Category: dance

Lauren Lovette, whose “Not Our Fate” for New York City Ballet featured a pas de deux for two men, says she’s proud to be a part of this ballet-world conversation. “A lot of times, we talk about things but we don’t actually do them. … We’ll post on social media, but when you actually make art that represents what you’re trying to say, you’re a part of the action.”

With input from three choreographer-dance scholars, fine art journalist Natalie Cenci answers the questions “What is contemporary dance?” (and how does it differ between the U.S. and Europe), “How does contemporary dance differ from performance art?”, and how a beginner should approach watching the genre.

The inquiry, done by attorneys hired by the company and its school, into allegations of sexual harassment, bullying, and physical abuse that led the longtime chief of City Ballet to retire reportedly found no verification for the accusations. However, several former dancers, including some interviewed by the attorneys, argue that the entire exercise was meant more to “whitewash” the case than to find the truth.

“How does someone go from a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.”

Why have even senior City Ballet dancers been deprived for so long of interpretive wisdom about this (and many other) Balanchine ballets? When Peter Martins was ballet master in chief (1983-2018), Ms. McBride was among the many creators of Balanchine roles who — as if in exile — were seldom if ever invited to coach their roles at City Ballet. Mr. Martins retired under pressure on Jan. 1 after allegations of physical and sexual harassment. Over the decades, no single feature of his artistic policy has caused more grievance than this disinclination to bring in Balanchine alumni.

Jawole Willa Jo Zollar: “Space is the hardest part about being an artist today. There are times when we’re in a different space every day and that’s hard on the creative process. Apply for those residencies – they’ve become modern dance gold.” (video)

“Akram Khan’s much talked-about reworking of Giselle, created for English National Ballet in 2016, will come to the United States next year, the company’s first trip across the Atlantic in 30 years. The Harris Theater in Chicago will present English National Ballet in four performances of Mr. Khan’s work, Feb. 28 to March 2, 2019.”

“Rumours of bad human relations and plummeting morale had been circulating for years, seemingly validated by a staggeringly high turnover of staff year after year. … Fifteen dancers left the company last summer alone. And yet the Times report was the first time allegations of unacceptable managerial conduct in the company came out into the open. … Why have people with compelling stories to tell not spoken out before? Or sought redress in-house? We talked to twelve ENB dancers past and present, as well as support staff, and had sight of relevant documents. And the answer we consistently got was ‘fear.'”

As Michael Cooper reports, City Ballet has “no intention of editing him out of the company’s history, the way Kevin Spacey was cut out of the film All the Money in the World after he was accused of misconduct. The Martins ballets remain important to the ticket sales and continuing the company’s fortunes.” Even so, there are occasional moments in his choreography that now look, well, problematic …

Graham Spicer talks to Bocca about why he’s leaving and what he achieved, and to Igor Yebra, the incoming director, and Franceco Ventriglia (who recently
departed the Royal New Zealand Ballet), the new adjunct artistic director.