- 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
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?
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!
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:
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.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
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?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
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.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.