A native of Lafayette, Louisiana, Courtney danced with Lafayette Ballet Theatre before matriculating to New York University. After spending her freshman year in London, she moved to New York to attend NYU Tisch School of the Arts, where she recently graduated with a BFA in Dance. Courtney began contributing to Dance Magazine during her senior year. She has performed in works by Karole Armitage, Netta Yerushalmy, Septime Webre, Vita Osojnik, Cherylyn Lavagnino, Giada Ferrone and Fairul Zahid, among others. She continues to take class, create and perform in the city.
- 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
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:
It's been a long time coming. Paul Taylor, who at 87 is still actively making dances, has named the person who will succeed him at the head of the various organizations that bear his name: Paul Taylor Dance Company member Michael Novak.
The announcement has come with no small amount of surprise, as longtime PTDC dancer Michael Trusnovec has long been considered the heir apparent. But, as was announced today, Taylor has appointed 35-year-old Novak as artistic director designate, effective July 1. As Taylor told The New York Times, "I thought he was just next in line. I've watched him for some time. He pays attention, and I know that he's listening."
There's got to be something about May 18—maybe the Ballet Gods celebrate some forgotten holiday that causes them to be particularly generous. Because how else do you explain that no less than three international ballet stars all share a birthday on, you guessed it, May 18?
Maybe today should be a ballet holiday in their honor, but, regardless, we're celebrating with clips from some of their signature roles:
The first part of Angels in America ends with a bang: Prior Walter, the character we've followed for roughly three and a half hours as he weathers the AIDS crisis in 1980s New York City, sees an Angel crash through the ceiling. She beats her wings, hovering over the man cowering in his bed, and intones, "Greetings, prophet. The great work begins!" It's an immensely satisfying conclusion to Part One, and makes audiences that much more eager to get to the second.
But how do you make an angel fly?
Is there anything that can match the absurdity of the Deadpool 2 marketing campaign? (For the comic book/superhero unaware, Deadpool is a mouthy, fourth-wall-breaking character played by A-lister Ryan Reynolds at the movies.)
Probably not, as the music video for "Ashes" (Céline Dion's contribution to the film's soundtrack) demonstrates. In it, the elegant, dramatic singer is joined onstage by Deadpool, who proceeds to dance...actually rather well.
So the real question we're asking is, Who the heck is that dancer in a Deadpool costume and heels?!
In the May 1998 issue of Dance Magazine, we spoke to Kazuo Ohno on the occasion of a memorial performance for his mentor, butoh creator Tatsumi Hijikata. On performing with his son for the memorial, Ohno said, "Yoshito and me, we are two, but we are one. Love, but something different, too. Love is pain. 'I love' is like 'I have pain.' " This perspective is characteristic of butoh, a highly dramatic Japanese dance-theater form that visually tends toward darkness and decay. In 1988, Ohno was already in his 80s; he would continue to perform even after his 100th birthday. He died in 2010 at the age of 103.
Children's stories probably aren't the first thing that come to mind when considering the writings of Oscar Wilde. But his collection of stories for kids, The Happy Prince and Other Tales, forms the basis for Penny Saunders' latest work for Grand Rapids Ballet. There's plenty of ballet fodder to be found in the characters, from a self-sacrificing bird to a self-important firework to a selfish giant. Whether the tale Saunders weaves from the various stories ends in tragedy, happily ever after, or somewhere strange in between, audiences are in for a Wilde time. May 4–6, 11–12. grballet.com.
There's a special magic to watching dance on camera—done well, entire worlds can be created, single moments stretched into infinity. But what if you're working with a severe time constraint, say, 60 seconds?