Our June/July Cover Is Making Waves

Since Pointe previewed its June/July cover at a special event last week at Brooklyn’s MoCADA Museum, the internet has been abuzz. The Huffington Post, The Washington Post and Jezebel have all picked it up. Not to boast, but the image says it all: The three cover ballerinas—Dance Theatre of Harlem’s Ashley Murphy, Cedar Lake Contemporary Ballet’s Ebony Williams and American Ballet Theatre’s Misty Copeland—face the camera, making it clear by sheer beauty, strength and presence that the time to address ballet’s diversity problem is now. Inside, the dancers speak frankly about how race has intersected with their careers. “To a certain extent, race affects us all,” Murphy told writer Alicia Graf Mack, “whether we are willing to admit it or not.” The issue also takes a close look at what companies are doing to develop and recruit dancers of color, and salutes some of the greatest achievements in diversity—so far—in an exclusive vintage photo essay with rare images from our archives.

 

If you are not a subscriber, click here to pre-order your copy. If you are, the issue mails on May 13, and is well worth the wait.

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.

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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.

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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.

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