Used as a dietary supplement for centuries, honey is more than just a sweet treat. Among its natural health benefits are anti-inflammatory and antioxidant properties, and it can even fight bacteria. If you need a pick-me-up during a long day in the studio, add a spoonful of raw honey to your afternoon snack. (It's minimally processed and is more nutritious than regular honey.) Try mixing it into plain yogurt or drizzling it over fruit—the natural sugars will give you a quick energy boost. Read on to see what else honey can do.
From tiny floral accents to full-on blossom embellishments, there's a stage-worthy take on your favorite feminine pattern.
Check out this behind-the-scenes video from our tutu shoot, and then see our full array of florals for all seasons in the gallery below.
Behind the Scenes: Flower Power Tutus www.youtube.com
When the artistic director of a professional ballet company saunters into the studio during school classes, students take notice. At Pittsburgh Ballet Theatre School, however, it's not just eager pre-professional students who pay extra attention. Artistic Director Terrence S. Orr watches carefully, taking note of standout students, individual talent and, of course, who might be the right fit for the company.
Pittsburgh Ballet Theatre added six PBT School students to its roster this year, and the presence of the ubiquitous artistic director made an impact on the preparedness of those students and the decision to sign them to the company.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the"Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.
The largest performance studio at the Fernando Alonso National School of Ballet in Havana, Cuba, is packed with lower school students, seated helter-skelter around the edges of its new sprung floor. They move over to make room for photographers and visitors in town for the 26th Havana International Ballet Festival, who have come from as far away as Mexico, England and the United States. They are all at the academy, known world-wide for its rigorous adherence to a scientific methodology painstakingly developed by ballet master Fernando Alonso, because Aurora Bosch is giving a mixed-level master class to the upper school, of which she is a graduate, becoming one of its first teachers at the age of 19. Bosch, known as one of the "Four Jewels" of the Cuban National Ballet (along with Loipa Araújo, Josefina Méndez and Mirta Plá), is now based in London, but earlier this month she returned to Havana to attend and participate in the festival.
Shortly afterwards, the school's director Ramona de Saá invited me to speak with her and Bosch about the expanding focus of this distinguished school that has produced such outstanding dancers as Carlos Acosta, Lorena and Lorna Feijóo, José Manuel Carreño, and a host of others who have danced with first-rate companies the world over.
It's Monday, June 25. Armed with neck pillows, compression socks and loads of coffee, we are ready for our flight to Paris! Les Étés de la Danse, a French festival held at the beautiful La Seine Musicale theater, invited Pacific Northwest Ballet for its 2018 season. Half of the company will arrive the first week to participate in its Hommage à Jerome Robbins celebration with a handful of other companies. The rest will join the second week for a PNB-only residency.
Last month The School at Jacob's Pillow announced a major change to its historic summer ballet program, which boasts alumni at companies including American Ballet Theatre, Pennsylvania Ballet and Dutch National Ballet. This summer, rather than focusing on coaching dancers in the traditional, story-driven classical repertoire, the intensive makes the shift to contemporary ballet. Directed by former Cedar Lake Contemporary Ballet director Alexandra Damiani and BalletX co-founder Matthew Neenan, the Contemporary Ballet Program will work to engage students in the development of new work and the ever-adapting repertoire (including pointe work) it requires.
Former New York City Ballet prima and longtime Jacob's Pillow participant Wendy Whelan played a large role in the decision making process. We touched base with Whelan to hear about what went into this decision, and whether she thinks that this focus on contemporary training represents a growing trend in the ballet world.
I was applying to audition for this ballet company, and the form asked if I had a history of mental issues (i.e., eating disorders, anxiety, depression) and to give a detailed description of them and steps taken for treatment. Is this something that companies normally take into account during auditions? Moreover, are they allowed to ask this? I felt so strongly about not wanting to give that information that I decided not to apply. —Melanie
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The final moments of Giselle's second act are some of the most hauntingly beautiful in all of ballet: from the pas de deux between Giselle's betrayed spirit and the man she still loves, to the wilis' cold rejection, to Albrecht's heart-wrenching desperation as the curtain closes. The Bolshoi Ballet's late prima ballerina assoluta, Galina Ulanova, is among the most legendary interpreters of the ballet's titular role, admired around the world for her ability to utterly transform into character. Alongside her frequent partner Nikolai Fadeyechev, also a former leading dancer with the Bolshoi, their performance is an offering of sensitivity that stirs us even decades later.
