A native of Lafayette, Louisiana, Courtney danced with Lafayette Ballet Theatre before matriculating to New York University. After spending her freshman year in London, she moved to New York to attend NYU Tisch School of the Arts, where she recently graduated with a BFA in Dance. Courtney began contributing to Dance Magazine during her senior year. She has performed in works by Karole Armitage, Netta Yerushalmy, Septime Webre, Vita Osojnik, Cherylyn Lavagnino, Giada Ferrone and Fairul Zahid, among others. She continues to take class, create and perform in the city.
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A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Turner Prize–winning installation artist Laure Prouvost's work is predicated on the notion that it is incomplete without the viewer; her environments meld fiction and reality as they lure the spectator into participation. They Are Waiting for You, commissioned as part of her ongoing immersive exhibition at the Walker Art Center, is her first major work for the stage. Prouvost has recruited choreographer Pierre Droulers, multidisciplinary artist Sam Belinfante and a small Minnesota-based choir to join her for what is sure to be a bizarrely charming multimedia performance. Feb. 9–10. walkerart.org.
While the jury is still out on whether it was the underdog Philadelphia Eagles or Justin Timberlake's amazing dancers who actually won Super Bowl LII, we're pretty confident about who deserves the prize for best dance moment. But surprisingly, it didn't come during the halftime show or in the midst of a touchdown celebration.
Instead, it was during a minute-long commercial for the NFL that featured Eli Manning and Odell Beckham Jr. (quarterback and wide receiver, respectively, for the New York Giants). The duo awkwardly, adorably, recreated one of the most iconic dance sequences ever committed to film: Patrick Swayze and Jennifer Grey's duet from the end of Dirty Dancing.
In the February 1973 issue of Dance Magazine, one year before he received a Dance Magazine Award, we had a lengthy conversation with Maurice Béjart about his process.
Maya Plisetskaya and Béjart, Bolshoi Theatre, 1978. Photo courtesy DM Archives
By the time the credits rolled on The Greatest Showman, I was absolutely convinced: This show is screaming to be a stage musical. A determinedly uplifting take on the life of P.T. Barnum (yes, the circus guy), played by Broadway alum/Hollywood A-lister Hugh Jackman, the movie musical is filled to bursting with ear-catching tunes by songwriting duo Benj Pasek and Justin Paul and endlessly entertaining choreography by Ashley Wallen.
Oh, Hollywood. In any given year, Tinseltown's use of dance in film veers from the woefully disappointing to the surprisingly delightful, but one thing's for certain: It's rarely boring. Here's our not-at-all-comprehensive and completely-subject-to-change list of the new dance-related movies coming soon to a theater (or laptop screen) near you.
It might not have a U.S. tour on the books (yet), but we have to admit that we're getting exceptionally excited for Akram Khan's Xenos to premiere.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.