Jennifer has worked on Dance Magazine since graduating from New York University's Tisch School of the Arts with a BFA in dance and journalism. A former senior editor of Pointe, she has also written for The Atlantic, Runner's World and other publications. As a dancer, she performed with California's Peninsula Ballet Theatre, Israeli choreographer Gali Hod and for Cirque du Soleil's 25th-anniversary celebration.
The pair, who go by the joint nickname "The Cindies," have teamed up with the morning talk show "Live with Kelly and Ryan" to try to dance into the record books on live TV. They're inviting anyone who can dance on pointe to join them outside the "Live" studio in New York City on Tuesday, September 10.
Kevin Joseph (center) during Bike East. Photo by Ian Lyn Photography, Courtesy Purelements
What does cycling have to do with dancing?
For Purelements: An Evolution in Dance co-founder Kevin Joseph, it's all about freedom: "That freedom of moving through space on a bike is the same freedom I feel when I'm dancing," he says. And that sense of freedom—whether it's in the studio or in the streets—is something that Purelements is determined to give to its East Brooklyn community.
Boren teaching a class for an Equinox event. Photo by Will Mayer for Better Half Productions, Courtesy ABT
We all know that personal trainers can help dancers condition their bodies more effectively. But trainers who are also dancers themselves? Now that's a uniquely valuable perspective.
Take Kathyrn Boren, an American Ballet Theatre corps member who got certified by the National Academy of Sports Medicine last summer, following in the footsteps of her colleagues Thomas Forster and Roman Zhurbin. Her weekly Conditioning for Dancers classes in New York City are filled with everyone from athletic men to older women (including one ABT donor who's attended every single time). But those who might get the most out of her workouts are the dance students who attend. They walk away withexercises and advice tailored for their particular challenges—coming from someone who knows those challenges intimately.
Boren recently spoke with Dance Magazine to share her best cross-training advice for dancers looking to improve their fitness.
The Rockettes are getting ready for a growth spurt, and that starts with a newly-created job: artistic director.
While the iconic precision dance troupe has of course always had artistic leaders for each of its shows, its parent organization, Madison Square Garden Company, is now looking to hire someone to oversee the artistic vision of all of the Rockettes' year-round programming. That includes workshops, outreach activities and, intriguingly, new productions.
Perfect turnout may be the Holy Grail of ballet technique: It's that forever elusive treasure we all seek but never seem to find.
No matter how much rotation you currently have, you could likely find more—if you use the right strategies. We dug into the Dance Magazine archives to round up our best tips from master teachers and dance medicine experts to help you reach your maximum turnout potential.
Sassy Gregson-Williams launched Naturally Sassy while still a ballet student. Photo courtesy Sarah Hall Productions
Some dancers call them "fake" ballerinas. Some resent their lack of serious stage credentials to back up their success. Some feel their accounts are deceitful, since regular people who don't know the difference between a great dancer and a great dance model.
But most ballet influencers aren't out to trick anyone. They're simply finding a new way to keep ballet in their lives.
Pacific Northwest Ballet principals Rachel Foster and Jonathan Porretta took their final curtain call on June 9, 2019. Photo by Lindsay Thomas, Courtesy PNB
We all know dance careers are temporary. But this season, it feels like we're saying goodbye to more stars than usual.
Many have turned to social media to share their last curtain calls, thoughts on what it feels like to say farewell to performing, and insights into the ways that dancing has made them who they are. After years of dedicating your life to the studio and stage, the decision to stop dancing is always an emotional one. Each dancer handles it in their own way—whether that means cheekily admitting to having an existential crisis, or simply leaving with no regrets about what you did for love.
We will miss these dancers' performances, but can't wait to see what awaits each in their next chapters.
Tony Testa leads a rehearsal during his USC New Movement Residency. Photo by Mary Mallaney/Courtesy USC
The massive scale of choreographing an Olympic opening ceremony really has no equivalent. The hundreds of performers, the deeply historic rituals and the worldwide audience and significance make it a project like no other.
Just consider the timeline: For most live TV events like award shows, choreographers usually take a month or two to put everything together. For the Olympics, the process can take up to four years.
But this kind of challenge is exactly what Los Angeles choreographer Tony Testa is looking for. He's currently creating a submission to throw his hat in the ring to choreograph for Beijing's 2022 Winter Games.
Although she choreographed on early seasons of "So You Think You Can Dance," Laurieann Gibson hasn't watched the show all that much in the past decade. But when she got the call asking her to be a judge this season, she didn't hesitate to say yes.
"To be able to inspire a younger version of myself, I was like, Sign me up!" she says. (And then she promptly did her homework, catching up on all the episodes from the past couple of years.)
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artisticdirector David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.