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Jennifer Stahl
Jun. 19, 2017 09:31AM EST

The Most Influential People in Dance Today

For Dance Magazine's 90th anniversary issue, we wanted to celebrate the movers, shakers and changemakers who are having the biggest impact on our field right now. There were so many to choose from! But with the help of dozens of writers, artists and administrators working in dance, the Dance Magazine staff whittled the list down to those we felt are making the most difference right now.

Click through the links below to find out why they made our list.

Michelle Dorrance

Benjamin Millepied

Katherine E. Brown

Sydney Skybetter

Marc Bamuthi Joseph

Liz Lerman

Monica Bill Barnes

Justin Peck

Linda Shelton

Alastair Macaulay

Ohad Naharin

Gilda Squire

Christy Bolingbroke

The Actors Fund

International Association for Dance Medicine & Science

Michael M. Kaiser

Misty Copeland

Maria Kochetkova

Lil Buck

Ryan Heffington

Robert Battle

Pamela Tatge

Lourdes Lopez

Andy Blankenbuehler

Alexei Ratmansky

Amy Fitterer

Gina Gibney

The Harkness Foundation for Dance

Joe Lanteri

Larissa Saveliev

Glorya Kaufman

Nico Muhly

Max Richter

Joby Talbot

Who did we miss? Send us your suggestions. We'll be publishing a Readers' Choice companion to this story.

michael m. kaiser international association for dance medicine & science katherine brown the actor's fund the harkness foundation for dance michael kaiser amy fitterer linda shelton maria kochetkova katherine e. brown lourdes lopez glorya kaufman monica bill barnes alastair macaulay michelle dorrance most influential people in dance pamela tatge lil buck nico muhly justin peck gilda squire robert battle benjamin millepied larissa saveliev andy blankenbuehler joby talbot alexei ratmansky misty copeland christy bolingbroke max richter ryan heffington gina gibney sydney skybetter ohad naharin liz lerman marc bamuthi joseph joe lanteri
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Editor Approved: 7 Dance Shows to Catch This October

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As the fall performance season kicks into high gear, we've been cramming as much excellent dance on our calendars as possible. But if you're feeling overwhelmed by all the options, we've got you covered: From rare U.S. appearances by one of our 2018 "25 to Watch" to an autumn mainstay for New Yorkers, Romeo and Juliet to The Handmaid's Tale, here's what caught our eye.

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The late pioneering dancer Arthur Mitchell was an icon in the dance world—as well as a touchstone in popular culture. Not only did he break boundaries at New York City Ballet, where he performed under Balanchine as a black male principal, but he also went on to co-found Dance Theatre of Harlem. But his international acclaim wasn't limited to the stage: Mitchell and DTH were featured in a special 1987 episode of of "Mister Rogers Neighborhood," bringing ballet into living rooms across America.

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Mandy Moore—The Dance Awards

Don't be afraid to be forward, suggests Moore. Photo by Lee Cherry, courtesy Moore

"When you talk to a judge, never ask, 'I did my solo to this song—what did you think?' Putting a judge on the spot can be awkward, and will do a disservice to your greeting. Introduce yourself and say thanks. If you have more questions than I can answer in a quick conversation, you can always ask how you can contact me. I tend to remember dancers who are forward in a professional, mature way."

Monique Meunier—Youth America Grand Prix

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"If you've just taken class with one of the judges, ask for constructive criticism or for clarification on a correction. You can also ask us for career or training advice: 'I'm applying to universities; can you tell me about the program where you teach?' One pet peeve of mine is older dancers who come up to me with their parents or teachers. As a teen, you should be able to speak for yourself."

Chloe Arnold—New York City Dance Alliance

Ask an informed question, suggests Arnold. Photo by Lee Gumbs, courtesy Sillar Management

"If you get a chance to take class with your judges, prioritize your training. Class is where mentor bonds are built, and after class tends to be the best time to network. One thing that will make an artist take notice is when you ask an informed question that shows you've been paying attention to their career and their work."

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Former New York City Ballet principal dancer and Dance Theatre of Harlem founder Arthur Mitchell passed away today in a Manhattan hospital. He was 84 years old.

