is Rebecca King Social Media Management (rebeccaking.net). Do you see the social management firm to be an outgrowth of what you do in your blog?

Miami City Ballet had me working as a liaison at one time between the dancers and the social media department. Just having the name of MCB is a big platform. Let’s face it, for companies like MCB, and even individuals like you and me, the way the world sees us is through our Website and our social media status. People throughout the world access our company this way even if they have never seen us dance live and never will.

You said you began to develop your social networking skill set by first acting as a liaison for Miami City Ballet and social media?

Yes, it was trial and error. I grew my personal blog from nothing to where it is now getting hundreds of hits daily. Over the last five years my Twitter account has grown to over 3,000 followers. I’ve even sold hundreds of units of merchandise and it has all been through social media. It was natural the point would come when others would see what I was doing and think it useful to their businesses as well. I started Rebecca King Social Media Management to respond to the requests I was getting from individual businesses. Also, since my ballet career won’t last forever, I see it as something to fall back on.

Miami City Ballet kicks off its 30th anniversary season on Oct. 23 with Program One, featuring Balanchine’s Swan Lake and Liam Scarlett’s Viscera; www.miamicityballet.org.

 


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About The writer

Sean Erwin is a writer and assistant professor of Philosophy at Barry University, with a focus on aesthetics and contemporary french philosophy.
Sean Erwin is an Assistant Professor of Philosophy at Barry University and received his Masters and Doctorate in Philosophy from Vanderbilt. He has presented and published on topics in political philosophy, Italian and French philosophy, and technology and performance studies. He currently serves as the senior editor of the Humanities and Technology Review.

Erwin is also a performance critic for Artburst, with performance previews and reviews appearing regularly there and in other South Florida publications. Artburst gives him the platform to critique the aesthetic principles he writes on as a professional philosopher through analysis of the concrete movements embodied by performers.

He is also an accomplished dancer and teacher in the Argentine Tango community. In 2000 he founded and served as editor of the Chicago webzine, Tango Noticias, a specialty dance periodical dedicated to examining Argentine Tango as a set of social practices rooted to the Southern cone’s history, politics, and culture.

Since his move to South Florida, he has both taught philosophy and served as a principal tango instructor for the Miami-based, Shimmy Club, a non-profit program that teaches Argentine Tango to vision-impaired teens. Through his involvement with the program, Erwin has been featured in articles and several news outlets including Univision, Telemundo, NBC News, KPFK Los Angeles, and the Miami Herald. For more information, see erwinsean.com.

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