New York City Ballet has created a charming video trailer for their Spring HERE/NOW season, a festival of works created for the company over the past several decades. It's a great complement to the Royal Ballet videos (check them out at the bottom of the post!) detailing how ballet has evolved over the past 200 years or so. And, as I wrote in March, ballet trailers are getting more and more beautiful.


Ballet historians might notice that the female characters from Nijinsky's L'après midi d'un Faune are wearing pointe shoes. In the actual version, the female characters are in sandals. Also, the dancers representing the romantic, early-1800s era of ballet give themselves away with distinctive "Balanchine" hands. The trailer is more "New York City Ballet does dance history," and less an historical reenactment.

On a slightly more sour note, I can't help but notice that the hyper-sexualized role of the Faun is given to one of the company's few African-American men, Christopher Grant, while the elegant Prince Siegfried is danced by a white man, principal Ask la Cour. Both are principal roles, requiring different kinds of virtuosity, and either dancer might be better suited for either role. It's hard not to wonder whether unconscious perceptions influenced casting.

In the same vein, corps member Olivia Boisson has been getting a lot of air time lately, what with this trailer and the company's partnership with PUMA. Yet her stage time has not appeared to keep pace, at least not in featured roles. With all the talk about racial diversity in ballet, companies might feel pressure to make cosmetic changes to their most outward-facing media outlets (like YouTube videos) and feature their dancers of color—while not featuring them onstage. Let's hope that Boisson's prominence and Grant's moment in a principal role are good signs for the Spring season.

Watch the Royal Ballet videos below:

For more news on all things ballet, don't miss a single issue.

Ballet Careers
Sisters Isabella Shaker and Alexandra Pullen. Photo Courtesy Alexandra Pullen.

This is the second in a series of articles this month about ballet siblings.

My mom was in the corps de ballet at American Ballet Theatre. A generation later, so was I. As if that's not enough for one family, my younger sister Isabella Shaker dreams of following in our dancing footsteps. Her endeavor, and her status as somewhat of a child prodigy, stirs feelings of pride and apprehension within me, since I have lived through the ups and downs of this intense yet rewarding career.

Ballet will always be my first love and the thing that brings me the most joy, and my dance career has opened endless opportunities for me. However, it's a difficult career path that requires a lifelong dedication. It's super competitive and can lead to body image issues, physical injury and stress. Most dancers will face some of these problems; I definitely dealt with all three.

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Ballet Stars
Photo by Gabriel Davalos, Courtesy Valdés

For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.

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Ballet Stars
Photo by Jayme Thornton

It's National Bullying Prevention Month—and Houston Ballet breakout star Harper Watters is exactly the advocate young dancers facing bullying need. Watters is no novice when it comes to slaying on social media, but his Bullying Prevention Month collaboration with Teen Vogue and Instagram is him at his most raw, speaking about his own experiences with bullies, and how his love of dance helped him to overcome adversity. Watters even penned an incredible op-ed for Teen Vogue's website, where he talks candidly about growing up queer. Catch his amazing anti-bullying video here—and, as Watters says, "Stay fabulous, stay flawless, stay flexible, but most importantly, stay fearless."

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News
Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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