Whitney Ingram

Revisiting Julie Kent's Dance Bag, 20 Years Later

Julie Kent was our very first Show & Tell when Pointe magazine launched in spring of 2000. Then a principal with American Ballet Theatre, Kent carried a second bag entirely dedicated to her pointe shoes. Twenty years later, she is now the artistic director of The Washington Ballet, and no longer needs to tote her pointe shoes. "For 40 years they were like a part of my body," says Kent. "And now they're not part of the landscape until my daughter's old enough to go on pointe." Nevertheless, Kent's current role keeps her in the studio. She always carries practice clothes and ballet slippers for teaching and rehearsals.


The contents of Julie Kent's dance bag, laid out geometrically on a dance studio floor

Whitney Ingram

Kent's dance bag is a reflection of the way she balances her professional and personal lives. Notebooks and sample TWB merchandise brush up against her daughter's ballet slippers and a program from her son's recent Episcopal confirmation. "I'm not only no longer a professional performer, but I'm a mother of two people that are old enough to have very busy lives," says Kent. "And I have the responsibility of a huge organization. That expands the spectrum of things that are in your bag!"

The Goods

Julia Kent in a red sweater, jeans and tiger print boots poses in a dance studio behind the contents of her bag. Photo is taken from above.

Whitney Ingram

Clockwise from top left: Reading glasses, wallet, iPhone, Tod's makeup bag, sunglasses and case, Tod's bag ("This was a gift from Anya Cole, the founder of Hania New York. She's like my fairy godmother, and I've been her brand ambassador for years"), Aquaphor lotion, Nutcracker badge for backstage access, choreographic notebook, Degas exhibit papers ("The National Gallery recently opened a big exhibit on Degas, and I recorded part of the oral description for the listening devices"), Nutcracker playbill, reading glasses, good-luck charms ("Friedemann Vogel from the Stuttgart Ballet gave me the four-leaf clover before I won the Benois de la Danse in 2000, and I've carried it with me ever since"), business-card holder, Sansha ballet slippers, Japanese fan, 10-year-old daughter Josephine's Capezio ballet slippers, perfume, legwarmers ("TWB dancer Brittany Stone knit me these. She knows I like ballerina pink"), gold necklaces ("Marcelo Gomes gave these to me for my farewell at ABT. They have my children's initials, and I wear them all the time"), pocket mirror, TWB sample scarf, waste bags for dog Winky, wrap skirt ("Gemma Bond made that for me many years ago").

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Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names and photos to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami CIty Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

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Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

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