You've probably heard about the documentary Ballet 422, which is in theaters February 6. The film is directed by Jody Lee Lipes, and chronicles the making of New York City Ballet's 422nd world premiere: Justin Peck's Paz de la Jolla.
DanceMedia is accepting applications through March 1 for summer interns (June-August) to work on Dance Magazine, Pointe, and Dance Spirit. All internships are unpaid, and require a minimum two-day-a-week, onsite commitment. We do not accept high school students.
Black History Month is right around the corner, and to kick it off, Philadelphia and New York-based company Dance Iquail is holding a free panel discussion on February 2 at 6:30 pm, at NYC's Riverside Theatre.
Not only is Julia Erickson a principal dancer at Pittsburgh Ballet Theatre, but she's also the co-founder of Barre: A Real Food Bar--a company that makes healthy energy bars. It's safe to say she knows a thing or two about finding balance in a busy life.
When you're reaching for an orange in the morning before rehearsal, is it better to grab a piece of whole fruit or drink a glass of juice? The answer you may be used to hearing isfruit, since the juice has less of its beneficial fiber and is higher in sugar.
If we saw Mikhail Baryshnikov dressed in a suit and chewing gum, we wouldn’t expect to be watching from the seats of a theater. But as he moves across the stage with his arms swaying in a confident swagger, he captures our attention as a different sort of character. As in many classical ballets, he and his partner, former American Ballet Theatre soloist Elaine Kudo, are telling a story. Except now, Baryshnikov is a foil to Princes Siegfried or Charmant—he almost cares less about his partner. But don’t be fooled!
From February 10–14, former American Ballet Theatre principal—and current BalletNext artistic director and founder—Michele Wiles will share the stage with Jay Donn, a street dance star specializing in the style of Flex and its sub-style, Punchlines. Their collaboration has resulted in Something Sampled, and is one of three pieces to be performed at BalletNext's spring season, Baroque'd, at New York Live Arts.