How much for lion dance
Lion Dance Booking Info - Kungfu Dragon USA
KungFu Dragon USA students perform Lunar New Year celebration at Bay Valley Chinese School
KungFu Dragon USA students perform during the Chinese New Year celebration at the San Francisco Premium Outlets
KungFu Dragon USA students perform during the Chinese New Year celebration at the Great Mall
Photo by Stan Olszewski
KungFu Dragon USA students perform during the Grand Opening at Corvision Optometry in Fremont
KungFu Dragon USA students perform during the Chinese New Year celebration at Creekview Health Center in Pleasanton
KungFu Dragon USA students perform during the Chinese New Year celebration at Sing Tao Expo in San Mateo
Kungfu Dragon USA performing the lion dance for the City Council Meeting & Swearing In Ceremony at the San Ramon City Hall
Lion Dance roaming around the majestic rotunda of San Ramon City Hall
3 Lions Battle Scene
Lion snatching the lettuce (Plucking the Green)
Lion staring at the green
Lion interacting with the crowd
Kungfu Dragon USA Lion Dance LIVE percussion
Lion Dance Joy, Fortune, Luck Blessing
How can I request a performance?
You can request a performance by emailing us. Please include the following information in your email:
- Your name
- Your email and/or phone
- The name of your event
- A short description of your event
- The event type (business oriented? wedding? festival?)
- Is the event open to the public?
- Are event attendees required to purchase tickets to the event?
- The event location (street address is ideal)
- The event date
- The time you would like us to start the performance
- What amenities (e.g. water, parking) will be provided to KFDUSA
- Any other details you think would be necessary
Please try to submit your request with as much lead time as possible.
About Performance Requests (Frequently Asked Questions)
When are you available to perform?
As our team is made up of students and working professionals, we are unable to perform on weekdays between 7 a.m. and 7 p.m. Our performances require both a minimum number of performers as well as our equipment and we have been unsuccessful at arranging daytime weekday performances.
How much does it cost?
We request a donation fee of $599 minimum for a private organization event (i.e. weddings, fee-based functions, store Grand Opening events, corporate, etc.). For schools and non-profit cultural events, we usually perform for a voluntary donation! Donations go directly into team maintenance which includes equipment purchase and repair, transportation, and troupe outings.
When will I receive confirmation that you can perform?
Upon receiving a complete request, your request will be reviewed by KFDUSA Team Lead / Director. If we need more information or we are unable to perform during that time slot you will be contacted. Otherwise, you will be assigned a Contact Manager. After the details of the performance request are squared away, the Contact Manager will submit your request to the team for processing. The amount of processing time varies based on time of the year and team member availability, but when we do know for certain, the Contact Manager will give you a CONFIRMED answer.
Note: Until you receive a definite confirmation from a Contact Manager, we CANNOT GUARANTEE that we will be available. If you need an answer by a certain date, but we have not given you a CONFIRMED answer, then our official answer is “No, we are unfortunately unavailable.”
Can I request numbers of lions and performers?
Absolutely! However, this is entirely based on availability.
We have a minimum number of available performers that we need before we can accept a performance request. We will not confirm our team availability unless we can provide a performance which does justice to our team and our style of lion dancing. We do not do “half” performances.
Does KFDUSA perform outside of the City of Pleasanton?
While we do occasionally perform outside of Pleasanton, such performances incur additional costs including transportation, fuel, wear and tear, as well as opportunity cost. The Kungfu Dragon USA/Lion Dance Team reserves the right to request additional compensation for out-of-town performances. The out-of-town fees vary depending on travel distance, the date of the event, and the availability of our performers.
What if I don’t have all of the information about my event?
Until we have confirmed the date, time, and location of a performance we cannot accurately determine if our team is available to perform for your event. Event requests submitted without this information will be considered incomplete as we will be unable to begin our request evaluation process.
What happens in the event of rain?
