How do we respond to recurring accounts of an acclaimed choreographer’s damaging relationships with dancers, especially women?

When Robert Garland becomes artistic director of Dance Theatre of Harlem on July 1, he follows in the footsteps of founder Arthur Mitchell and retiring artistic director Virginia Johnson. He’s stepping into an important role: In addition to being a leading classical company that’s toured worldwide, DTH has had a significant impact on the field of dance and the larger American cultural landscape.

Some dancers reveal their truest selves in performance, heightening and deepening the qualities that make them who they are. Onstage, Chun Wai Chan is forthright and generous, regal but not aloof, with an open countenance that complements an uncluttered technique.

A plethora of premieres and a pair of limited engagement touring appearances add up to a packed dance calendar, from coast to coast and even across the pond. Here’s what has us most intrigued.

What will the dance world of tomorrow be like? An answer—or several—might be illuminated by our annual list of dancers, choreographers and companies on the brink of skyrocketing. 

For Miriam Miller, Mondays are all about meal prep. One of Miller’s favorite dishes is her endlessly variable lentil salad, based on a recipe from her Gyrotonic instructor Emily Smith.

New York City Ballet first toured continental Europe in summer 1952. This snapshot from the Dance Magazine Archives, labeled “swimming party at the Spellmans,” shows members of the company enjoying a day away from the theater, likely during that five-week tour.

India Bradley started dancing as a young girl, tagging along whenever her mother, a former dancer with Alvin Ailey American Dance Theater, taught classes. But the Michigan native has always followed her own path, and Bradley ultimately decided to focus on ballet instead of modern.