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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.
The role of Harlequin in Marius Petipa's comic ballet Harlequinade is one American Ballet Theatre dancer Gabe Stone Shayer knows quite well. He first performed a variation of the role when he was just nine years old. Today, he explores commedia dell'arte in Alexei Ratmansky's new take on the ballet, premiering at the Metropolitan Opera House this June.
We stepped into a rehearsal of Harlequinade with Shayer and fellow ABT dancer Cassandra Trenary for our "In The Studio" series:
Since starting his company in 1968, Lar Lubovitch has stood at the forefront of modern dance—although he is hesitant to label his work as "modern."
"I've always felt I've been making dances," he says. "I've always called them dances and I've never been one to exclude any language of movement. When I'm making a dance it's sort of an essay of all the movement I have in my body of all the dance I've studied."
After 50 years of creating dances, his work is still as technical and humanistic as ever.
The much-anticipated Martha Graham Dance Company season at New York City Center is upon us. From April 11–14, the company will present classics like Chronicle, the sly melodrama Embattled Garden and of course Graham's visceral masterwork The Rite of Spring. This season also includes works by internationally acclaimed choreographers Lucinda Childs, Lar Lubovitch and Sidi Larbi Cherkaoui.
We sat down with Graham artistic director Janet Eilber to talk about bringing back older Graham works, working with new choreographers and what Martha would have to say about today's wave of feminism.
Raja Feather Kelly's gender-bending, race-flipping and thought-provoking work Another Fucking Warhol Production or Who's Afraid of Andy Warhol?—now titled The Love Episode (Another Fucking Warhol Production)—is making its way back to the stage. Kelly's company, the feath3r theory, will be performing the revived work at Dance Place in Washington, D.C. on April 21 and 22. Per usual, the music will make you want to stand up in your seat and dance your pants off, but it's not a show you'll want to bring the kids to.
We stepped into the studio with Kelly to talk love, money and his fascination with Andy Warhol.
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
Los Angeles-based choreographer Danielle Agami is taking on a new role in New York City: performer. While her company Ate9 is on a "vacation," she is in residency at The Center for Ballet and the Arts at New York University.
We sat down with Agami to discuss creating her first solo titled framed, which she will perform May 6 at the NYU Tisch School of the Arts, and why she is excited to get back to her company.
At 5'10" I felt like an ant in the studio with Alonzo King LINES Ballet. The San Francisco-based company is full of statuesque dancers whose passion is infectious. Every story was told not only through their movement, but through the expression on their faces and their connection to one another.
We talked to artistic director Alonzo King about his love of collaborations and why he thinks politicians need to dance more.