In the event of rainy conditions on the date of an outdoor performance, we will make reasonable accommodations to ensure fulfillment of the performance agreement. If, however, we cannot guarantee the safety of our performers and equipment (our lions are made of balsa wood/paper-mâché and our drum top is stretched leather… both are irreparably damaged in rain), we reserve the right to postpone, reschedule, or cancel any performance. In these rare circumstances, we will work with you to arrive at a mutually agreeable solution.
What if I have a question not answered on this page?
Please send us an e-mail and one of our Contact Managers will be happy to answer any questions you might have.
Shows/Events/Performances Booking Info
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How Much Does It Cost to Get a Lion / Dragon Dance at Your Property?
·5 min read·by Ryan Ong
One way to add pizazz to your Chinese New Year celebrations is with a lion or dragon dance. Besides (probably) making you the toast of your block, the people who host the dances are said to have improved luck all throughout the year. Here’s how much to set aside if you want one:Standard rates for lion dances
The standard going rate is $688 for a pair of lions. However, this can go as low as $388, for a smaller show (note: this may mean the lions dance only at your gate and in the living room, but do not visit the other rooms of the house).
For three lions, the going rate is typically around $888 to $1,088.
Note that there may be extra costs if you want something unusual in the performance. For example, if you want the lion to grab at an unusually high bunch of lettuce (some troupes can manage up to three storeys!) you may be quoted an extra sum.Special requests, like dangling the lettuce from the second floor, might cost more
In addition to this, you’ll be expected to give a consideration (an ang pao). There is no rule about how much this has to be, but most people give at least $50. A more common sum is $88.
Standard rates for dragon dances
The standard rate for dragon dances is between $388 to $688. However, there is usually a package combining two lions and a dragon; this is typically around $1,388 to $1,588.
As with lion dances, you’ll be expected to set aside an ang pao on top of this.
Note that, due to space considerations, some troupes won’t offer dragon dances (or dragon plus lion combinations) in areas like HDB flats. Larger condos or landed / commercial properties are typically preferred for these.
Length of performance, and booking multiple performances
The minimum length of each performance is at least 15 minutes. However, dances typically last between 20 to 25 minutes. The time varies based on the size of your property. For example, it takes much longer to visit all the rooms in a landed property, than in a condo or HDB flat.
If you want the lion or dragon dance at a large commercial property, say at a factory that you own, the length of the performance is usually around 30 minutes – this is often the “time cap” of each performance.Make sure your property has room, before deciding on a dragon!
Most troupes don’t change the cost based on the length of the performance – but note that those charging $388 will not typically visit every room in the house (i.e. the performance is shorter).
If you want to book multiple performances – such as for three or four properties that you own – the price can usually be negotiated down. The troupes we spoke to couldn’t give a definite number, but they said it could be as much as $200 to $300 lower per dance for multiple bookings.
Bookings and rates on different days
Bookings should be made at least one month in advance, although you’d be advised to start as early as two months before Chinese New Year. Some troupes have rush rates, and may charge as much as $300 more if they need to squeeze you in (e.g. you call two weeks ahead and hound them to turn up).
Also, note that some troupes charge less in the days immediately after Chinese New Year. Booking the dance a week after Chinese New Year day, for example, can lower the price by around $200.This varies based on each troupe, so do call or ask around.
Other key things to note
A few key things to note regarding lion and dragon dances are:
- There is no entertainment permit required, even in HDB estates.
- You are strongly advised to have a valid home content insurance policy. This isn’t just to cover the cost of anything that gets knocked over – it also covers liability claims in case anyone is injured on your property.
- If you’re doing this your tenanted properties, note that you still need written permission from the tenants; an email will suffice. Don’t just turn up with the troupe, even if your property is a rented-out factory (not every tenant stops work on Chinese New Year, and dances could get in the way).
- The arrangements are often informal. There may be no receipts, and there is often no refund policy. As such, it’s best to use a lion or dragon dance troupe with a good reputation – it’s better to use one recommended to you by a trusted source, than just to grab any random one off the internet.
99.co wishes all our readers a happy Chinese New Year!
Would you consider hosting a lion dance? Voice your thoughts in our comments section or on our Facebook community page.
