- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
Airbnb Your Way Backstage
Your favorite home-away-from-home app has an intriguing new offering: The chance to get a behind the scenes look at your favorite dance companies.
With the launch of its new Experiences section, Airbnb has begun letting travelers get to know the places they visit not only by staying in a real home (or treehouse or Airstream trailer), but also by experiencing the destination with locals who share their interests—whether that’s whiskey drinking, truffle hunting, sushi making, or, yes, even dancing.
Unsurprisingly, two of the first dance companies to sign up are based in Airbnb's hometown: San Francisco.
Pauli Magierek leading class
The Ballet experience is hosted by former San Francisco Ballet soloist Pauli Magierek, who will meet you at the War Memorial Opera House and whisk you right to the barre for a beginner/intermediate ballet class taught by an SFB faculty member. The following night, you’ll attend a performance, drink champagne and eat chocolates at intermission, then go backstage to meet a dancer or two for an insider perspective after the show. Bonus: You'll also get a pair of autographed pointe shoes.
The two-day itinerary costs $250 per person, but because this is one of Airbnb's Social Impact Experiences, 100 percent of what you pay goes directly to SFB to help under-served children and their families attend a performance of the Nutcracker at no cost.
Watch a trailer for The Ballet experience here.
Class at LINES Dance Center
If you're looking for something more contemporary—or have a smaller budget—check out the 3-hour Move on Market Street experience at Alonzo King LINES Ballet, hosted by the company’s community and teen program coordinator, Briana Dickinson. From the description, it sounds like you could get a glimpse at a rehearsal or composition exercise with either the company or student dancers at LINES Dance Center before you head into the studio yourself for a private Pilates class. You'll also be given "a piece of LINES gear," which we're assuming is something along the lines of a branded t-shirt or tote bag.
Your $125 fee will support the continuation of the contemporary ballet company’s groundbreaking work.
Or, if you're interested in hosting an experience at your company, it's easy to create one on the site—all you need is an Airbnb account and a great idea.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Ever wonder why some dancers' port de bras appears to be disconnected from their body? It typically comes down to how they stabilize their shoulder blades, says Marimba Gold-Watts, Pilates instructor to dancers like Robert Fairchild.
"Dancers often hear the cue to pull down on their latissimus,"—the biggest muscle in the back—"which doesn't allow the shoulder blades to lie flat," she says. "It makes the bottom tips of the shoulder blades wing, or flare out, off the rib cage."
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.