New York City Ballet's Mira Nadon as the Courage Fairy in The Sleeping Beauty. Erin Baiano, Courtesy NYCB.

2019 Stars of the Corps: 10 Young Dancers That Stand Out in a Crowd

Here are 10 corps de ballet dancers we're swooning over. Click their names and photos to learn more!


Courtney Lavine, American Ballet Theatre

Courtney Lavine in Marcelo Gomes' AfterEffect. Rosalie O'Connor, Courtesy ABT.

Sage Humphries, Boston Ballet

From left: Sage Humphries and Lauren Herfindahl in John Cranko's Romeo and Juliet. Liza Voll, Courtesy Boston Ballet.


Mira Nadon, New York City Ballet

Mira Nadon in A Midsummer Night's Dream. Erin Baiano, Courtesy NYCB.

Christopher D'Ariano, Pacific Northwest Ballet

Christopher D'Ariano with PNB soloist Leah Merchant in Robyn Mineko Williams' The Trees The Trees. Angela Sterling, Courtesy PNB.

Tommie Kesten, Pittsburgh Ballet Theatre

Tommie Kesten in The Sleeping Beauty with Lucius Kirst. Rich Sofranko, Courtesy Pittsburgh Ballet Theatre.

Edson Barbosa, The Joffrey Ballet

Edson Barbosa in Swan Lake. Cheryl Mann, Courtesy The Joffrey Ballet.

Mayumi Enokibara, Miami City Ballet

Mayumi Enokibara in Miami City Ballet's production of George Balanchine's The Nutcracker. Alexander Iziliaev, Courtesy MCB.

Adelaide Clauss, The Washington Ballet

Adelaide Clauss and Tamás Krizsa perform Swan Lake's Act II pas de deux. Gene Witkowski, Courtesy The Washington Ballet.

Jasmine Jimison, San Francisco Ballet

Jasmine Jimison as the Fairy of Playfulness in The Sleeping Beauty. Erik Tomasson, Courtesy SFB.

Yuria Isaka, Staatsballett Berlin

Yan Revazov, Courtesy Staatsballett Berlin.

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Courtesy Dance Theatre of Harlem

Cicely Tyson and the Enduring Legacy of Arthur Mitchell’s Dance Theatre of Harlem

Cicely Tyson, the legendary 96-year-old Black actress whose February 16 funeral at Harlem's Abyssinian Baptist Church was attended by, among others, Tyler Perry, Lenny Kravitz, and Bill and Hillary Clinton, is remembered for performances that transcended stereotypes and made an indelible impression on a nation's heart and soul.

Among the most fondly remembered is her breakout role in the 1972 movie Sounder, which depicts a Black sharecropper family's struggle to survive in the Jim Crow South. The role catapulted Tyson to stardom, winning her an Academy Award nomination and a reputation as someone committed to enhancing Blacks' representation in the arts. Throughout a seven-decade career, countless critically acclaimed, award-winning roles in films, onstage and on television reaffirmed that image. Yet one role reflecting the depth of that commitment is much less visible—the supporting one she played working with longtime friend Arthur Mitchell when he envisioned, shaped and established the groundbreaking Dance Theatre of Harlem.

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As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands

As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.

It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.

Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.

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Artists of the Australian Ballet perform the "Kingdom of the Shades" from La Bayadère. Lynette Wills, Courtesy Australian Ballet.

Catch the Australian Ballet’s Livestreamed Season Premiere This Weekend

After a yearlong hiatus, the Australian Ballet is ready to return to the stage. The company's season opener, titled Summertime at the Ballet, packs a great deal of firsts: It marks the ballet's first performance before a live audience since the start of the pandemic; the first time the company takes the stage under the leadership of its new artistic director, David Hallberg; and the first time Australian Ballet performs at the Melbourne & Olympic Parks Margaret Court Arena. Another important first: The performance will be livestreamed not only in Australia but all over the world. Summertime at the Ballet will be broadcast February 28 at 11:45 am AEDT (that's 7:45 pm EST on February 27 here in the U.S.), with bonus features, such as interviews and commentary. It will be accessible for 48 hours to accommodate all time zones.

This livestream will be provided via the Australian Ballet's newly launched digital platform, Live on Ballet TV. "One of my main goals is for the company to be seen by as many people around the world as possible," says Hallberg, the American-born international star who took the helm at the Australian Ballet in January. "Which is why Live on Ballet TV is such an integral part of my vision artistically."

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