Paris Opéra Ballet Revokes Sergei Polunin's Invitation to Guest Star
Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.
POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.
This decision comes in response to numerous complaints, including those expressed by POB dancers online and during management meetings. French ballet fans have also been eager to weigh in on the controversy. Some argue that the POB is largely financed by the French federal government and that Polunin does not reflect "French law or values."
Other balletgoers who had hoped to catch a glimpse of the international star expressed disappointment. But even Polunin's talent has been called into question by some commenters who speculate that without a home company, the dancer isn't preparing for performances well and can't be relied upon to produce the same results that first delighted audiences at The Royal Ballet.
POB has not yet named a replacement for Polunin in the role of Prince Siegfried. However, a cast of accomplished étoile dancers that will appear in the production has been announced on the company's website. For the time being, the list does not specify the role each dancer will perform.
Dupont's decision to stage Swan Lake without Polunin is yet another sign that the ballet world is changing. Numerous international companies are currently striving to create a respectful and healthy working environment for all dancers. If being uninvited by the POB is any indication, Polunin will increasingly struggle to find collaborators who are willing to accept his erratic behavior and hateful outbursts.
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.