In New York, Van Cleef Becomes the ‘Fairy Godmother’ of Dance
The jeweler’s generously funded Dance Reflections program is having a major influence on the city’s scene. How much impact is too much?
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The jeweler’s generously funded Dance Reflections program is having a major influence on the city’s scene. How much impact is too much?
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Jodi Melnick’s new work is performed throughout a gallery installation, while one by Annie-B Parson sprawls in a sculpture park.
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The emerging field of dance neuroscience is finding that dance, with its multifaceted demands, engages the mind as intensively as the body.
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Pam Tanowitz’s “Day for Night” flows with and against the current of its surroundings, reflecting the park’s strange mix of the natural and man-made.
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Watch Three Dancers Pony Step Into the Sunset
A jaunty trio prances across the stage in Pam Tanowitz’s new work for Little Island.
Watch a Sisterhood of Budding Ballerinas
Five students from the School of American Ballet perform an excerpt from George Balanchine’s classic “Serenade.”
Watch a Tap Dance That Transcends Time
For her improvised solo to Max Roach and Cecil Taylor, Ayodele Casel said “the way in is to honor what you’re hearing.”
Click through as Joseph Gordon performs a section from Alexei Ratmansky’s new dance for New York City Ballet, a reaction to the horrors of the war in Ukraine.
By Gia Kourlas and
Rugged, Physical Work With Durability
In Abby Zbikowski’s “Radioactive Practice,” a dancer says, “You’re seeing survival and community in real time.”
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The BBC said it would add chaperones to rehearsals after allegations of abusive behavior at a hugely popular dance show that inspired international versions.
By Isabella Kwai
The film follows a National Ballet of Canada production of “Swan Lake” as dancers and others deal with long-simmering issues of racism and sexism.
By Alissa Wilkinson
Organizers avoided disruption by agreeing to give performers on temporary contracts a greater cut of broadcast royalties.
By Aurelien Breeden
To open the Games, the theater director Thomas Jolly has masterminded a spectacular waterborne ceremony depicting 12 scenes from French history.
By Catherine Porter
The 20 recipients, including a Broadway composer, a Marvel video game voice actress and a three-time Pushcart Prize-nominated poet, are the initiative’s final cohort.
By Sarah Bahr
Jakob Karr, from “So You Think You Can Dance?,” has conceived and choreographed a show set to songs by the country musician Orville Peck.
By Brian Seibert
Michelle Dorrance’s new work, “Shift.,” honors Gene Medler, the teacher who founded the North Carolina Youth Tap Ensemble.
By Brian Seibert
The best dance by far on Smuin Contemporary Ballet’s program at the Joyce is by Amy Seiwert, who is about to be the company’s director.
By Brian Seibert
John Neumeier has run the Hamburg Ballet for 51 years, putting his stamp on the company and the city.
By Roslyn Sulcas
Grégory Milan, who works with Biles and the French national team, has found a home in gymnastics, though his pure dance background is unusual in the sport.
By Laura Cappelle
After a tremendous “Swan Lake” performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.
By Gia Kourlas
The rise of the soloist Chloe Misseldine is part of the artistic director Susan Jaffe’s master plan: Start them young and give them time to grow.
By Gia Kourlas
Tap festivals have been pivotal in passing on tradition. But New York’s has been canceled and the institution that supports it faces an uncertain future.
By Brian Seibert
Fifty years ago, Baryshnikov defected from the Soviet Union. He discusses that day, the war in Ukraine and the challenges facing Russian artists today.
By Javier C. Hernández
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For Pride Month, we asked people ranging in age from 34 to 93 to share an indelible memory. Together, they offer a personal history of queer life as we know it today.
By Nicole Acheampong, Max Berlinger, Jason Chen, Kate Guadagnino, Colleen Hamilton, Mark Harris, Juan A. Ramírez, Coco Romack, Michael Snyder and John Wogan
Wayne McGregor’s 2015 work, making its New York debut with American Ballet Theater, fails to make dance poetry of Virginia Woolf’s novels.
By Brian Seibert
The festival, the final one for its longtime director, started with a bravura work by Wayne McGregor that was at once otherworldly and deeply human.
By Roslyn Sulcas
American Ballet Theater brings Wayne McGregor’s “Woolf Works,” which evokes elements of three novels and the writer’s biography, to New York.
By Joshua Barone
Many remarkable performances fueled the Royal’s mini-festival of ballets by Frederick Ashton, the company’s founding choreographer.
By Roslyn Sulcas
BAM, which has faced cutbacks in recent years, unveiled a reorganization as it announced its Next Wave Festival for the fall.
By Annie Aguiar
Mayfield Brooks explores grief and decomposition in the hull of a 19th-century cargo ship.
By Gia Kourlas and Simbarashe Cha
Samar Haddad King’s premiere at the Shed tells a layered story of trauma, dislocation and resilience.
By Candice Thompson
As part of a wave of reimagined Andrew Lloyd Webber musicals, a new revival of “Cats” unfolds as a ballroom competition.
By Joshua Barone
It was a sign of her generosity that her program this weekend was almost all work by her associates.
By Brian Seibert
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New York City Ballet wrapped up its 75th anniversary celebration at Lincoln Center this spring with a look to the future. But it didn’t always speak to it.