Shoshana Ronsenfield's career has not followed a straight path. In a surprising move, the born-and-raised New Yorker left a burgeoning career at New York City Ballet in 2012 to study economics at Barnard College. Upon graduating, Rosenfield spent six months freelancing with companies including New Chamber Ballet and Tom Gold Dance before spending two years working in global management at Goldman Sachs (and dancing on the side).
Now Rosenfield is on to a new chapter: She's just completed a boot camp in computer coding, and is currently doing a coding teaching fellowship. But she's still dancing. This weekend, Rosenfield will appear in Tom Gold Dance's fall season at Florence Gould Hall. We caught up with Rosenfield to hear all about how she's balanced college and career and how she's learned that it is possible to do it all.
What do you enjoy more: performing or being in the studio?
Performing. My coaches understand that I'm not a studio dancer—sometimes, in the studio, it can go quite horrendously. They'll say: It's okay, we know onstage you can do it.
In reaching the top, how much was talent and how much was sweat?
A lot more sweat than talent. I've got certain attributes: long legs, nice feet. That's a blessing, but I wasn't naturally coordinated. I was called Bambi in school because I couldn't really control what I had. I was a very late developer: I got my strength together when I was maybe 27.
Earlier this summer, we followed master pointe shoe fitter Josephine Lee of the California-based The Pointe Shop as she made her on a pointe shoe fitting tour around the West Coast and California. Now she's back, this time on a 45-day tour from California to Chicago, educating students on all things pointe shoes and helping them to find their perfect fit. Lee's making stops at top ballet companies and academies across the country, interviewing school directors and chatting with professional ballerinas to find out how they customize and break in their pointe shoes. Below, check out Lee's final stop: Chicago's Joffrey Ballet. She touches base with Ashley Wheater, artistic director of the Joffrey Ballet and the Joffrey Academy of Dance.
Ashley Wheater on the Joffrey Academy of Dance youtu.be
If you follow New York City Ballet principal Sara Mearns on Instagram, you'll have noticed that for the past several months, her feed has included wedding prep pics in addition to her usual performance posts and cross-training clips. This past weekend, the big day finally arrived, and Mearns married Broadway and television choreographer Joshua Bergasse in a dreamy beach ceremony in North Carolina.
And if you were hoping Mearns' wedding day would include a bit of ballet, she didn't disappoint. Not only were some familiar NYCB faces in the bridal party and at the reception, but Mearns made sure to include a nod or two to her career. Luckily, Mearns also spent the day with Brides magazine, letting them in on the ceremony and the reception to exclusively capture all of the best moments.
Every so often, the e-retail gods conspire to save us from that weekly terror known as *~Monday~*. Today marks another one of those rare and precious moments.
We aren't sure why so many sales are happening simultaneously, but we're certainly not mad about it: Five of our favorite dancewear brands are offering pretty fun discounts right now. So gently release your plans for a productive Monday evening (who were you kidding, really?) and resolve to wind down with some online-retail therapy. (It's called #SelfCare, dancers. Look it up.)
Wonder what's going on in ballet this week? In addition to the seven performances listed below, John Neumeier's Anna Karenina makes its North American premiere at National Ballet of Canada November 10-18, and Hungarian National Ballet makes its U.S. debut with three performances at Lincoln Center's Koch Theater November 7-11.
As the Hungarian National Ballet prepares its first U.S. tour to New York City's Lincoln Center this week amid a busy fall season in Budapest, first soloist Lili Felméry and principal dancer Gergő Ármin Balázsi have a lot on their plates. But adapting to the unknown is nothing new; since joining the company, both Hungarian dancers have tackled impressive lists of classical and contemporary roles. Just recently married, they're bursting with excitement to perform in New York together, where the company is performing Swan Lake, Don Quixote and an all Hans van Manen program. Pointe caught up with the newlyweds to hear about some of their favorite onstage moments, honing the details of style, and favorite memories learning from some of the dance world's greatest masters.
