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This Choreographer Just Said "There Is No Such Thing As Equality in Ballet" And He's "Very Comfortable With That"
And if that statement rubs you the wrong way—particularly coming from a highly acclaimed white male choreographer—you're not alone.
On Sunday, American Ballet Theatre artist in residence and international ballet choreographer Alexei Ratmansky posted this on his Facebook page:
Obviously, there's a lot to unpack here. And many of the comments did the unpacking for us:
New York City Ballet principal Ashley Bouder called for continued conversation:
Choreographer Matthew Bourne posed a small step towards gender equality:
Dance critic Leigh Witchel made a very reasonable suggestion:
Choreographer and Ballez founder Katy Pyle had a dark take:
Former NYCB and ABT dancer Robert La Fosse called out another issue:
Dance writer Marina Harss brought the specifics of Ratmansky's choreography into the mix:
Dance scholar Seth Williams gave us the historical perspective:
Tap dancer and 2012 25 to Watcher Caleb Teicher added some intelligent context:
Our take? Here are the main problems we saw with the post:
1. The implication that his definition of ballet is the end-all be-all. If Ratmansky doesn't want women to lift or men to dance on pointe in his ballets, fine. You do you. But his tone suggests that no one should be experimenting with gender roles in ballet. (Coincidentally or not, this post comes right after a slew of positive reviews for the same-sex partnering in New York City Ballet's recent program of new works).
2. His tone-deaf use of the word "equality." He's specifically talking about roles for dancers onstage. But as someone who has already been called out for his ambivalence towards the lack of women choreographers in ballet, who has been criticized for racism in his work and for making insensitive comments about race, and whose career could be seen as benefitting from the gender inequality in the dance world, his word choice is super loaded.
3. His staunch insistence on traditional gender roles. The dance world should be doing everything it can to include dancers of all gender identities. As one of today's most high-profile choreographers, his borderline-transphobic words send the message that only certain types of people are welcome in ballet.
What do you think of Ratmansky's comments?
The revival of everything '90s has been in full-swing for a while now—we saw Destiny's Child reunite at Coachella, Britney Spears is headed back on tour, and the Spice Girls miiight be performing at the Royal wedding next month. But Hollywood saved the best '90s moment for last, bringing *NSYNC back together to receive their official star on the Hollywood Walk of Fame on April 30.
Because we love a good dance #TBT, we're reliving five of the boys' best dance moments.
"I Want You Back"
The band's first single from their self-titled debut album in 1998, "I Want You Back," was the start of their takeover (and their choreographed dance moves).
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?