Journey choreographed by Diane Coburn Bruning in performance with Chamber Dance Project, featuring Luz San Miguel and Davit Hovhannisyan. Photo by Eduardo Patino.

Project-Based Company Brings Together Dancers and Musicians

Choreographer Diane Coburn Bruning has a different kind of vision for her Chamber Dance Project. Though she relocated the project-based company from New York City to Washington, DC several years ago, her focus remains on creating collaborations between classically-trained ballet dancers and other contemporary artists to share in intimate venues with live music. This summer, the artistic director brings together dancers from Cincinnati, Kansas City, Milwaukee and Washington Ballets for a condensed period of time. The company's 2017 season show titled Ballet Brass & Song opens this weekend, and features works by Jennifer Archibald, Jorge Amarante, and a world premiere by Coburn Bruning herself. We caught up with her last week to hear more about her company's mission.


What's it like to bring dancers together from so many different backgrounds for such a short period of time? Do you work with the same dancers again and again?

Yes, because I think that's where you can go deeper. That said, we brought in two new dancers this year (Kansas City Ballet's Angelina Sansone and Cincinnati Ballet's Patric Palkens). I'm hoping to expand to about 10 dancers. As a project company, it's built into the model that we're bringing people together from all different classical ballet backgrounds to work with choreographers and musicians in a very synergetic way. To me that's of great interest, and I think to the dancers too, to not be with the same people and with taped music. This is a way for dancers to explore and bust out in the summer, when they would otherwise be on layoff. We employ them in the January layoff and then in the summer layoff.


Photo Courtesy of Tim Coburn Diane Coburn Bruning

If your company uses dancers only during their layoff periods, what do you work on for the rest of the year?

We have a resident string quartet—we're not a separate company, but dancers and musicians working together. So during the year we have different evenings and events and open rehearsals with the quartet. We hire dancers during their layoffs, but we have our own musicians who we utilize throughout the year. And we have workshops where we have audience members create things on the spot, with the musicians reconstructing. Any way we can get people to get into the process is of great interest to me, because I'm a creative artist.

Your upcoming show, Ballet Brass & Song 2017, includes the world premiere of your Songs by Cole, set to the music of jazz legend Cole Porter. How did you choose to work with Porter's music?

Working with Cole Porter music is a reaction to working with a very intense and dark contemporary score by Brooklyn-based composer Bryce Desner on my last piece. I realized that for my next project I wanted to use something lighter, and use the music of the 20s and 30s. It was just a desire to go to the other side of the spectrum of my work.

Your company's mission focuses on intimate audience interactions in small venues. This is not the mission of most ballet companies. How have audiences responded?

There are a lot of people doing great work in contemporary ballet. And we do not claim to be unique. What's unique is that we work with live musicians, and our dedication is on new and contemporary work and artists, which means composers, artists, choreographers, dancers and designers. Because all work that was created was once contemporary. When Petipa created Swan Lake or Sleeping Beauty, that was contemporary art. So where's the contemporary art of our time? We don't get it by reaching backwards, we get it by moving forward and working with the artists of our time. Sometimes that leads to sublime work and sometimes not, but my commitment is to the voices of our times.

Latest Posts


Vadim Shultz, Courtesy Mariinsky Ballet

Catching Up With Maria Khoreva: The Rising Mariinsky Star on Her TV Competition Win and New Book

The coronavirus pandemic has not slowed down the Mariinsky Ballet's Maria Khoreva. Although Russia's Mariinsky Theater was closed in 2020 from March until August, the 20-year-old first soloist used the time in quarantine to her advantage. She wrote a newly published book titled Teach Me Ballet, and won Best Female Dancer on Russia's hit TV show "Grand Ballet," a competition which brings young ballet dancers from all parts of the country to the national spotlight. (This season, filmed over the summer, was broadcast on Russia's arts channel from November 4 to December 19. All seven episodes are now available on YouTube.)