If you enjoyed this article, 99. co recommends 7 Activities to Do in Singapore this Chinese New Year Weekend, and Spring Cleaning Hacks to Impress Relatives with this Chinese New Year.
Looking for a property? Find the home of your dreams today on Singapore’s largest property portal 99.co!
Looking for a property?
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what to watch for children and adults
Text: Ira Sedova
The Big Cartoon Festival is a sign of the autumn holidays, this year it will be held from October 27 to November 7. Full-length animated films and short cartoons from all over the world can be watched both in cinemas and online. In total, the festival will show more than three hundred films from France, Brazil, Russia, China, many of them are designed for an adult audience. We chose several shows that will be interesting to watch for both children and parents.
Directed by: Sun Haipeng, China, 2021, 104 min (12+)
A beautiful and dynamic story with national color
Traditional Chinese dance with animal figures is a long time to learn . The hero of the cartoon, a boy from a distant village, dreams of mastering the lion dance and getting into a competition in Guangzhou. On the way to his dream, of course, obstacles and disappointments await him.
Directed by: Celia Catunda, Kiko Mistrorigo, Brazil, 2021, 93 min (6+)
A colorful film about courage and self-discovery
Tarsiline, an eight-year-old girl who lost her mother caskets are all trinkets dear to the heart. Trying to return them and her mother's memories with them, the girl went to a fantasy land, where she met many strange landscapes and fabulous creatures. Surreal animation is designed in the style of Latin American folklore, and traditional Brazilian music accompanies the entire amazing journey.
International Animated Series Competition
Russia, Taiwan, Germany, Latin America, etc. (6+)
Eph"? Program number 1 is collected from the newest series of children's animated series from around the world. Educational animated series from other countries also introduce children to professions, animals, and sights. By the way, the thirty-second episode of the second season is participating in the competition, in which Katya and Ef just go to visit guys from all over the world.Who is this? Who sings? Katya and EfKlub VoprosikiAvtodoma. Desert GuardSophia's Diary
Directors: Jean-Jacques Denis, Anthony Roux, France, 2021, 78 min (6+)
Wonderful French cartoon about human friendship and greed
Next She grew up in a cave and breathes fire, and various insects have found shelter in her luxurious green hair. In order not to get to the evil sorcerer, Bristle fled from the dragons to the human world - and now her green mane is braided, and beautifully and strictly dressed people are around. But if Bristle could still get used to dresses and cutlery, then put up with an animal in cages - for nothing.
Directors: Karsten Killerich, Melis Arulepp Denmark, Estonia, 2020, 75 min (0+)
A good film about children's naivety and sincerity
Six -year Ruby received as a gift from the elder brother a rag doll named Sipsik. Thus, Mark tried to compensate his sister for his absence. After all, he became a schoolboy, and children's games no longer interest him. Sipsik comes to life and becomes the girl's closest friend in all her adventures. One day, Mark wanted to regain his sister's trust and her faith in miracles.
Director: Denis Chernov, Russia, 2022, 85 min (6+)
A fresh favorite of Russian distribution
Next He knows many ways to scare people and make them move out of the house quickly. But with Christina and her parents, these jokes did not work. The girl is passionate about detectives and is looking for any opportunity to unravel some tricky story. As a result, Finnick and Christina have teamed up to investigate several mysterious occurrences.
Children's non-competitive program
Russia, 0+ and 6+
New Russian cartoons in the usual short format for the youngest viewers and younger schoolchildren are collected in three one-hour collections. The Warm Star program is suitable for kids, while Lucky Ticket and Little Big Dream are for children over six. All three selections will be shown free of charge in cinemas, libraries and cultural centers of Moscow.Little big dreamMy friend tigerHello granny!Orchestra rehearsalHow much does a cloud weigh
All the details and even more cartoons on the website of the Great Cartoon Festival.
The role of modern dance in the cultural life of Yekaterinburg
The program is led by Svetlana Tolmacheva. Lev Shulman, director of the Yekaterinburg Center for Contemporary Art, takes part in the program.
