Ezra Hurwitz's New Film Asks Miami City Ballet Dancers Why They Dance

In his new film Why We Dance, director Ezra Hurwitz helps us understand what it looks and feels like for members of Miami City Ballet as they prepare for a performance. The film's detailed shots of hands and feet, and its intimate behind-the-scenes footage, feels like an invisibility cloak that allows you to slip backstage. The propulsive score gives a sense of energy and excitement that builds throughout the day and culminates as the curtain rises, revealing the dancers onstage in Justin Peck's Heatscape and George Balanchine's Bourrée Fantasque.

Created for the company's 30th anniversary season, Why We Dance also includes voiceovers of company members as they reflect on their art. As one dancer says, "We care so much about what we do here and being the best that we can be—collectively and individually." If a ballet company could be summed up in a sentence, I think that's getting pretty darn close.

As with his previous films, Hurwitz draws from his experience as a former member of MCB and uses his dancer's sensibility to create something beautiful. We've loved all his films so far, and can't wait to see what's next!

Latest Posts


Maria Kochetkova. Darian Volkova, Courtesy Kochetkova

Maria Kochetkova on How COVID-19 Affected Her Freelance Career, and Her New Home at Finnish National Ballet

When international star Maria Kochetkova embarked on a freelance career three years ago, she never envisioned how a global pandemic would affect it. In 2018, the Russian-born ballerina left the security of San Francisco Ballet, a company she called home for more than a decade, for the globe-trotting life of a guest star. Before the pandemic, Kochetkova managed her own performing schedule and was busier than ever, enjoying artistic freedom and expanding her creative horizons. This all changed in March 2020, when she saw her booming career—and her jet-setting lifestyle—change almost overnight.

After months of uncertainty, Kochetkova landed at Finnish National Ballet, where she is a principal dancer for the 2020–21 season. Pointe spoke with her about her time during the quarantine and what helped her to get through it, her new life in Helsinki, and what keeps her busy and motivated these days.

Keep reading SHOW LESS
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.

Working Out With DTH’s Alexandra Hutchinson

Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.

Keep reading SHOW LESS
Getty Images

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.

Keep reading SHOW LESS

Editors' Picks