A native of Lafayette, Louisiana, Courtney danced with Lafayette Ballet Theatre before matriculating to New York University. After spending her freshman year in London, she moved to New York to attend NYU Tisch School of the Arts, where she recently graduated with a BFA in Dance. Courtney began contributing to Dance Magazine during her senior year. She has performed in works by Karole Armitage, Netta Yerushalmy, Septime Webre, Vita Osojnik, Cherylyn Lavagnino, Giada Ferrone and Fairul Zahid, among others. She continues to take class, create and perform in the city.
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.
Youth America Grand Prix, the world's largest student ballet competition, is coming up on the end of its 20th-anniversary season. As aspiring pre-professionals gear up for this year's New York Finals, we're taking a look at a handful of YAGP participants who are already generating major buzz.
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Sometimes we find absolute gems in the DM Archives. And sometimes we find things that are so bizarre we couldn't have made them up if we tried. Take, for example, the opening lines of an article that appeared in the December 1944 issue of Dance Magazine:
Leave it to Lin-Manuel Miranda to liven up the 9-9 by letting loose.
To say that we're excited about "Fosse/Verdon" might be understating things a bit. The new limited series charting the romantic and creative partnership of Bob Fosse (played by Sam Rockwell) and Gwen Verdon (Michelle Williams) was announced last summer. And, with Bob and Gwen's daughter Nicole Fosse on board as co-executive producer and creative consultant, alongside most of the Hamilton dream team (with Andy Blankenbuehler on choreography), we've had high hopes for its verisimilitude.
You might still be thinking wistfully of the figure skating choreography at the 2018 Winter Olympics or already looking forward to the gymnastics competition at next summer's games, but we're officially marking our calendars for Paris 2024. Why? There's an excellent chance that break dancing will make its Olympic debut.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
Raise your hand if you've ever gotten sucked down an informational rabbit hole on the internet. (Come on, we know it's not just us.) Now, allow us to direct you to this new project from Google Arts & Culture. To celebrate Black History Month, they've put together a newly curated collection of images, videos and stories that spotlights black history and culture in America specifically through the lens of dance—and it's pretty much our new favorite way to pass the time online.
In the February 1969 issue of Dance Magazine, we talked to Bob Fosse about taking Sweet Charity from stage to screen. Though he already had a string of Tony Awards for Best Choreography and had spent plenty of time on film sets as a choreographer, this adaptation marked his first time sitting in the director's chair for a motion picture.
"When I started out, I wanted to be a Fred Astaire," he told us, "and after that a Jerome Robbins. But then I realized there was always somebody a dancer or choreographer had to take orders from. So I decided I wanted to become a director, namely a George Abbott. But as I got older I dropped the hero-worship thing. I didn't want to emulate anyone. Just wanted to do the things I was capable of doing—and have some fun doing them. By this time I'm glad I didn't turn out to be an Astaire, a Robbins or an Abbott." He would go on to become an Academy Award–winning director, indelibly changing musical theater in the process.
Summer might seem impossibly far away (especially with so much of the U.S. still in the throes of the latest polar vortex), but it's almost too late to win a chance for your choreography to appear at Jacob's Pillow Dance Festival this August.
The submission period for the Pillow's third-annual Chance to Dance contest closes next Friday, February 8. Choreographers can submit a video of their work, up to three minutes in length, to be considered. The public will have a chance to vote for the six semi-finalists selected by the Pillow via PillowTV (aka the Pillow's YouTube channel) March 18–24.
If you love Michael Jackson, you'll love this news: A pre-Broadway run of the MJ jukebox musical will hit Chicago this fall.
Don't Stop 'Til You Get Enough boasts more than 25 MJ hits and has set its premiere for October 29. As previously reported, Christopher Wheeldon will direct and choreograph the new musical, while Lynn Nottage pens the book.
Dance artists, as a rule, are a resilient bunch. But working in a studio in New York City without heat or electricity in the middle of winter? That's not just crazy; it's unhealthy, and too much to ask of anyone.
Unfortunately, Brooklyn Studios for Dance hasn't had heat since mid-November, making it impossible for classes or performances to take place in the community-oriented center.
So what's a studio to do? Throw a massive dance party, of course.
The cover star of the January 1974 issue of Dance Magazine was beloved Italian ballerina Carla Fracci. She was adored by ballet fans in the U.S. for her guest appearances with American Ballet Theatre, and a bona fide celebrity in her hometown of Milan. But she nevertheless made time for her director husband and their young son, who often accompanied her on tour. "I don't like to be only ballerina," she told us. "I say: the dance—all right. I like it. I like my work, and I do the best that I can. But it is not 'all' for me...Most dancers are closed, in a way, because it takes so much to dance, the physique is under so much stress, that often they are too tired, even to read, or to go to the theaters, the museums, to hear music, to be with people. But you can't be a dancer without these things...You can't just close your eyes and go to the barre. You get lost in this obsession with the barre and toe shoes. Your life can be destroyed that way."
By now, you've probably gotten to know our latest "25 to Watch" picks. We're expecting great things from them in the year to come, but what do they have in mind for 2019? For a little New Year's inspiration, we asked a few of them to share the resolutions they'll be carrying into next year.
When Rambert, the United Kingdom's oldest professional dance company, announced Wednesday that Benoit Swan Pouffer had been appointed artistic director, it was hardly surprising news. Since April, two months after Mark Baldwin stepped away from Rambert after a 15-year tenure at its head, Pouffer has served as guest artistic director. That initial appointment was in and of itself a somewhat unexpected move, but the company had already brought the choreographer into the fold with a commission for its newly-formed junior company, Rambert2.