Svetlana Tolmacheva: 10th anniversary of the contemporary dance school at the Yekaterinburg Center for Contemporary Art. This summer, the first graduation will take place at the Faculty of Contemporary Dance of the Humanitarian University - this is the only faculty in Russia where this art form is taught professionally. In Yekaterinburg itself, there are several professional groups known not only in the Urals - these are Provincial Dances and Kipling, and this list can be continued.
On the eve of International Dance Day, which is celebrated on 29April, we invited Lev Shulman, director of the Yekaterinburg Center for Contemporary Art, to our studio to talk about what contributes to the development of modern dance in Yekaterinburg and in Russia, and what, on the contrary, does not.
Hello, Lev Vladimirovich.
Lev Shulman: Good morning.
Svetlana Tolmacheva: We will talk about modern dance. Maybe not all listeners of Radio Liberty understand something specific, something defined by this term. We will pronounce it repeatedly, so please, give your definition.
Lev Shulman: Modern dance has nothing to do with what is club dance, show dance, variety dance and so on. That is, these are not modern dances, but modern dance is one of the types of choreographic art. That is, what was once what was called "dance-modern", then it began to be called, grew into "dance-postmodern", then "post-postmodern". And when everyone was already tired of adding this “post-”, they decided that it would be called “contemporary dance” (“modern dance”).
Svetlana Tolmacheva: Probably only you, Lev Vladimirovich, can objectively answer the question: is Yekaterinburg really the capital of modern dance in Russia? - which is often said in Yekaterinburg itself, and guests who come here from Moscow, probably in order to please the locals, talk about this. Or is Yekaterinburg really ahead of all of Russia?
Lev Shulman: You see, I, as a person who, in general, started all this here at one time, would, of course, be pleased if this were so. That is, if Yekaterinburg was actually today the main center of Russian modern dance. But, unfortunately, this is more of a myth. Because for more than 15 years, since all this has been developing, taking place, in particular in Yekaterinburg, the main thing has not worked out - the infrastructure has not developed. That is, everything happened at some disparate points and through the efforts of some crazy enthusiasts, it still continues. Without the creation of infrastructure, without some serious budget financing, without building chains in the education of serious ones, all this is meaningless. And we simply amuse our pride, engage in self-stroking when we say: “Well, yes, we are so wonderful here. We have, look, how many things.
Svetlana Tolmacheva: Speaking of Moscow, has the infrastructure you are talking about built there?
Lev Shulman: No, this is not in any city in Russia.
Svetlana Tolmacheva: Last year, in Yekaterinburg, the issue of creating a certain Center for Contemporary Art with budget money, with the money of the Department of Culture, was actively discussed. Some futuristic projects. Even someone saw the General Plan of Yekaterinburg, where the site for the Center for Contemporary Art has already been marked out. Did you have to participate in the discussion of this project? And does modern dance have any role to play there?
Lev Shulman: According to the people who are starting this... however, now in their projects it is not called the "Yekaterinburg Center for Contemporary Art", because they simply do not have the opportunity to create another Yekaterinburg Center for Contemporary Art , because the Yekaterinburg Center for Contemporary Art has been operating in Yekaterinburg for the 13th year, with a registered trademark, and so on. That is, the name is registered as a trademark. And so they came up with a more dashing name - "Eurasian Center for Contemporary Art." And if we consider that Eurasia is a continent, that is, it turns out that Yekaterinburg has a continental Center for Contemporary Art, and it would be more logical to take the next step - intercontinental, and then - intergalactic, and so on. That is, in my opinion, this is a vivid example of some stupid, provincial ambitions. And sometimes you need to step not so wide and a little more modest.
Svetlana Tolmacheva: So you won't take part in this project? And everything that concerns the distribution of space in the future Eurasian Center for Contemporary Art, will it all pass you by?
Lev Shulman: I don't know. The whole story is still very confusing and mysterious. Because initially there were statements that “it will be such a huge building, and we will settle there everyone who needs to be settled, and the current Yekaterinburg Center for Contemporary Art, not the homeless, but Kolyada, who does not have a normal platform for his work,” and so Further.
