- 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
Cincinnati Ballet Bets on Women Choreographers
Cincinnati Ballet has announced their 2017-18 season, and it looks like artistic director Victoria Morgan is making a statement about gender equality with her programming choices: Of the 15 works being presented this season, 8 are choreographed by women. Kate Weare, Penny Saunders, Jennifer Archibald, Johanna Bernstein Wilt and Heather Britt are creating world premieres for the company. And Morgan brings back her Romeo & Juliet and (of course) her 2011 version of The Nutcracker, as well as a solo piece performed to a K.D. Lang song.
If it seems a little ridiculous that we're celebrating a ballet company programming works by just over 50% female choreographers, consider what we term the "Ballet's Boys Club" of choreographers, or how in 2015 New York City Ballet handed all of its fall commissions to young, white men (they seem to have learned their lesson there, and commissioned works by Annabelle Lopez Ochoa and principal Lauren Lovette this past fall). It's still rare for a company to have more than one or two female choreographers lined up for a season (though smaller companies are generally better about this than the behemoths)—and this is despite the fact that we're seeing more women in leadership positions at ballet companies these days.
Not only is Cincinnati Ballet's ratio of men to women choreographers balanced, but the season is artistically balanced, too. Look at the rest of the programming: master works by George Balanchine and Jerome Robbins, company premieres from Justin Peck and former Houston Ballet dancer Garrett Smith and a world premiere from SYTYCD favorite Travis Wall.
By our count, that's adds up to a couple of box-office friendly full-lengths, a handful of challenging repertory pieces and an even bigger handful of new works sure to push to dancers technically and stylistically. That's how you plan a season. Bravo.
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.