Want To Reach New Audiences For Your Contemporary Dance? Stop Using Arty, Abstruse Titles

Lyndsey Winship, citing such examples as Siobhan Davies’s’ material/rearranged/to/be and Sidi Larbi Cherkaoui’s Babel(words) and m¡longa: “It’s the choreographer’s prerogative, of course, but in an art form that already feels distant and unreadable to some audiences, being wilfully abstruse in your labelling doesn’t exactly help. … It can feel as though artists are attempting to prove their cleverness and exclusivity when jargon actually functions as a barrier rather than an invitation.”

Bolshoi Prima Ballerina On How It Feels To Dance The Dual Lead In ‘Swan Lake’

Svetlana Zakharova: “This ballet is so difficult, not just technically, but also on an emotional level. It’s so complex. You need to be 100 percent sure that you have the full technique, that you will be interesting to the audience, that during the White Adagio, people won’t be able to tear their eyes away from you.” (includes video)

Rehearse, Ice Feet, Repeat: A Week In The Life Of A New York City Ballet Corps Dancer

“With apologies to James Brown, the hardest working people in show business may well be ballet dancers. And at New York City Ballet, none work harder than the dancers in its lowest rank, the corps de ballet.” Michael Cooper spent six days shadowing one corps member, and he found even that “exhausting.” (includes video)