Svetlana Tolmacheva: We are talking about Nikolai Kolyada, a famous Yekaterinburg playwright who still cannot find premises for his theatre.
Lev Vladimirovich, 10 years old School of modern dance at your Center. What is the main achievement? What is the main disappointment, besides the undeveloped structure?
Lev Shulman: Our most important achievement is our graduates.
Svetlana Tolmacheva: How many of them have there been in 10 years?
Lev Shulman: Well, I can't say, I never counted. But I don't think it's about quantity. Because, in any case, we produce piece goods. I can say that from the first generation of graduates of the school, someone now dances in dance companies of modern dance in Moscow. That is, three people are dancing in the theater with Alexander Pepelyaev.
Svetlana Tolmacheva: This is a famous Moscow troupe.
Lev Shulman: Yes. Someone dances in the "Provincial Dances", someone else somewhere else, someone studies in universities associated, if not with dance, then with art. The next generation of school graduates, today they form the basis of the dance company "Project Bureau "Tanztrest" is a professional dance company that we created a year ago at the Yekaterinburg Center for Contemporary Art. They also teach now at our School of Contemporary Dance. That is, people have taken place.
Suppose, one of our graduates, one of the dancers of "DanceTrest", who teaches at our school, Maria Kolegova, she won the First Prize at the International Dance Competition in Seoul in 2004. This is the largest international performing competition. She and our other graduate, who also dances at the Dance Trust and teaches at school, Anna Eremenko, they received various prizes, first places in competitions for young choreographers, that is, as directors. They are already actively conducting seminars. And the seminars that they lead... Literally a week ago, we finished a seminar where people from all over the country come together. And if we take into account the fact that they are both a little over 20 years old, then we can say that, yes, this is a serious result of our work, and I would say, a qualitative result.
Svetlana Tolmacheva: And literally today your “Project Bureau “Tanztrest” is going to Saransk to the festival “LISA”. Two years ago, Tanztrust won the First Prize there, if I'm not mistaken, as well as a special jury prize.
Lev Shulman: Yes. But not "Tanztrest", because "Tanztrest" did not exist then, it has existed for only a year. And here it is necessary to clarify, Anna Eremenko, whom I already mentioned, she received the First Prize in one of the nominations there, and Maria Kolegova received a special jury prize.
Svetlana Tolmacheva: Daria Zdravomyslova, Yekaterinburg correspondent of Radio Liberty, met with the project participants to find out how modern dance lives and develops through the eyes of the dance trust project participants.
Daria Zdravomyslova: “The Design Bureau “TanzTrest” will not perform in the competition program this year at the “LISA” festival. Despite this, Anna Eremenko, a member of the troupe, is no less worried. He says that acting as guests is an even greater responsibility.
Anna Eremenko: The guest should show an example. If you are a participant, then you are equal with everyone, and if you are a guest, then you must show what you are capable of. You represent yourself, and you get paid for it. That is, you have to prove yourself in order to be accepted.
Daria Zdravomyslova: Dancers of the "Dance Trust" unanimously assert that today's modern dance should also be a theater. Almost all members of the troupe graduate from the theater institute. Maria Kolegova believes that a real dancer cannot do without mechanical movements alone.
Maria Kolegova: It's not only dancing, dancing, continuous dancing, but it's also a lot of inner work, it's also a psychological charge or, conversely, a discharge. Very often you get tired not from physical movement, but from internal tension. And this is also the case of the actor. Not a dancer, but an actor.
Daria Zdravomyslova: DanceTrest members spend most of their time at the Center for Contemporary Art. Rehearsals run from 10 am to 10 pm. For Alena Gladkova, there has long been no line between dance and life.
Alena Gladkova: Until a certain age, it was still possible to separate that here I live, but here I came to classes, I study, I dance. Now it can't be divided. You must always think about dance, about the profession, even in life. I thought it must be very difficult. When to live then? And now you always think about images, some characters from performances, and even at night. And it can no longer be divided. You constantly think about it, and not because you need to do it, but because you can’t do without it.
