Choreography Grants and Fellowships

The Charles and Joan Gross Family Foundation awards prizes biennially to a choreographer and composer for the best original dance with original music which has had its premiere performance within the previous two years of each award date. The next Gross Family price will be given in 2018 for works first performed in 2016 and 2017.
Equal awards to the choreographer and composer ($15,000 each). The deadline for submissions for the next award is July 1, 2018. https://cjgfamilyfoundation.com/gross-family-prize/


Performing Arts JAPAN Grant

The Japan Foundation - New York and Toronto

212-489-0299 (New York)/416-966-1600 (Toronto)

www.jfny.org/www.jftor.org

kanako_shirasaki@jfny.org/taoyagi@jftor.org

Arkansas Arts Council

Little Rock, AR

501.324.9349

arkansasarts.org

BalletX Choreographic Fellowship

Philadelphia, PA

215-893-9456 x128

fellowship@balletx.org

balletx.org/fellowship

Space Grant and Artist in Residency Programs

BAX/Brooklyn Arts Exchange

Brooklyn, NY

718.832.0018

bax.org/opportunities

The Virginia B. Toulmin Fellowship for Women Choreographers

Center for Ballet and the Arts at NYU

New York, NY

balletcenter.nyu.edu

Choo-San Goh Awards for Choreography

Choo-San Goh and H. Robert Magee Foundation

Long Beach, CA

Janek Schergen: 562.621.1757

goh-mageefoundation.org

The Joffrey's Choreographers of Color Awards

The Joffrey Academy of Dance

Chicago, IL

choreographersofcolor@joffrey.org

312.784.4600

joffrey.org/cofc

Millennium Stage Local Dance Commissioning Project

Kennedy Center

Washington, DC

202.416.8044

kennedy-center.org

CHIME: Choreographers in Mentorship Exchange

Margaret Jenkins Dance Lab

San Francisco, CA

415.861.3940

mjdc.org

New York Choreographic Institute Fellowship Initiative

New York City Ballet

New York, NY

212.870.4060

nycballet.com

NYFA Artists' Fellowship

New York Foundation for the Arts

New York, NY

212.366.6900

nyfa.org

McKnight Artist Fellowship for Choreographers

Northrop Theater

Minneapolis, MN

612.340.0155

northrop.umn.edu

Princess Grace Choreography Fellowship

Princess Grace Foundation-USA

New York, NY

212.317.1470

pgfusa.org

Summer Stages Choreographers' Project Fellowship

Summer Stages Dance at Concord Academy

Concord, MA

978.402.2339

artistcommunities.org

Tanya Liedtke Fellowship

Tanya Liedtke Foundation

Frankfurt, Germany

Contact: Shane Carroll, info@tanja-liedtke-foundation.org

tanja-liedtke-foundation.org

Vilcek Prize for Creative Promise in the Arts

The Vilcek Foundation

New York, NY

212.472.2500

vilcek.org

Vitacca Community Project Choreographic Fellowship

Vitacca Productions & Company

Houston, TX

713.205.0355

vitacca.org

The Conversation
James Whiteside (Jayme Thornton for Dance Magazine)

Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.

Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.

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Health & Body
Getty Images

I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.

I told myself I'd take two months off, and all would be better.

That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?

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