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Devon Carney has had a 30-year career as a dancer and teacher. As principal with Boston Ballet he worked with choreographers Choo San Goh, Mark Morris, Merce Cunningham, Twyla Tharp, and Ben Stevenson in roles from classical to cutting edge. He toured with Rudolf Nureyev, served as Boston ballet master from 1998 to 2002, and […]

As dance department chair at the South Carolina Governor’s School for the Arts, Stanislav Issaev is known for preparing ballet students to compete at the highest levels. He trained at the Perm Dance Academy in Russia, was a gold medalist in both the National Soviet and Varna Ballet Competitions, and received the Nijinsky Award in […]

For Cheryl Mann, it was a typical night of performing with Hubbard Street Dance Chicago. Things got off to a rousing start with Daniel Ezralow’s SF/LB, a burst of perpetual motion and tricky counterpoint set to a jazzy Leonard Bernstein score. Then came the world premiere of Lar Lubovitch’s Love Stories, in which Mann had […]

As Trisha Brown’s Present Tense begins, Neal Beasley is alone onstage before a backdrop of interlocking colored shapes. To the sounds of John Cage’s prepared piano he leans on the air and twists his upper body against his lower so that it unfurls as fast as a spun-around swing. How does he move so swiftly […]

In Spanish, “delgado” can mean either slim or smart. Both connotations fit the Delgado sisters, Jeannette and Patricia, who dance with the Miami City Ballet. Trained in the MCB  School, they represent a new breed of home-grown talent, able to move from classical to neoclassical to contemporary roles. Both sisters claim mutual support for each […]

Last May, after a 13-year absence, Gelsey Kirkland was back at American Ballet Theatre. Kirkland, a dance legend who has been out of the limelight for nearly 20 years, came to New York from her home in Melbourne, Australia, at the invitation of John Meehan, artistic director of ABT’s Studio Company. During her three-week stay […]

Imagine a ballet company without its corps de ballet. There would be no lines of wilis in arabesque drawn magnetically together in Giselle, nor any grand polonaise for the ensemble in Theme and Variations. The corps de ballet is to a dance troupe as the spine is to the body: It provides framework, support, context, […]

Former New York City Ballet dancer Linda Hamilton, Ph.D., is a lecturer, a psychologist in private practice, and the author of Advice for Dancers (Jossey-Bass). She has been offering advice to Dance Magazine readers since 1992. I thought the BFA program I’m in would be the one of my dreams, but it’s a huge disappointment. […]