Mitchell originated the role of Puck in Balanchine's A Midsummer Night's Dream. Photo by Oleaga Photography, Courtesy DM Archives

As a leading dancer with NYCB in the 1950s and '60s, Mitchell became indelibly associated with two roles created on him by George Balanchine: the central pas de deux in Agon (1957) and Puck in A Midsummer Night's Dream (1962). Mitchell's performance of the athletic, entwining Agon pas de deux with Diana Adams—a white woman—caused a major stir during a moment in which America was rife with racial tension.

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Why Dancers Are Freezing Their Way to A Faster Recovery

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Dancers are known for going to great lengths to prepare their bodies to perform at their best. But the latest recovery trend that dancers—and star athletes from Kobe Bryant to Floyd Mayweather Jr.—are using is perhaps the most extreme treatment yet.

Whole-body cryotherapy (as opposed to other forms of cryotherapy, such as an ice bath or an ice pack) is said to significantly speed up recovery time by immersing the body in a chamber of very cold air. Once only available in fancy professional sports locker rooms, there are now over 700 whole-body cryotherapy locations across the country.

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Tucked into a recent article in The New York Times about an upcoming schedule-change at the Metropolitan Opera, was a small bombshell: To accommodate the opera's plans, American Ballet Theatre, with whom it shares the house, will "reduce its Met season to five weeks from the current eight" starting in 2021. The news was dropped casually, practically as an aside.

Maybe it shouldn't come as such a surprise. No regular ABT attendee can have failed to notice that, in recent seasons, there have been performances that were significantly under-sold. This happened even in the case of enduringly popular works like Giselle. Only Misty Copeland or the occasional visitor—Natalia Osipova, say—can fill that cavernous, almost 4,000-seat monolith.

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Most people assume that for dancers to be successful, they have to be extroverts who feed off of constant attention. They figure that introverts don't enjoy being in the spotlight.

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Joe Lanteri Tapped To Help Lead Steps on Broadway

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"For me, it's a big full circle," says Lanteri, who used to take class at Steps when he first moved to New York City, and started teaching there in the mid-1980s. The 4:30 p.m. Tuesday/Thursday Advanced Intermediate Jazz slot he held down for many years taught a slew of young talent—including choreographers-to-be like Jessica Lang and Sergio Trujillo. "As a young teacher, Steps was a platform for me to travel the world giving master classes; it became the underlying foundation for what I'm doing now in my life."

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Donald Byrd and Beth Corning share the stage for What's Missing? Photo by Frank Walsh, Courtesy Corning.

When I was approached to write on ageism in dance, I have to admit that after the initial honor of the invite, I suddenly felt old.

I guess I fit the "qualifications" to write this. I'm 63. I've been professionally dancing and choreographing for some 40-plus years, and, in the process, have accumulated a certain amount of perspective on the field. After 20 years running Corning Dances & Company, in 2000 I suddenly looked up and realized I was 10 to 20 years older than my company members. The layers of nuance I was craving were not there; their albeit lithe bodies understandably lacked a base of worldly experience and expression. I couldn't present the kind of movement or conversation I wanted onstage.

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Letter To The Editor: "Thank You For Starting Discussions That Will Bring Change"

Photo via Andrew Seaman/Unsplash

Dear Dance Magazine,

Thank you for demonstrating a commitment to transparency and evolution during this divisive time in our country. Over the past few years I have seen the Dance Magazine content reflect increased awareness about the value of inclusion and diversity in U.S. culture. It also has highlighted the need for the dance industry culture to self-examine and pursue constant revisions (just as dancers themselves do).

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Ramasar and Catazaro, photos via Instagram

New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)

The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:

"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."

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Natasha Sheehan says competing gave her a crack at rep beyond her rank. Photo by Erik Tomasson, courtesy SFB

As a student, Katherine Barkman competed in several prestigious ballet competitions, and even won first place at the Youth America Grand Prix in Philadelphia. But at age 21, already a guest principal dancer with Ballet Manila, she decided to return to the competition stage as a professional. She found herself humbled by an experience at the 2017 Moscow International Ballet Competition.

"I was pretty intimidated, thinking, This is the big leagues, this is the Bolshoi Theatre," says Barkman, who was eliminated after the first round. "You are not just judged on how good you are for your age."

Competitions have long had a place in the training of young dancers, allowing them more opportunities to perform and learn under pressure. But even after you've secured a company contract, there are myriad benefits to putting yourself in front of judges.

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