February 6, 2007
From: Heather Mackler
Hi Luisa,
The video just arrived and I immediately watched it and it's wonderful! There is way too much information to absorb in one sitting, so I will be watching it over and over. My eyes were zipping all over the screen totake in the dancers, the costumes, the musicians the background, and thentrying to listen too! What a nice job you did. Nowhere does it say when you made this video. Was it recently? You are a lovely dancer!I especially liked your Passacaille, andthe clever camera angles that included the musicians. Of course, all the dancers were beautiful. TheHarlequin was adorable!It was fun opening the box and finding the little surprises. I will take my time going over them. Thank you so much for the extra treat!You've been very kind and I appreciate it!
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Thursday, May 4, 2006
From: Maggie Craig,
Hi Luisa,
Thank you! I sat down at 7 o'clock this morning with a cup of teas in one hand -Twining's 1706 blend, of course - and the remote control in the other to watch The Parts of the Suite. I am impressed, delighted, thrilled, and inspired. Now when the characters in my novel go to that dancing assembly in old Edinburgh just before Christmas 1743, I'll have a much clearer vision of what they're doing and how they look when they're up on the dance floor. I'm also deeply interested in 18th century dress and found all of the detail on that terrifically interesting as well. The costumes are wonderful! I'm so impressed by the depth of scholarship, development and obviously huge talent and commitment which has gone into The Parts of the Suite. Having read all of the credits, I'd love to know which dancer is you.
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October, 2004
Gina Buntz
Director of Dance, Cranbrook Studios
Luisa Meshekoff’s “Parts of the Suite.” Goes boldly where no authority on baroque dance has gone before. In revealing the organic relationship between seventeenth century music and dance, she removes the stuffy confines of historical dance study and breathes new life in a much underappreciated genre of dance history. Meshekoff’s knowledge is packed with insight and amused analysis underscoring the very reason why baroque music and dance was embraced: underneath the reserved structure lay a subtext of casual elegance that aligned human nature with the heavenly bodies of the universe.
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Video Librarian
Issue: March-April, 2004
The Parts of the Suite 3 stars out of 4
Introducing musicians and dancers to a dozen Baroque dance forms,
precursor to Ballet, The Parts of the Suite illustrates the relationship
between the dance movements and music, providing viewers with a
broader understanding of how the two are inseparably connected in
regard to phrasing, tempo, and ornamentation. Touching on how
classical ballet originally evolved from the court dances of France's
Sun King, Louis XIV, the program also looks at key dance masters
who shaped the art, famous dancers of the period, and offers examples
of 18th century dance and music notation. All of this serves as excellent
background to the main attraction: the performance of these historic
dances by professional dancers in period costume with period music.
Created by Luisa Meshekoff, this well researched, scholarly title is
essential for all serious dance collections. Highly recommended for
high shool, college, music and dance conservatories.
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From: "Waldrop, Sandra" <swaldrop@arts.usf.edu>
To: "'thedanceproject@tampaus.com'" <thedanceproject@tampaus.com>
Date: Mon, 18 Mar 2002 13:38:5
Dear Luisa,
Thank you for your time and expertise on Baroque Dance that you presented to my Entry Seminar class on Wednesday, November 14, 2001. It was a thorough presentation of the history of this period and a look into the dancers life with the Artistic Director of Baroque Dance Company, Catherine Turocy.
The performance section was also very informative, and I appreciate the
extra dancers and extraordinary musician, Scott Klucksdahl, that you invited to participate in the demonstration. The students were engaged in the group interaction activity that concluded the hour and half section, and I believe that they enjoyed and learned something about this historical period of dance history.
I would also personally like to say that I appreciate your willingness to
attend the class without any monetary stipend. The Dance Department for lack of funds can rarely pay for guest speakers and it is only because of people like yourself that the students reap the benefit of the talents and knowledge of the international artists in the Tampa Bay area.
Sincerely Yours,
Sandra Robinson
Associate Professor
USF Department of Dance
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