November 10–18, the National Ballet of Canada presents the North American premiere of John Neumeier's Anna Karenina at the Four Seasons Centre in Toronto. Co-produced with Hamburg Ballet and the Bolshoi Ballet, NBoC is the last of the three companies to present the new two-act production.
Anna Karenina: Inside the Studio | 2018 | The National Ballet of Canada www.youtube.com
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"
Last week, Houston Ballet toured artistic director Stanton Welch's Swan Lake to Dubai, making it the first American company to ever dance at the Dubai Opera House. Demi soloist Natalie Varnum covered this historic tour for Pointe through a series of vlogs, taking us from the long plane ride to harrowing camel rides to backstage shenanigans to opening night. Settle in and enjoy!
Part 1: Houston Ballet's Tour to Dubai with Natalie Varnum www.youtube.com
The Royal Ballet's Francesca Hayward is no stranger to collaborations outside of the dance world. The principal ballerina has modeled for Vogue (on more than one occasion), created her own clothing line with Lululemon, and up next, she'll star in the film adaptation of the Andrew Lloyd Webber musical, Cats.
If there's one thing that dancers know well, it's The Nutcracker. From the minutiae of the plot to the choreography to Tchaikovsky's timeless score, we've got it down.
Disney's new holiday film, The Nutcracker and The Four Realms, released in theaters November 2, is not a retelling of the ballet's story, and it's not a dance movie. Nevertheless, we think there's plenty in it for bunheads to love (like Misty Copeland). Don't believe us? First, watch this featurette featuring Copeland, and then read on for four reasons why you might want to take a break from your Nut rehearsals to head to the movies.
Disney's The Nutcracker and The Four Realms - "On Set with Misty Copeland" Featurette www.youtube.com
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Earlier this summer, we followed master pointe shoe fitter Josephine Lee of the California-based The Pointe Shop as she made her on a pointe shoe fitting tour around the West Coast and California. Now she's back, this time on a 45-day tour from California to Chicago, educating students on all things pointe shoes and helping them to find their perfect fit. Lee's making stops at top ballet companies and academies across the country, interviewing school directors and chatting with professional ballerinas to find out how they customize and break in their pointe shoes. Below, check out Lee's stop at Kansas City Ballet. She touches base with company dancer Tempe Ostergren and school director Grace Holmes. Stay tuned for more!
Pro Pointe Shoe Hacks: Kansas City Ballet's Tempe Ostergren www.youtube.com
Competition season is just around the corner. Today, The Prix de Lausanne announced the 80 dancers that will head to Switzerland February 3–10 to compete for scholarships and apprenticeships to the Prix's partner schools and companies.
By the numbers, 363 dancers (273 girls and 90 boys) from 40 countries applied. Nine jury members reviewed the video submissions and selected 71 dancers over the course of three days. Add in the nine preselected competitors for a grand total of 80 dancers (44 girls and 36 boys) hailing from 20 countries.
Out of that group, 10 are from the U.S. Get to know them below. There's another reason to follow these Americans: Last year, Aviva Gelfer-Mundl, one of the American Prix de Lausanne competitors, took home a big prize.
Stay tuned for more updates on the Prix in the months to come!
For over three decades, The Rock School for Dance Education, under the leadership of Bo and Stephanie Spassoff has been developing dancers with a clean, strong technique and artistic refinement.
This power-couple led the school's students to succeed. Rock School dancers are found gracing the stages of a variety of wonderful companies worldwide, enjoying careers as corps, soloists, as well as principals. Companies like the Royal Ballet, New York City Ballet, English National Ballet, Ballet West, San Francisco Ballet, Boston Ballet, Atlanta Ballet, and American Ballet Theatre, to name just a few.
It's been quite some time since we've had the pleasure of watching Lauren Anderson do 32 fouettés. The former Houston Ballet star, who became the company's first African American principal dancer in 1990, was famous for her thrilling bravura and for her partnership with Carlos Acosta. Now Houston Ballet's program manager of community engagement and an in-demand master teacher, Anderson, 53, just made a fun announcement on her Instagram page: if Houston Ballet can get enough votes to win at least second place in Aetna's Voices of Health Competition, she says, "I will give you 32 fouettés, right here in this studio—yes I will."