Last night was not your average Thursday at Bay Ridge Ballet in Brooklyn, New York. Studio owner and teacher Patty Foster Grado—a former Parsons Dance Company dancer—was teaching a boys class, when with only five minutes left, she heard commotion in the waiting area and someone yelled, "There's a lady giving birth in the bathroom!"
Photo by Filip VanRoe, courtesy Marquee
Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).
But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.
After 12 seasons dancing with the Rockettes, Rhonda Kaufman Malkin knows a thing or two about becoming one of Radio City's iconic dancers. Since 2006, Malkin has shared her secrets to success as a dance coach and personal trainer in New York City through her company Fusion Exercise. She's had 36 students book the Rockettes, and numerous others land Broadway shows, national tours, commercials and even Beyoncé's tour.
At the most recent Rockettes callback, over half of the 25 dancers had taken class with Malkin—and seven of them were offered contracts. Here's how to get to Radio City, according to Malkin.
Elvira Lind's documentary Bobbi Jene took the 2017 Tribeca Film Festival by surprise last spring, sweeping the awards for Best Documentary, Best Editing and Best Cinematography. For those of us who have watched Batsheva and Bobbi Jene Smith's career, the film's success is not unexpected. It is a validation of what we already know: Bobbi Jene is absolutely fascinating.
She is the dance equivalent of a method actor, like a Daniel Day Lewis who lives inside his characters for months or years. Seeing her choreographic process first-hand reveals there is no trying to portray emotion through dance, what we see is true emotion as a result of dance.
In 1984, New York was introduced to a choreographer who would influence generations of dance artists: Pina Bausch. Tanztheater Wuppertal stunned audiences at Brooklyn Academy of Music in performances of Bausch's now-iconic Café Müller and The Rite of Spring.
Since that groundbreaking premiere, Bausch has been revered as a genius, a trailblazer, a game changer in the dance world. And starting this Thursday, Bausch devotees will make a pilgrimage back to Brooklyn Academy of Music where Tanztheater Wuppertal reprises its historic debut program. To celebrate the occasion, BAM shared some archival photos of the choreographer and her work with Dance Magazine, and we reached out to several of today's choreographers and dancers about how Bausch inspired their own life's work.
Poster signed by the company for the Tanztheater Wuppertal Pina Bausch self-titled production during BAM Spring Series, 1984
When you're performing with a whirling cinderblock or giant hamster wheel as your partner, there is no time for second-guessing your physical fitness. Fortunately, STREB EXTREME ACTION member Cassandre Joseph knows exactly what her body needs to stay safe, even when flying off 30-foot platforms.
What are the five habits that prepare her to tackle anything that director Elizabeth Streb might throw her way?
Last month, New York City mayor Bill de Blasio unveiled Create NYC: A Cultural Plan for All New Yorkers. Stemming from two years of research into arts organizations throughout the five boroughs and feedback from over 200,000 New Yorkers, the plan seeks to diversify cultural institutions and increase funding within underserved communities.
So what does this entail for dance artists? While there is nothing specifically dance-related in the plan, many dance companies and artists within marginalized and lower-income communities stand to benefit from increased funding.
One of the only paid contemporary dance companies in Palestine, Yaa Samar! Dance Theatre faces logistical challenges that most American companies could never imagine. Nearly 30 to 40 percent of YSDT programming is cancelled—sometimes on performance days—due to artist visa denials, local violence, or because the company is participating in solidarity strikes with their communities.
But when the show does go on, it is all worth it. "The dancers have a space where they can focus, perform an act of solidarity…it is a safe haven for them," says associate artistic director Zoe Rabinowitz.