Keone and Mari Madrid are hardly strangers to the spotlight. Together, the powerhouse partners have performed in a Justin Bieber music video and on "The Ellen DeGeneres Show," and have choreographed for "So You Think You Can Dance." With around 250,000 subscribers, you could say Keone and Mari are "YouTube famous," but, thanks in part to a successful stint on NBC's "World of Dance" last year, they've become much more than that. Case in point: They're currently co-creating, choreographing and starring in their first full-length production, Beyond Babel. The immersive show will debut in San Diego this month; Keone and Mari hope to eventually take it on tour.
Former New York City Ballet principal dancer and Dance Theatre of Harlem founder Arthur Mitchell passed away today in a Manhattan hospital. He was 84 years old.
Mitchell originated the role of Puck in Balanchine's A Midsummer Night's Dream. Photo by Oleaga Photography, Courtesy DM Archives
As a leading dancer with NYCB in the 1950s and '60s, Mitchell became indelibly associated with two roles created on him by George Balanchine: the central pas de deux in Agon (1957) and Puck in A Midsummer Night's Dream (1962). Mitchell's performance of the athletic, entwining Agon pas de deux with Diana Adams—a white woman—caused a major stir during a moment in which America was rife with racial tension.
Dancers are known for going to great lengths to prepare their bodies to perform at their best. But the latest recovery trend that dancers—and star athletes from Kobe Bryant to Floyd Mayweather Jr.—are using is perhaps the most extreme treatment yet.
Whole-body cryotherapy (as opposed to other forms of cryotherapy, such as an ice bath or an ice pack) is said to significantly speed up recovery time by immersing the body in a chamber of very cold air. Once only available in fancy professional sports locker rooms, there are now over 700 whole-body cryotherapy locations across the country.
Tucked into a recent article in The New York Times about an upcoming schedule-change at the Metropolitan Opera, was a small bombshell: To accommodate the opera's plans, American Ballet Theatre, with whom it shares the house, will "reduce its Met season to five weeks from the current eight" starting in 2021. The news was dropped casually, practically as an aside.
Maybe it shouldn't come as such a surprise. No regular ABT attendee can have failed to notice that, in recent seasons, there have been performances that were significantly under-sold. This happened even in the case of enduringly popular works like Giselle. Only Misty Copeland or the occasional visitor—Natalia Osipova, say—can fill that cavernous, almost 4,000-seat monolith.
(To be fair, the opera has the same problem; in May of 2017 it was reported to have attained only 67% of potential box office receipts.)
The most compelling dancers don't just have amazing technique. They also use their focus to draw in the audience and make their performance captivating. Be more confident and engaging onstage by avoiding these mistakes:
"For me, it's a big full circle," says Lanteri, who used to take class at Steps when he first moved to New York City, and started teaching there in the mid-1980s. The 4:30 p.m. Tuesday/Thursday Advanced Intermediate Jazz slot he held down for many years taught a slew of young talent—including choreographers-to-be like Jessica Lang and Sergio Trujillo. "As a young teacher, Steps was a platform for me to travel the world giving master classes; it became the underlying foundation for what I'm doing now in my life."
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When I was approached to write on ageism in dance, I have to admit that after the initial honor of the invite, I suddenly felt old.
I guess I fit the "qualifications" to write this. I'm 63. I've been professionally dancing and choreographing for some 40-plus years, and, in the process, have accumulated a certain amount of perspective on the field. After 20 years running Corning Dances & Company, in 2000 I suddenly looked up and realized I was 10 to 20 years older than my company members. The layers of nuance I was craving were not there; their albeit lithe bodies understandably lacked a base of worldly experience and expression. I couldn't present the kind of movement or conversation I wanted onstage.
Small- to medium-sized companies based in cities outside dance meccas—New York City, Chicago, Los Angeles—are often written off as "regional," or somehow lesser than their big city counterparts. But in recent decades, a few have defied such categorization as they've gained traction on the national and international scene.
So how does a company build an international profile without losing connection to its hometown? We asked the directors of Tulsa Ballet, Aspen Santa Fe Ballet and Sarasota Ballet to share their strategies.
Update: Additional perspectives have been added to this story as more responses have come in.
"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."
It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.
But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.
Every year, as soon as the Emmy Award nominations are announced, the first thing I do is scroll down (way, way, way down) to find the nominees for Best Choreography. Last week's announcement was no different, and it was a delightful surprise to see tap queen Chloe Arnold become a first-time nominee for her work on "The Late Late Show With James Corden." Alongside Arnold, Mandy Moore, Travis Wall, Al Blackstone and Christopher Scott received nominations for their dances on awards heavy-hitter "So You Think You Can Dance." (Shout-out to Blackstone for his first Emmy nod!)
I do, however, have a bone to pick with the Emmys. Namely, that the routines for which these choreographers were nominated do not appear on the nominations section of the site. Worse, not even the episodes in which the Emmy-nominated dances appear are listed.
Dear Dance Magazine,
Thank you for demonstrating a commitment to transparency and evolution during this divisive time in our country. Over the past few years I have seen the Dance Magazine content reflect increased awareness about the value of inclusion and diversity in U.S. culture. It also has highlighted the need for the dance industry culture to self-examine and pursue constant revisions (just as dancers themselves do).
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
As a student, Katherine Barkman competed in several prestigious ballet competitions, and even won first place at the Youth America Grand Prix in Philadelphia. But at age 21, already a guest principal dancer with Ballet Manila, she decided to return to the competition stage as a professional. She found herself humbled by an experience at the 2017 Moscow International Ballet Competition.
"I was pretty intimidated, thinking, This is the big leagues, this is the Bolshoi Theatre," says Barkman, who was eliminated after the first round. "You are not just judged on how good you are for your age."
Competitions have long had a place in the training of young dancers, allowing them more opportunities to perform and learn under pressure. But even after you've secured a company contract, there are myriad benefits to putting yourself in front of judges.
Most people assume that for dancers to be successful, they have to be extroverts who feed off of constant attention. They figure that introverts don't enjoy being in the spotlight.
But don't let anyone tell you that just because you're introverted, you can't have a career in dance.
According to the Myers & Briggs Foundation, the only real difference between introverts and extroverts is where they get their energy. Extroverts are energized by social interaction and drained by time spent alone, while introverts experience the opposite.
Longer ballet skirts are having a major moment. We've seen them popping up in the Instagram studio clips of dance fashionistas around the world—from American Ballet Theatre's Isabella Boylston to The Royal Ballet's Beatriz Stix-Brunell to Berlin State Ballet's Iana Salenko. And with cooler weather on the way, we have a feeling we'll be seeing even more calf-length skirts.
Beyond being trendy, long ballet skirts give any studio ensemble a sophisticated prima ballerina vibe (hi, Natalia Makarova). Try out one of these long skirt options.
Bill T. Jones is one of the few choreographers who can weave together social consciousness with choreographic inventiveness. This is visible in all three parts of his Analogy Trilogy, a 6½-hour marathon that comes to NYU Skirball Center on Sept. 22 and 23.
In this Trilogy, Jones goes beyond his own cultural identity. The first part, Dora: Tramontane, centers on Dora Amelan, a Holocaust survivor who tried to help children during World War II. Her ordeal is told through interviews spoken by the dancers and envisioned in shifting scenes. The second part, Lance: Pretty aka the Escape Artist, is about Jones' nephew, and his involvement in the underground world of drugs and sex in New York in the 80s. This section contains several gorgeously choreographed duets. The third part, Ambros: The Emigrant, is not about a real person but about the nature of trauma and memory.