It was humbling listening to audience members remark upon the beauty and pure joy of seeing a stage filled with artists of color, responding to a shared sense of knowing, especially Ailey's work, Cry, dedicated in the program to 'all Black women everywhere - especially our mothers.
Oz Arts Nashville presented New Dialect with the return of choreographer and Artistic Director Banning Bouldin's The Triangle and the world premiere of Rosie Herrera's First Fruit on Thursday, February 20 at 8pm.
Nashville Ballet's Artistic Director, Paul Vasterling, approached the company's annual Attitude series - Other Voices - with questions on gender: what does it mean to be a man, what does it mean to be a woman, what does it mean to be both, and what does it mean to be neither? Vasterling commissioned
Individually, Beiser and Whelan captivated - Whelan walking contemplatively across the stage, Beiser seated in a power stance, limbs enfolding her cello.
Whelan finds the yin and yang in their performance chemistry, saying, 'we're very opposite in nature, which creates balance.
Artistic Director Paul Vasterling has set Nashville's Nutcracker with the Nashville Symphony at the 1897 Tennessee Centennial Exposition.
I last saw Duo Concertant in 2017, for former New York City Ballet dancer Robbie Fairchild's retirement.
With recent events related to the #metoo movement within the dance world, notably at New York City Ballet (NYCB), the voice of women in a setting such as this felt sacred.
A dancer's dancer, when asked about how the work is connected to her greater body of choreography, she said her “focus is on what comes naturally; I never want the dancers to stop themselves.
ichmond Ballet's decade-long running New Works Festival included pieces by Francesca Harper, Tom Mattingly, Mariana Oliveira, and Bradley Shelver.
Dee Perry's narration required the dancers to move beyond the rhythm of the music (an original score by Jeremy Allen) in relationship to her voice.
In a first experience observing the company, overall they were most effective as turners rather than jumpers, with masterful articulation of their legs and torsos.
Nashville Ballet dancers took to the aisles of the Tennessee Performing Arts Center's Polk Theater for Lizzie Borden with The Raven, Thursday, October 26th.
'We're the lucky ones,' said Central Pennsylvania Youth Ballet (CPYB) CEO Nicholas Ade as he introduced the company's 60th Anniversary Celebration at the Sunoco Theater in the Whitaker Center for Science and the Arts in Harrisburg on June 25th, 2016.
Corella's recent directive choices brought levity; Laura Bowman took her final bow and the program noted other retirements.
With over fifty presenters, conference attendees engaged in a vibrant discourse on ballet structure, technique(s), and form; race; gender; and, sustainability at New York University's Center for Ballet and the Arts and Barnard College, Columbia University.
American Ballet Theatre's 75th anniversary spring season honored the legacy of the company's seasoned dancers and showcased its younger ranks.
Hear the Dance:Russia, covered forty years of Balanchine accompanied by Stravinsky's music from his Apollo, created in 1928 for Diaghilev's Ballet Russes, to 1957's Agon, to two works from 1972, Duo Concertant and Symphony in Three Movements.
In addition to being an incredible highlight of YAGP's work, what other night can one see the best of the best and the best to be on one stage? From quivering port de bras of an eager eleven year old to the stoic grace of Paloma Herrera, YAGP proudly endorsed its place in supporting generations of
Known for his contemporary, abstract choreography, Wheeldon's recent projects ventured towards epic storytelling, as with Cinderella, Alice's Adventures in Wonderland, and The Winter's Tale.
.jpg?format=auto&width=300)