Daria Zdravomyslova: Most of the troupe members have been dancing since early childhood. And we are sure that this will become their profession. Anna Eremenko says that it is difficult to earn big money with modern dance, but this is not the main thing for her.
Anna Eremenko: I would like to earn money with this. While parents help, you can completely surrender to the dance without the material side. But in the future, I hope that this will be an opportunity to earn, well, not big ... but I don’t aspire to any big money, but the main thing is to have enough to live on.
Daria Zdravomyslova: Design Bureau TanzTrest was founded a year ago. Its goal is to bring the art of modern dance to the mass audience. But as practice shows, show dance is still in demand more.
Svetlana Tolmacheva: Lev Vladimirovich, do you seriously want to make modern dance in a single city of Yekaterinburg more popular than, say, “belly dance”, which is now taught in every circle at the House of Culture?
Lev Shulman: Well, Svetlana, an offensive question.
Svetlana Tolmacheva: But demanding an honest answer.
Lev Shulman: It's a shame because you set it in the future tense. After all, a lot has been done in the past 15 years. And in fact, over the years, thanks, among other things, to our efforts and my personal efforts in Yekaterinburg ... You see, the most important thing is not that there are "Provincial Dances" in Yekaterinburg, there is "Tantstrust", there is someone else Well, this is not the most important thing, but thanks to our efforts, an amazing audience for modern dance has grown up in Yekaterinburg.
Svetlana Tolmacheva: Lev Vladimirovich, all the 15 years that the Center for Contemporary Art has existed, you have occupied the basement, which belongs to a flour mill in Yekaterinburg, and retain some kind of independence from the local authorities. But weren't you tempted to become a municipal Center for Contemporary Art in order to get all the budgetary benefits - a rehearsal space in some kind of recreation center, free rent of the hall, budget funding from the Department of Culture?
Lev Shulman: Just to clarify. First, we have occupied this premises for 12.5 years. Secondly, now this basement does not belong to the flour mill, but it has become the property of the City Property Management Committee.
And in answer to your question, I can say that I, perhaps, would have considered such a proposal if it had been received. Walking around and offering yourself, I think it's not very serious. Because everything we do and everything we have done is clearly visible, it is well covered in all media. And everything that we do, everything that we get, what results, what achievements, everyone knows about all this. And to go and convince someone else - I don't want to waste either time or energy on this. I'd rather spend this time and energy on further work.
Svetlana Tolmacheva: Lev Vladimirovich, does the city of Yekaterinburg derive any benefit for its image from what is happening with modern dance in the city?
Lev Shulman: Of course. You see, when we, the Yekaterinburg Center for Contemporary Art, began to quite actively bring various modern dance troupes from all over the world here, these people who came, they said after they returned home: “You understand, because you and we for so many people who surround us (suppose, in America or somewhere else), put Ekaterinburg on the map of the world. That is, we, sitting here, think that “we are so cool, we have such a big city, everyone knows us.” Yes, no one knows anything. Because nothing special happened in this city and is not happening. And modern dance, and those few companies of modern dance that work in Yekaterinburg and actively perform, well, first of all, the same “Provincial Dances”, are amazing newsmakers, these are amazing image makers for Yekaterinburg. And in this regard, the city just needs to pray for them.
Svetlana Tolmacheva: But what is really going on?
Lev Shulman: Nothing. "Provincial dances" began under the roof of the Uralmash Palace of Culture, in a small dance hall on the fourth floor, Lord, how many years have passed...
Lev Shulman: What are you talking about! From 1989 years old And in the same class. As everything was done on their own enthusiasm, it continues. That is recognition around the world, and nothing in the city. I don’t understand, is this or some kind of stupidity, just some kind of stupidity of those who make decisions in this city in the field of culture ... and not only culture, in fact, because this is a decision in the economic sphere as well Well, if you dig a little deeper.
