In the November 1954 issue of Dance Magazine, we shared excerpts from an autobiographical essay written by Galina Ulanova. Reflecting on her memories of performing small roles as a self-professedly reluctant ballet student, she wrote, "Belief comes so easily in childhood. And what a pity it is that this belief in what is happening on the stage...is so difficult to preserve afterwards, and that one has to work so hard, sometimes so painfully, before one can 'get into the skin' of a role and believe in it so utterly that the audience will believe in it too. Yes, in part my 'performances' of those days were the playing of a child who believes in its imagination more than it does reality." Arguably the first great ballerina of Soviet Russia, she danced with both the Kirov and the Bolshoi, touring with the latter across Europe and to the U.S. to great popular acclaim.
Paul Taylor's Post Meridian was last performed 30 years ago, which is well before any of the company's current dancers joined Paul Taylor Dance Company. In fact, it's before some of the dancers were even born. Every step and extreme angle of the body in the dream-like world of the 1965 work will be fine-tuned in the studio for PTDC's upcoming Lincoln Center season. However, the Taylor archive is where Post Meridian began for Eran Bugge.
In the October 1969 issue of Dance Magazine, we spoke with Jacques d'Amboise, then 20 years into his career with New York City Ballet. Though he became a principal dancer in 1953, the star admitted that it hadn't all been smooth sailing.
In the September 1964 issue of Dance Magazine, we spoke to choreographer Charles Weidman, who was in the midst of touring his witty, sensitive repertoire across the country. A deft hand with subjects both comic and serious, the then-63-year-old had a savvy sense for programming.
On August 19, 1929, shockwaves were felt throughout the dance world as news spread that impresario Sergei Diaghilev had died. The founder of the Ballets Russes rewrote the course of ballet history as the company toured Europe and the U.S., championing collaborations with modernist composers, artists and designers such as Igor Stravinsky, Pablo Picasso and Coco Chanel. The company launched the careers of its five principal choreographers: Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.
On July 27, 1974, Mikhail Baryshnikov made his American Ballet Theatre debut, dancing opposite fellow expatriate Natalia Makarova in Giselle mere weeks after his defection from the Soviet Union. The then-26-year-old caused a sensation, with Dance Magazine contributor Olga Maynard observing in her review, "If Baryshnikov exerts his good influences on ballet in the West we shall owe him a debt of gratitude."
In the June 1974 issue of Dance Magazine, our cover subject was the endlessly charming Frederic Franklin, then 60 years old. After declaring at the age of 4 that he was "going to be in the theater," the Liverpool-born dancer spent a lifetime doing exactly that.
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Thirty years ago, U.S. Joint Resolution 131, introduced by congressman John Conyers (D-MI) and Senator Alphonse D'Amato (R-NY), and signed into law by President G. W. Bush declared:
"Whereas the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation...
Whereas tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression...
Whereas it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form...
Whereas May 25, as the anniversary of the birth of Bill "Bojangles" Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it resolved by the Senate and House of Representatives of the United States of America in Congress that May 25, 1989, be designated "National Tap Dance Day."
Happy National Tap Dance Day!
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
Sometimes we find absolute gems in the DM Archives. And sometimes we find things that are so bizarre we couldn't have made them up if we tried. Take, for example, the opening lines of an article that appeared in the December 1944 issue of Dance Magazine:
Raise your hand if you've ever gotten sucked down an informational rabbit hole on the internet. (Come on, we know it's not just us.) Now, allow us to direct you to this new project from Google Arts & Culture. To celebrate Black History Month, they've put together a newly curated collection of images, videos and stories that spotlights black history and culture in America specifically through the lens of dance—and it's pretty much our new favorite way to pass the time online.
In the February 1969 issue of Dance Magazine, we talked to Bob Fosse about taking Sweet Charity from stage to screen. Though he already had a string of Tony Awards for Best Choreography and had spent plenty of time on film sets as a choreographer, this adaptation marked his first time sitting in the director's chair for a motion picture.
"When I started out, I wanted to be a Fred Astaire," he told us, "and after that a Jerome Robbins. But then I realized there was always somebody a dancer or choreographer had to take orders from. So I decided I wanted to become a director, namely a George Abbott. But as I got older I dropped the hero-worship thing. I didn't want to emulate anyone. Just wanted to do the things I was capable of doing—and have some fun doing them. By this time I'm glad I didn't turn out to be an Astaire, a Robbins or an Abbott." He would go on to become an Academy Award–winning director, indelibly changing musical theater in the process.
George Balanchine famously wrote, that ballet "is a woman." Four of his most celebrated women—Allegra Kent, Gloria Govrin, Kay Mazzo and Merrill Ashley—appeared onstage at Jacques d'Amboise's National Dance Institute Monday evening to celebrate his legacy. The sold-out program, called "Balanchine's Ballerinas," included performances of excerpts from ballets closely associated with these women and a discussion, moderated by former New York City Ballet principal Wendy Whelan. Here are some highlights of the conversation, filled with affection, warmth and fond memories.
I've just read Emma Sandall's piece on hyperextension and the 180-degree position. It's intelligent, interesting, well-written. But there are a few mistakes and some misleading remarks. I can't resist writing the following.
1. If Guillem says Fonteyn said would have lifted her leg higher if she could, then that's what Guillem says.
But she's wrong. Keith Money's book "Margot Assoluta" (published in 2000) includes a photo of Fonteyn in rehearsal doing a seconde almost to shoulder-height: she told Money "I can get the leg that high—but it ruins the line." Fonteyn wanted level hips, something crucial to many ideas of placement but not discussed by Sandall.
The cover star of the January 1974 issue of Dance Magazine was beloved Italian ballerina Carla Fracci. She was adored by ballet fans in the U.S. for her guest appearances with American Ballet Theatre, and a bona fide celebrity in her hometown of Milan. But she nevertheless made time for her director husband and their young son, who often accompanied her on tour. "I don't like to be only ballerina," she told us. "I say: the dance—all right. I like it. I like my work, and I do the best that I can. But it is not 'all' for me...Most dancers are closed, in a way, because it takes so much to dance, the physique is under so much stress, that often they are too tired, even to read, or to go to the theaters, the museums, to hear music, to be with people. But you can't be a dancer without these things...You can't just close your eyes and go to the barre. You get lost in this obsession with the barre and toe shoes. Your life can be destroyed that way."
The cover star of the November 1953 issue of Dance Magazine was José Greco, the dancer and choreographer who popularized Spanish dance in 1950s and '60s America. The Italian-born, Brooklyn-raised dance star took his first classes at age 10 and made his professional debut at 19. Less than a year later he was asked by La Argentinita to join her company.
2018 has seen an endless parade of celebrations in anticipation of Jerome Robbins' centennial—and now the day has finally arrived. In honor of what would have been his 100th birthday, we dove into our photo archives and selected a few favorite shots of the choreographer whose career defined (and redefined) American dance.