Does NYCB Have A Gambling Problem?
New York City Ballet's fall season opened last week with Peter Martins' production of Swan Lake. The company is looking ahead to their gala tomorrow, followed by a month of works new and old. The marketing department seems particularly excited about its premieres, many of them created by new choreographers (perhaps part of their admirable attempt to lure in young audiences). But, when photos of these choreographers are stitched together (as they were on Facebook last week), the homogeneity of the faces featured is striking. They are all white men, and their pieces start off a season of revivals by more white men.
To be fair, most major companies aren't doing much better. Boston Ballet and Joffrey Ballet are making an effort at inclusivity, each featuring one woman in their fall programming. Pacific Northwest Ballet will dance the work of two women this fall. The only woman on the roster for both Miami City Ballet and American Ballet Theatre's fall seasons is Twyla Tharp. While I love that they are including classic Tharp works, this doesn't demonstrate a commitment to fostering new voices or shifting their repertory long-term.
But City Ballet prides itself on commissioning new works every season and developing the talent of young choreographers. Last week, The New York Times published a piece by Roslyn Sulcas entitled "New York City Ballet Gambles on Unknown Choreographers." Unknown, and young. Robert Binet is only 24. Myles Thatcher is 25. By comparison, Justin Peck and Troy Schumacher, 28 and 29, seem like old pros. The article tracks the trajectory of these boys, highlighting their mentor relationships with men such as Alexei Ratmansky, Wayne McGregor and NYCB ballet master in chief Peter Martins. The pattern of white men supporting younger white men points to a problem that starts early on but eventually determines whose work will be seen. Martins says on hiring young choreographers: "What can I say, I’m gutsy. I liked the idea of having all these people in their 20s, making new work. It shows the art form is really alive." But how can an art form be alive when it excludes so many?
There are countless women whose work I would love to see on the Koch stage. Annabelle Lopez Ochoa might have more experience than all of NYCB's boys combined, and makes inventive and charming works. Amy Seiwert, Helen Pickett, Gabrielle Lamb and Aszure Barton have been making bold pieces for mid-sized companies for years. Gemma Bond finds time to choreograph smart and subtle works when she isn't shining in ABT's corps. Emery LeCrone is a promising voice, who participated in NYCB's Choreographic Institute and often makes works on NYCB dancers on smaller stages. Why wasn't her career nurtured like these male choreographers? This is not to mention choreographers of color, who face an entirely different set of barriers because they are also excluded from ballet as performers. That's a blog for another day.
The fault is not solely NYCB's. The problem is far-reaching, especially among companies of NYCB's scale. And yet, I want to believe that I work in a field that cares about the voices of women and people of color. I want to believe that an art form that fancies itself as progressive, and a company situated in one of the most forward-thinking cities in the world, isn't complacent about racism and sexism. Unfortunately, I don't believe any of this yet.
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."