Svetlana Tolmacheva: Yes, if we talk about the economy...
Lev Shulman: Because this is the hen that lays golden eggs. And now she carries them under herself. She pushes, takes them down and sits on them herself. Because no one is investing anything. Invest and take.
Svetlana Tolmacheva: "Provincial Dances" perform more often in Moscow and abroad than in Yekaterinburg, and the audience knows this. Because there are only a few performances a year when you can see this band in Yekaterinburg.
Lev Shulman: Yes. And you understand perfectly well that ... Well, now such a topic in the city of Yekaterinburg is inbound tourism. What are you going to bring here?
Svetlana Tolmacheva: "Malachite Box", the site of the murder of the royal family.
Lev Shulman: Calculation completed.
Svetlana Tolmacheva: Well, why? There are also some Orthodox shrines that are included in the application.
Lev Shulman: Well, maybe. And a huge number of people would come here from all over the world to the premiere of “Provincial Dances”, to some festivals of modern dance. And I do not say empty words, these are not my conjectures. And it's just an experience. In 1999, we made the International Dance Plantation Festival at the Yekaterinburg Center for Contemporary Art, and these were participants from 13 countries, observers from all countries, directors of major festivals from all over the world. That's inbound tourism for you, that's cultural tourism for you, that's money for culture.
Svetlana Tolmacheva: Lev Vladimirovich, this year the first graduation is planned at the Faculty of Contemporary Dance at the Humanitarian University of Yekaterinburg. Five years ago, the first admission was made, 15 people were recruited, 6 people will present their theses literally in June. Why was the department of modern dance needed? Didn't the Ekaterinburg School of Modern Dance attached to your Center perform some functions of professional training of dancers?
Lev Shulman: You understand, these are completely different things. That is, the school trains dancers, and this is just additional education, and the faculty is higher education, this is a diploma of higher education. And this is the preparation of choreographers. After all, today there are dancers of modern dance in Russia. And I have been sitting on the jury of various Russian competitions and festivals quite a lot lately, and I see that, of course, the level of performance has risen a lot. And there are simply wonderful dancers, and there are many of them. There are no choreographers.
Svetlana Tolmacheva: An interesting topic. But let's break because we have a call from our listener. Let's give him a chance to ask a question. Good morning.
Listener: Good morning. I am a producer. The question is next. Tell me, please, what is your repertoire, to whose music? And is there anything in your repertoire that could be commercially successful?
Lev Shulman: I think that as a producer of a producer you will understand me well. Literally a month ago we carried out, I think, a very risky experiment. We have in our repertoire a performance called “Mushrooms Would Grow in Your Mouth,” directed by Andrea Boll from the Netherlands. And that was the essence of the experiment. We decided for a week, seven evenings, to show a performance with the same name every evening. And this experiment, I think, was carried out successfully. Every evening we had an almost full hall. And to have a full hall at a modern dance performance with the same name for seven consecutive evenings is again the same evidence of a very special audience in Yekaterinburg for modern dance. And this is a definite evidence that this performance “Mushrooms Would Grow in Your Mouth” is actually quite good. Because the number of viewers every day increased, increased. This is one performance that we have in our repertoire.
And there is a performance called "Tango: Go-Go", directed by Moscow choreographer Larisa Alexandrova, this performance, which was nominated last year for the "Golden Mask". With this performance, we received the Evgeny Panfilov Prize last year at the International Festival "Modern Choreography" in Vitebsk. Now we are going from Saransk to the festival with this performance. And this year, this performance ... in May, it was nominated for the Bravo Theater Arts Award.
Svetlana Tolmacheva: Lev Vladimirovich, President Putin recently signed a law on public organizations. Human rights organizations were the first to be outraged, of course, because now grant recipients have practically no opportunity to conduct their activities, receive grants from abroad, and so on. This topic is well known. But it turns out that this adopted law also applies to the Yekaterinburg Center for Contemporary Art. Because the majority of teachers from Europe and America come to you at the expense of foreign funds. That is, it is not you who pay for the work and travel of these teachers, but some patrons, and foreign ones at that. What will happen to education at the Yekaterinburg School of Contemporary Dance now?
