Rant & Rave
Social media validates extremes over clean, solid technique. Photo by David Hofmann/Unsplash

The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."

My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.

This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?

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Breaking Stereotypes
Omar Román De Jesús in rehearsal with Joffrey Academy trainees. Photo by Todd Rosenberg

So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.

Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.

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Dance in Pop Culture
One of the most disturbing parts of This Is America is the juxtaposition of violence and dance

When 59-second clips of "This is America" began to take over my Insta feed last week, I didn't know how to feel. Graphic images from the music video showed the execution of a man with a guitar and the mass shooting of a church choir.

What truly struck me was physical and facial animation of Donald Glover a.k.a. Childish Gambino, as well as the gaggle of children shadowing his movement. Many saw the dance as a distraction from the mayhem in the background.

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Breaking Stereotypes
Kyle Abraham choreographing on Alvin Ailey American Dance Theater. Photo by Jim Lafferty

Last month, Kyle Abraham was announced as one of the six choreographers contributing new work to New York City Ballet's 2018-19 season.

In its 70-year history, NYCB has only commissioned four black choreographers—all men: John Alleyne and Ulysses Dove in 1994, Dance Theatre of Harlem's Robert Garland in collaboration with Robert LaFosse in 2000, and Albert Evans in 2002 and 2005. It's been 11 years since Evans, an NYCB alum, made work for the company and 18 years since a black choreographer outside of NYCB has been invited to choreograph.

Take a moment to take that in.

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Breaking Stereotypes
Dada Masilo's Wilis condemn Albrecht. Photo by John Hogg, courtesy Kornberg PR

After seeing Dada Masilo's rendition of Giselle, I couldn't help thinking, "If ballet did a version like this, it would transform not just the genre of the 'story ballet,' but, even more powerfully, the narrative of the "ballerina" itself."

I was especially interested in Masilo's Giselle after writing A Radical Reimagining of Ballet for 2018, which pondered how classical ballets could be modernized, and what effects that would have on leading ladies like Odette/Odile, Aurora and Juliet. Though Dada Masilo/the Dance Factory is not a ballet company, I thought her take on story might be an interesting place to begin to imagine.

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Cover Story
Jayme Thornton

Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.

An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.

"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."

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Dance in Pop Culture
Black Panther, screenshot via YouTube

Recently, I went to see Black Panther. When the aircraft penetrated the invisible force-field cloaking the fictional African nation of Wakanda—a country unmolested by European colonization, one that is powerful, prosperous, thriving and the most technologically advanced society in the world—I literally gasped.

Evan Narcisse, a pop culture critic who co-writes "The Rise of the Black Panther" miniseries told The Washington Post, "Wakanda represents this unbroken chain of achievement of black excellence that never got interrupted by colonialism." It presents African peoples with agency, self-definition and identity. In Wakanda there is no "black" excellence, there is just excellence.

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Auditions
This year, IABD launched a new ballet audition for men of color

Last month, the International Association of Blacks in Dance's third annual ballet audition for women of color was expanded to include a separate audition for men.

The brainchild of Joan Myers Brown (founder of both Philadanco and IABD), the women's audition was created to specifically address the lack of black females in ballet. However, the success and attention that audition drew made the men feel left out, so IABD decided to give the men equal time this year.

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Rant & Rave
Is ballet ready for a redesign?

2017 felt like we were living the Upside Down of the popular Netflix series "Stranger Things." From Donald Trump becoming president, to the sexual harassment scandals that ricocheted into the ballet world, everything we thought we knew was turned on its head.

Yet while the deconstruction of institutional paradigms is frightening, it also presents an unprecedented opportunity for redesign.

Ballet, much like our political parties, seems to be stuck in an antiquated format that's long overdue for a makeover. With the world changing at lightning speed, if ballet wants to survive it will have to undergo a radical reimagining. But what would that look like?

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Breaking Stereotypes
Samrawit Saleem, photo by Angela Sterling, via PNB

Two questions I'm often asked as an advocate for diversity in ballet are, "Do you think ballet organizations are genuine?" and, "Do you think it's changing?"

Quite honestly, there are times when I am not so certain. Then there are days when I get texts and Facebook messages alerting me to a story that reinforces my belief that ballet might just be shifting.

One such moment was in late November when Andrea Long-Naidu texted me the image of Pacific Northwest Ballet's Clara, Samrawit Saleem. There she was, seated on the floor in her party dress, gazing down lovingly at her Nutcracker with an elegant use of épaulement. Andrea called me, "Theresa, she's gorgeous, she's brown and look at her hair!!" She was referring to Saleem's double strand twists that were styled half-up half-down. My mouth was agape.