Pointe spoke with Khoreva to find out more about her experience on the show, her fitness regime during quarantine and her new book.

Keep reading SHOW LESS
Karolina Kuras, Courtesy ROH

The Royal Ballet’s Yasmine Naghdi Shares Her Go-to Self-Care Ritual and Her Favorite Recipe

Royal Ballet principal Yasmine Naghdi had been gearing up to star as the Sugarplum Fairy in a December livestream performance of The Nutcracker when London went back into heavy COVID-19 restrictions. The performance was canceled, but Naghdi has been taking this current setback, and the challenges the pandemic has brought over the last 10 months, in stride. In addition to keeping up with her training, she's been taking Italian lessons virtually and preparing elaborate meals with her boyfriend ("We're both real foodies," she says). Last fall, Naghdi, who has always loved cooking, travel, design and self-care, decided to share her offstage passions with fans on her new Instagram page, @lifestyle_by_yas.

Naghdi recently talked with us about staying flexible to the UK's lockdown changes and her post-performance wellness routine, plus offered a recipe for her favorite pasta dish.

Keep reading SHOW LESS
From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

Lydia Abarca Mitchell, Arthur Mitchell's First Ballerina, Builds On Her Mentor's Legacy in Atlanta

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.


For more than 25 years, coaching at Ballethnic has been a lifeline back to Abarca Mitchell's days with DTH. She had a stellar career, both with the company and beyond, but left the stage at age 30 after an injury sustained performing in Dancin' on Broadway. Her husband's job transferred them to Atlanta, where she transitioned to a full-time job as a medical transcriptionist while raising a family. Now retired from her second career, Abarca Mitchell continues to forward Arthur Mitchell's legacy, not only through coaching but also by building community among DTH alumni and writing her memoirs—a fairy-tale story of a child who came from the Harlem public-housing projects and became a trailblazing Black ballerina.

Abarca Mitchell grew up during the 1950s and '60s, the oldest of seven in a tight-knit family. She always danced, taking cues from Hollywood figures until a fourth-grade teacher saw her talent and encouraged her to seek formal training. The family couldn't afford ballet lessons, but Abarca Mitchell earned a scholarship to attend The Juilliard School's Saturday youth program, and later the Harkness Ballet's professional training program. But for all of those ballet classes, Abarca Mitchell never had the opportunity to see or perform in a ballet production. She didn't understand the purpose behind ballet's tedious class exercises.

When the fast-growing Harkness Ballet moved its scholarship students to the June Taylor Studio on Broadway, Abarca Mitchell remembers hearing live drumming, clapping and laughter coming from the studio across the hall. It was a jazz class taught by Jaime Rogers, who'd played Loco in the West Side Story movie. Abarca Mitchell started sneaking into Rogers' classes.

When Harkness informed her that her scholarship was exclusively for ballet, Abarca Mitchell left the program. She saw no future for herself in the white-dominated ballet world, and focused on academics during her last two years of high school.

At 17, Abarca Mitchell met Arthur Mitchell. He had made history as the first Black principal dancer with New York City Ballet, which he had joined in 1955, and had just begun to shape what would become Dance Theatre of Harlem when he hired Abarca Mitchell in 1968. Within a month, she was back on pointe. Within two months, she was performing in Arthur Mitchell's Tones. "I didn't even know what ballet was until I was onstage," Abarca Mitchell says. "All of a sudden, it was my heart and soul."

Arthur Mitchell made sure his dancers saw NYCB perform, and subsequently brought Balanchine's Agon, Concerto Barocco and other NYCB works into the DTH repertoire. "Physically and emotionally, I felt the connection of jazz in Balanchine's choreography," Abarca Mitchell says. "His neoclassical style was just funky to me. I could totally relate."

For the first time, Abarca Mitchell danced with people who looked like her and shared the same aspirations, she says, with a leader who "saw us through his eyes of love and achievement."

