It might have been sentiment that had me longing to return to San Antonio, Texas for the past 27 years. The city plays a memorable role in my career because it was in San Antonio where I reported my very first story for CBS News.
There was the body of a civil rights leader shot down, and rising from that tragedy would be the bodies of young and motivated African-American dancers ready to lead the charge of challenging racism head-on in the world of dance.
I watch Dance Moms every week. In some ways it's a guilty pleasure, in others it's an opportunity for introspection on my own work as a dance instructor.
The internationally-known modern dance company Alvin Ailey American Dance Theater premiered original choreography by Matthew Rushing, Hofesh Shechter and Alvin Ailey at Revelations last month at Boston's Citi Wang Theater.
Ballet Hispanico's troupe is diverse to reflect "who we are as hybrids in the world." Pieces like Mancillas' are about what it means to be mortal and flawed, not what it's like to come from a specific race or ethnicity. The world isn't cookie cutter, and neither is Vilaro's company.
Colorado's Contemporary Dance powerhouse Wonderbound (formerly known as Ballet Nouveau Colorado) has established itself as a major force with a variety of successful collaborations.
Emily Johnston / Catalyst launches the Lenapehoking (New York City) installment of SHORE on Sunday April 19th, with gatherings and events taking place at various locations April 19-26, and performances at New York Live Arts happening April 23-25.
The 125 Anniversary celebration of Chicago's illustrious Auditorium Theater continued last month with a two-week residency of Alvin Ailey American Dance Theater. And boy was I ready.
Never, in all my years, and by that I mean the past decade of teaching, choreographing, and performing with children, have I ever judged YOU by your child's abilities.
Don't get me wrong, there's no problem with being a sex worker, or a wife, or a ballerina, or a heiress if you so choose. But what the female protagonists and antagonists in Gigi and An American in Paris lack is agency in their happily ever afters.
"Watch out," Janine Molinari laughs, flashing me a megawatt smile. "They're gonna come at you!" No sooner has the acclaimed choreographer-director-dance teacher spoken than her students, 20 of Broadway's finest child performers, come barreling toward me.
Given Petronio's NYC connection, it's no surprise that his company will perform at the Joyce Theater this week. There's no other venue that so aptly captures the haunting enthusiasm and open intimacy that the city harbors, all of which is reflected in Petronio's repertoire.
You can only make it work for so long. There comes a point, a threshold of the soul, where our true self pushes through. Let them see your beauty. ...
I honestly never think about the number of years I have been on this planet. But I do think about the millions of miles my divine, wonderful and dependable feet have travelled, and it never ceases to amaze me.
In the immortal words of R. Kelly, "After the show its the after party and after the party its the hotel lobby." But what if the hotel lobby turns o...
Once upon a time turns in second were the hallmark of the flashy coda performed by the male lead in a classical ballet. Now, in an effort to make anything better, folks sprinkle them anywhere and everywhere.