ABT Principal Sarah Lane Is Performing to Benefit Victims of the Christchurch Terrorist Attacks
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
A variety of artists and speakers—including American Ballet Theatre principal Sarah Lane, opera singer Marie Te Hapuku, a traditional Māori dance troupe and several bands—will perform in Jersey City, right in New York City's backyard.
Lane, who lives in Jersey City, heard about the event from Julie Daugherty, a physical therapist at ABT. "One of the organizers is her husband," she says. Lane volunteered to perform a solo in her town's benefit. "Religion is something that is sacred and personal," she says, "and it's so unfortunate that a place of peace and love was completely invaded by hatred."
Reflecting on her religious upbringing in the Christian faith, Lane says, "I really felt for the people who were affected, and I think that the arts can at least bring a little bit of comfort in a situation like this."
Lane's solo, titled "Bi Thusa Mo Shuile," was choreographed for her by her former teacher Jamey Leverett. Lane initially performed it at the Jackson International Ballet Competition when she was a high school senior. Set to Gaelic and instrumental versions of the traditional hymn "Be Thou My Vision," she says the solo still holds special meaning for her.
"As humans and as artists, in the most difficult times, there is always still a light and purpose and hope."
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.