In Abarca Mitchell's 30s, after a performing career that took her from DTH to the film version of The Wiz to Bob Fosse's Dancin' and beyond, her husband's job took their family to Atlanta. She soon connected with Gilreath and Waverly Lucas. The couple, also DTH alumni, were influenced by Arthur Mitchell's model when they founded Ballethnic, seeking to create access for dancers of all backgrounds to develop as classical dancers and perform a repertoire that represents the company's culturally diverse home city. Over time, Abarca Mitchell became a trusted advisor.

Abarca Mitchell goes in at least twice a year to coach Ballethnic's productions—such as Urban Nutcracker, set in Atlanta's historically Black Sweet Auburn neighborhood, and The Leopard Tale, which features the company's signature blend of classical pointe work with polyrhythmic dance forms of the African diaspora. These final rehearsals give Abarca Mitchell a way to fast-track the transfer of her mentor's values.

Two dancers in blue and black practice clothes and face masks, the woman in pointe shoes, pose together in a first arabesque tendu. Abarca Mitchell steps out of a mirrored pose as she adjusts the fingertips of the male dancer.

Lydia Abarca Mitchell works with Ballethnic's Calvin Gentry and Karla Tyson.

Courtesy Ballethnic Dance Company

She recalls that Arthur Mitchell taught his dancers to present themselves at their finest—to enter a room with their heads held high and shoulders back—and to dress, speak and walk with dignity and self-respect. He reminded them that they were pioneers and ambassadors for Blacks in ballet. As the company gained international stature—Abarca Mitchell was the first Black female ballerina to appear on the cover of Dance Magazine, in 1975—he insisted the dancers remain humble and in service to the greater mission. But he was also a taskmaster. "No nonsense, no excuses," Abarca Mitchell says. "There was no slack. If he was rehearsing something that you're not in, you'd better be on the side learning it."

"He didn't throw compliments around at all. You had to really kill yourself to get a smile from him." After a run-through, she says, "you didn't want to be singled out."

Abarca Mitchell takes a slightly different approach, though she doesn't compromise on the values her mentor instilled. When coaching large casts of all ages and different levels for Ballethnic, she has found ways to inspire people without tearing them down. She calls it a "tough love" approach.

"I've got to make them want to do it. I don't want to beat them into doing it," Abarca Mitchell says. "I tell them, 'You're here because you want to be, and because you auditioned and were accepted. Now, show me why I should keep you here.'"

"I tell them, 'I'm here to make sure you'll look good—you know: 'That looks fake. Let's make it look real. Think about what you're doing, so that it's not just a gesture.'"

Arthur Mitchell instilled this level of emotional honesty in his dancers, and it was key to the company's quick success. "We were bringing a thought forward," says Abarca Mitchell. "We were bringing a feeling forward, so that the audience could connect with us."

In addition to her position as rehearsal director for Ballethnic, Abarca Mitchell is today part of 152nd Street Black Ballet Legacy, a group of DTH alumni who seek to give voice to people responsible for the company's success in its early years. "It's incredible," she says, "how many people took something from DTH and applied it to their lives."

As Ballethnic prepares to co-host the International Association of Blacks in Dance Conference and Festival in January 2022, Abarca Mitchell hopes to help strengthen the network of dance companies associated with Ballethnic, such as Memphis' Collage Dance Collective. "The dream is for all of us to collaborate with each other," she says, "so that it becomes more normal to see a Black ballerina, so it's not just a token appearance."

Today's young dancers face different challenges from what Abarca Mitchell faced. She finds that they're more easily distracted, and sometimes act entitled, because they don't know or appreciate how hard earlier Black ballerinas like herself worked to clear a path for them. But what she's passing on will benefit them, whether they choose to pursue dance careers or become doctors, lawyers, professors or something else entirely. "The principles are the same," she says. "Work for what you want, and you will achieve it."

Editors' Picks