Lev Shulman: Let's see what happens and how. Of course, this is all nonsense. You see, the fact is that the Yekaterinburg Center for Contemporary Art, which is 12.5 years old, has carried out and carries out all its activities mainly or at the expense of some kind of funding, subsidies, or some kind of grants. And basically it's all Western money for various projects. And when everything falls into a heap with one stroke of the pen, and everything is mixed up in this heap - politics, culture, and everything, it’s simply impossible to think of anything worse.
Svetlana Tolmacheva: Imagine that such an opportunity to receive foreign grants disappears. Will modern dance be able to exist in the conditions that we have now? Will there be patrons in Russia who will support modern dance?
Lev Shulman: Oh, I don't know.
Svetlana Tolmacheva: In general, in some kind of isolation, without teachers who come from abroad, without trips to Europe, to America with their performances, modern dance will be able to develop in its own juice, stewing here , in Russia?
Lev Shulman: Well, we are experienced people, we have lived like this for 70 years. You can't take us that easy. But what good is it?.. That is, of course, sometimes it’s really useful to boil in your own juice, but when it’s your conscious choice - “yes, I want to climb into a barrel and sit in it for a while.” And when I am forced to sit in a barrel or surrounded by various curtains against my will, I think that nothing good will come of it.
Svetlana Tolmacheva: In general, does modern dance somehow change a person, his way of thinking?
Lev Shulman: Of course. If a person is seriously engaged in it, and it becomes his way of life, then of course, like any business that becomes your way of life.
Svetlana Tolmacheva: Lev Vladimirovich, as far as I remember, at one time you made an attempt to attract not only young people with choreographic training or those interested in dance to your Ekaterinburg Center for Contemporary Art, but also those who simply attended performances and saw what a beautiful sight it was. And I remember that even the commandos tried to dance with you. These attempts to put, so to speak, on the pointe shoes of the viewer, do they continue or not?
Lev Shulman: Svetlana, here's another myth for you, you just expressed it. No, there were no special forces. But at our school (although it was a long time ago) there was a very large age range - from 7 to 30 we recruited people, invited them to study, and at that moment both children and parents studied with us at the same time, but in different groups. That is, the mother studied in one group, and the daughter studied in the other. And we also have exams every month in each subject and the results are posted. And now mother and daughter stand in the lobby and look at the results of each other's exams. And at that time, in fact, a young man studied at our school, who was a SOBR fighter, a rapid reaction detachment. And it is true. And he was busy in some productions, well, educational, small ones. And they had some performances. And he agreed with his superiors that they would postpone his business trip so that he would not disrupt the performance of his group.
Svetlana Tolmacheva: And now these family groups continue to work?
Lev Shulman: No, no.
Svetlana Tolmacheva: Why was this project cancelled?
Lev Shulman: I'll explain. The fact is that when this story began with the university's modern dance department, we very drastically changed the very policy of the school. That is, we changed the age range, we began to recruit teenagers from the age of 12 so that they could complete the course at school, and it is three years old, and go on to continue their studies at the university. So we put it on a more professional footing.
Svetlana Tolmacheva: And there is a call from our listener. Good morning.
Listener: Good morning. I know several terms for people involved in dancing - this is a dancer, a dancer, a dancer, a tap dancer and so on. Is there any difference in the professional training of these people?
Svetlana Tolmacheva: Here, Lev Vladimirovich, a question for you as a specialist in modern dance.
Lev Shulman: Yes, of course, the preparation of a dancer for classical dance is one preparation, the preparation of tap dancers, which you mentioned, is completely different. Preparing a dancer for modern dance may be the most difficult and painstaking. Because modern dance is a kind of dance art that actually incorporates all forms of dance art. He absorbs and uses everything that surrounds him in other forms of dance.
Svetlana Tolmacheva: Lev Vladimirovich, for 15 years, and maybe even more, your life has been connected with modern dance.