The Lower East Side has always been a playground for oddballs, creative types who diverge from Manhattan's mold. It's a quirky neighborhood filled with idiosyncrasies and secrets stuffed in blocks and buildings. These days, south of Union Square is trending, a wonderland of bars, movie houses, and restaurants that offer a refreshing contrast to Midtown.
"Music, like football, is in every Senegalese's heart" the legendary musician, Youssou N'Dour tells me, and in Dakar the air is indeed filled with music. Everywhere you go you hear snatches of the distinctive mbalax sound which fuses African and Cuban rhythms with rock, funk and reggae.
"There are times I will need ropes and ladders and caribiners and helmets just to climb down into myself." Madeline DeVries shatters into shards, tortured by music and memories. She crumbles as her eyes accuse.
The annual Design for Dance conference series draws together experts and advocates in the world of dance to discuss the crucial role of dance in well-being. This year's topic is Dance @ Work, dealing with ways dance can enhance work environments and the lives of people working.
When I was around 12 years old, I started learning to dance. Ironically, I'd been tapping and twirling for years, but the particular set of skills necessary for this endeavor were far beyond pirouettes or buffalo-hop-steps.
With all the pushback these days against standardized testing, and with so much talk about how kids from different backgrounds learn differently, you'd think we'd have a country sprinkled with schools that dedicate themselves to injecting the arts into education.
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.