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Popular
LINES dancer Adji Cissoko. Photo by Quinn Wahrton

Points should be given to the dance world for beginning to address the issue of diversity. But have we ever taken into consideration who critiques dance—and the lack of diversity in that area of our community? Or how critics' subconscious biases create barriers to the elevation of non-white artists?

Recently, Charmian Wells wrote a scathing critical analysis of New York Times dance critic Gia Kourlas' review of DanceAfrica. Entitled "Strong and Wrong: On Ignorance and Modes of White Spectatorship in Dance Criticism" it took Kourlas to task for critiquing from a place of cultural and technical ignorance.

Forces of Nature Dance Theatre, which performed at DanceAfrica. Photo via Facebook.

Reviews are part of the life blood of artistic sustainability—funders, agents, bookers and audience members use them as guides. Dance critics have a responsibility to the community to do, and be better, or at least have the courage to let the reader know what they don't understand.

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Dance Training
Fellow Angela Harris teaching an intermediate girls class at SAB

New York City Ballet has an image problem. Despite having the moniker of one of the most diverse cities on the planet, the company regularly comes under fire for its lack of diversity. A perception of overbearing whiteness has plagued the institution, often acting as a cultural barrier for prospective students and audiences.

Over the last three years, the company's School of American Ballet and its diversity team have been working to change this. Since NYCB preserves its Balanchine legacy by keeping everything in house—dancers are hired almost exclusively from SAB, where they are trained by former members of the company—the school is a logical place to start transforming its image. And it's working. Presently, the children's division and intermediate/advanced division boasts 44% and 29% students of color, respectively.

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Popular
DBDT in Nycole Ray's Above & Below. Photo by Sharen Bradford—The Dancing Image, Courtesy DBDT.

Finding the right person to take the mantle of a 40-year-old American dance institution is no easy feat. But when Dallas-native choreographer Bridget L. Moore agreed to succeed Dallas Black Dance Theatre's founding artistic director, Ann Williams, the company knew it was a perfect fit.

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Dancers Trending

Hiplet is sweeping the nation. Between TedX, Refinery29, Desigual campaigns, Anna Wintour's #madeforher fundraiser and the plethora of morning show spots, the hybrid dance craze—known for its sassy runway-style walks on pointe and crab-like bent-knee jazzy chassés—has gone viral.

Hiplet is the brain child of Homer Hans Bryant, a former Dance Theatre of Harlem principal who, in 1981, founded Chicago Multi-Cultural Dance Center (then called Bryant Ballet), aka the studio where young Sasha and Malia Obama studied before moving to the White House. Bryant started putting hip hop movement on pointe in 1994 with a piece he choreographed for his students, called The Rap Ballet. That evolved into what became hiplet (a portmanteau of hip hop and ballet), which is now a regular class at his school.

But his curious blend of hip hop sur la pointe has proven to be quite provocative. Some see the blending of the urban and European dance vernaculars as a positive by-product of the black ballerina movement. For me and many others, it sets our teeth on edge.

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Dancers Trending
Francesa Hayward, courtesy Royal Ballet

Janet Collins, Raven Wilkinson, Debra Austin, Nora Kimball, Misty Copeland, Francesca Hayward. All of these successful black ballet dancers have something in common: they skew toward the fairer end of the sepia spectrum.

Onstage, the duskiness of their complexions can be all but washed out, bleached by the lights. From the audience, they could present as a white girl back from a beachside vacation, or be perceived as Latina.

This observation is in no way meant to challenge these women's "blackness," or their talent. It's to highlight a long-overlooked fact that, historically, artistic directors have shown a predilection towards black ballerinas with lighter skin tones.

Misty Copeland in Swan Lake. Photo by Gene Schiavone, courtesy ABT

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Dancers Trending
Trainee and teacher Ashley Hannah Davis is one of many black role models at Ballet Memphis. Photo Louis Tucker, courtesy Ballet Memphis.

Like other little girls, you fall in love with ballet in a dark theater, and lean over to your mother to ask, “Can I do that?" But then you step into a world where no one resembles you—not the receptionist, your teacher, your classmates or the people in the posters on the wall. You feel uneasy. The pink tights and shoes you wear for class bear no resemblance to your dark-colored legs. You would like to blend in, but your skin, your hair, your body make it impossible.

When you ask black dancers today about their experiences studying ballet, many are conflicted. Most loved learning the technique, but they found the world of sylphs and tutus daunting to navigate. Ballet is a rarefied career and its icon—a ballerina—is petite, lithe, fragile, ethereal and white. Some call it tradition, others call it the classical aesthetic. What it can feel like to black dancers is a commitment to whiteness.

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