#rock the ballet

[bigmack2go]

I made a presentation for school about musical theatre that was based on a post i made on tumblr once. Does anyone wanna see it?

Edit i DID upload it by now btw fyi

[afrophunk]

The girl likes her pink 🤷🏾‍♀️

[callmen1cc]

hear me out

new crackship: GlitterBomb ✨

[lovelyballetandmore]

Derek Dunn | The Rock School

[vanillangel888]

think about u quite a lot smoking on my cigarettes

[rustgill]

Inspired by the fic Vitality by ManaBanana because Lee doing en pointe is too fucking real

[mineimmaculatedream]

[eduardosaverin7]

Program notes from the debut of the Pacific Northwest Ballet's 2025 production of The Sleeping Beauty

Indigenous Design in The Sleeping Beauty - KARIEL GALBRAITH Tlingit, Dakl'aweidi Cian

Stepping outside of his usual medium of glass, Preston Singletary, Tlingit tribal member, brings his cultural knowledge and artistry to the set creation for this performance. Singletary, born and raised in Seattle, is of the Kaagwaantaan Clan from Kõok Hit (the Box House) of Sitka, AK. Indigenous cultures of this region have been here since time immemorial. This production of The Sleeping Beauty has been imbued with cultural and aesthetic elements of Indigenous Northwest Coastal cultures to offer this same sense of timelessness.

To embed Indigenous cultural design and teachings from the Northwest coast, Singletary has invited Northwest Coastal Formline-a design system with strict rules about shape, proportion, scale, and negative space-on stage in The Sleeping Beauty. Though Tlingit design elements can be seen throughout the performance, the production team does not seek to overbear the original tale of The Sleeping Beauty, nor transport its audience to Southeast Alaska. These elements are an invitation to reflect on the commonalities we find in our stories across the world.

Tlingit cultural hero, Yeil or "Raven," was an important inclusion for Singletary in this performance. Yell is a trickster figure, but he also played a crucial role in preparing the world for Tlingit people. He brought them the moon, stars, and sun. Each celestial body was once trapped in bentwood boxes, similar to what you will see on stage. Bentwood boxes are multipurpose boxes that are culturally significant to Tlingit people. Made of cedar planks that have been scored, steamed, and bent, these boxes commonly hold at bow-sacred clan objects. The boxes of this particular Yeil story belonged to a wealthy noblernan. Through trickery and disguise, Yeil opened each box, revealing the light of day and showing people the world in a way they had not seen before,

Yeil also represents one of the two moieties for Tlingit people. As a matrilineal society, Tlingit people trace their heritage through their mother's side. These ideas of molety, clan, and house as represented in Singletary's introduction are ways in which Tlingit society is divided. Each category tells important stories of who one is connected to, and how. Moieties help regulate marriages while perpetuating cultural balance. Balance is key in Tlingit society. It is a core tenet of Tlingit design, as can be seen in Formline through the vertical symmetry of front-facing pieces, or careful distribution of line weight in pieces with a profile perspective. In most regions of Southeast Alaska, Tlingit people will either be Ch'aak' (Eagle) or Yeil (Raven) moiety. Ceremonially, these moieties are crucial: for example, if someone of the Yeil moiety passes away, it is the responsibility of their opposites-people of the Ch'aak' moiety-to care for them in their time of grief, and vice versa.

During the planning of this performance, Singletary noticed the traits of Yell in Carabosse. Like Yeil, Carabosse will drive conflict. She will also bring gifts, given in illuminated bentwood boxes. When considering Carabosse as a Yell-like character, Singletary offers that these gifts represent the traits that make a good person, according to Indigenous teachings of the Sweat Lodge, Patience, Endurance, Courage, and Alertness. This production of The Sleeping Beauty has also returned to the origins of Carabosse, viewing her as a godmother who was not invited to Aurora's Christening rather than the embodiment of evil as she may be understood in other renditions. In this arrangement, breaking taboo by excluding a family member is what presents consequences for Aurora and her family Taboo, Il-gaas in the Tlingit language, and the breaking of it is a common theme in Tlingit storytelling, it is a strategy used across is cultures to share important knowledge with our younger generations on how to be a good person. Carabosse, like Yell, is a core driver of conflict as well as resolution, which is why she has been cloaked in black feathers and adorned in a raven mask.

Other characters on stage also have Tlingit aesthetics incorporated into their costumes. Working with Paul Tazewell, Singletary provided guidance on the abstraction of formline elements within the outfits seen on stage. The fanciful interpretation of formline by Tazewell with Singletary's feedback has created a look that complements the fantasy of the work, while having a clear Indigenous Northwest Coastal influence. Original and Formline-inspired designs cover dresses and cloaks, while the fringes and trims of belts and vests of villagers mimic the movement of woven Tlingit regalia. Subtle elements on the Queen's gowns include black edges with white circles, similar to the trim on Button Blankets, a form of Tlingit regalia made of wool blankets with contrasting trim, outlined in mother-of-pearl buttons.

Though Yeil is a crucial component to Tlingit culture and the shaping of Tlingit worldview, Ch'äak' adds a crucial balance. Represented through the eagle staircase you view on stage, Singletary has inserted a piece of himself-his moiety-on stage to share with viewers. This staircase is comprised of a golden-colored eagle, perched on stage with wings spread to both encase and showcase the dancers. For many Indigenous people across North America, including Tlingit peoples, eagles can be symbols of good luck, determination, and courage. With this cross-cultural recognition of the sacred symbolism of these animals, eagles are not just viewed as important cultural species but represent a unifying element of people from all tribes. The distribution of weight across the eagle's stance and the subtle Formline placed on various feathers create a centerpiece which complements the energy radiating from other set elements and each thoughtfully-designed costume. Carabosse's intensity is balanced by the Eagle's radiance, neither trait seeking to be demonized or glorified, but instead existing harmoniously on stage, and foreshadowing clarity and hope for the works' conclusion.

Through careful and considerate representation of the Indigenous Northwest Coast, this production seeks to honor the ever-changing and modern nature of Indigenous peoples of this region and beyond. As we invite cultural art forms, teachings, and histories to this stage, we can root our performance in place and pay respect to the intertwined nature of our communities.

[ronancecore]

She was a punk, she did ballet

She wanted her, she never tell

[bigmack2go]

Call me a basic bitch but sky flaherty

[amadeus-for-music]

'ᴛᴀᴛᴏᴜᴇ-ᴍᴏɪ' ᴍᴠ (x) [ᴍᴏᴢᴀʀᴛ ʟ'ᴏᴘᴇʀᴀ ʀᴏᴄᴋ]

[the-cricket-chirps]

Oskar Schlemmer (Bauhaus), Costume for the Triadic Ballet (Das Triadische Ballett), 1926

Striped bodysuit for David Bowie’s Aladdin Sane tour, Design by Kansai Yamamoto. Photograph by Masayoshi Sukita, 1973

Oskar Schlemmer, Bauhaus Ballet Poster, Das Triadische Ballett, 1924

[beetlerope]

SOFT BALLET - TWIST OF LOVE

[jitterbugbear]

the star of the show 💫

[lovelyballetandmore]

[mahlersgirl]

*slips money across the table for the art people*

ballet au.

mizu's adoptive father master eiji is a shoemaker and pointe shoe fitter

mizu being the tallest girl in her class by a landmark and feeling self-conscious as a child because she wasn't as delicate as the other girls.

when she's a teen she gets interested in the male technique and goes "fuck it" she'll be the male partner now

madame kaji (dance teacher) had actually used mizu to demonstrate the man's role a couple of times but when she actually sneaks into the boys' class she just squeals

takes some time to get comfortable with her own femininity again but when she does she's an absolute beast

still practices male technique because why the fuck not

can and will do lifts if needed

legs. legs for days.

has a knowing her own limits problem and tends to get injured easily (also the one more likely to dance through an injury)

had the biggest crush on guest teacher m*kio for a month until kaji shook some sense into her and she realized how fucking ridiculous she sounded. it's her lowerst point and she doesn't talk about it.

has an horrendous diet until ringo who's part timing there suggests some changes. becomes her best friend and his whole team when she needs to travel solo for competitions.

meets taigen and akemi on a competition in another state and ofc they remember wrestling with each other as kids in the madame's studio

taigen is here for the credits tbh

taigen and akemi are dating but they barely look like it when they're in battle mode

mizu is doing la esmeralda and akemi is aurora

akemi angry praises mizu's performance all the way back to the hotel until it becomes white noise to taigen

ofc they will end up in the same company at some point what would be the point of this au