By Gia Kourlas
Ashley R.T. Yergens’s “Surrogate,” premiering at New York Live Arts this week, explores how trans men experience pregnancy and I.V.F.
By Lauren Wingenroth
“We have to really become creative about everything we do,” said Jaffe, as the company works to address financial woes and carve a modern identity.
By Javier C. Hernández
Andy Cohen, Fran Lebowitz and hundreds more gathered at Little Island, Barry Diller’s one-of-a-kind park on the Hudson River, for a new dance performance by Twyla Tharp.
By Sarah Bahr
Benjamin Millepied, an organizer of La Ville Dansée — a daylong event in Paris and its environs — wants “to tell the invisible stories of the city.”
By Roslyn Sulcas
The choreographer’s “Navy Blue” is the rare work to express the emotions of life in pandemic lockdown.
By Brian Seibert
Zack Winokur, an ambitious dancer-turned-director, now has a New York stage to call his own as the park’s artistic leader.
By Joshua Barone
Leading off the summer season at Little Island in Manhattan, the choreographer presents “How Long Blues,” with T Bone Burnett and David Mansfield.
By Gia Kourlas
Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.
By Gia Kourlas
The choreographer Florentina Holzinger’s shows feature circus performers and abundant nudity. Now, she’s bringing her experimental approach to opera.
By Ben Miller
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Shay Latukolan, who has worked with Jungle and Childish Gambino, creates choreography so infectious that everyone thinks they can dance along.
By Margaret Fuhrer
The La MaMa Moves! Dance Festival 2024 featured a high ratio of talking to dancing.
By Brian Seibert
As Ballet Tech, a tuition-free public school, prepares for its Joyce season, Dionne Figgins teaches the students to see the big picture of their art form.
By Gia Kourlas
Videos of parents demonstrating their moves have been a surprise hit on a site where youth rules — perhaps because the trend isn’t played for laughs.
By Maya Salam
Raja Feather Kelly makes his playwriting debut with a spellbinding story of three generations of Black men at Soho Rep.
By Brittani Samuel
A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.
By Gia Kourlas
Tamara Rojo, the company’s new artistic director, has a vision of ballet as for the people — all the people — with dances that reflect our world.
By Gia Kourlas
“I love older theaters in particular,” said the actress, who is up for her third Tony for “Cabaret.” “The new ones don’t have as many ghosts.”
By Sarah Bahr
For its Joyce season, the company unveils “Juke,” a spiky premiere by Jamar Roberts, along with dances by David Parsons and Penny Saunders.
By Gia Kourlas
The choreographers nominated for Tony Awards this year have a broader vision than usual of the possibilities of dance in theater.
By Brian Seibert
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The Gibney Company’s program at the Joyce Theater includes two Twyla Tharp dances from the 1970s.
By Brian Seibert
Fresh Tracks, at New York Live Arts, showcases early-career dance makers. This year’s talented crop wonders about next steps.
By Siobhan Burke
A founding dancer with the groundbreaking company, she served not only as a principal dancer but also as its first ballet mistress.
By Alex Williams
Carol Mullins, who has been lighting boundary-pushing shows at Danspace Project since the 1970s, will be honored at its 50th anniversary.
By Brian Seibert
The two premieres — one by Justin Peck, one by Amy Hall Garner — were gala-style pieces that felt more fresh than rote.
By Brian Seibert
With choreography by Kate Prince and 27 songs by Sting, this story of refugees has impressive dance moments, but handles narrative and emotion tritely.
By Brian Seibert
As Black roller skaters from around the country bring their styles to the city, some locals look for space to preserve the moves Atlanta is known for.
By James Thomas and Gem Hale
In “Message in a Bottle,” a dance show opening at City Center, Sting’s songbook helps tell the story of a family fleeing conflict.
By Javier C. Hernández
Eduardo Vilaro celebrates his 15th year as artistic director of Ballet Hispánico with a premiere exploring the life of the Afro-Hispanic artist.
By Gia Kourlas
The spring season at New York City Ballet opened with an all-Balanchine program and a vintage miniature from 1975: “Errante,” staged for a new generation.
By Gia Kourlas
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In “Searching for Goya,” at the Joyce Theater, the troupe uses the painter’s images as frames for flamenco dances.
By Brian Seibert
Stanislav Olshanskyi has had to battle homesickness and adjust to Miami City Ballet’s style: quick, light, constantly in motion. He’s also the prince in “Swan Lake.”
By Marina Harss
Under the banner “American Legacies,” the Martha Graham Dance Company dusted off a classic, “Rodeo,” premiered a companion piece and welcomed FKA twigs for a guest solo at City Center.
By Siobhan Burke
Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.
By Javier C. Hernández
Living with a disability, I shielded myself from dance. Then I met him.
By Chloé Cooper Jones
Advice on quashing doubt and maximizing procrastination, according to Joan Baez, Kim Gordon, Bill T. Jones and Myha’la.
Interviews by Kate Guadagnino
This season’s beginners, from Ice Spice to Tyla to Sarah Pidgeon.
Interviews by Juan A. Ramírez and Emily Lordi
The Sydney Dance Company’s “ab [intra]” at the Joyce Theater is impressive but chilly.
By Brian Seibert
Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, it’s holy grail territory.
By Gia Kourlas
He brought worldwide attention to a radical yet elemental form of contemporary dance that emerged in the wake of wartime destruction.
By Alex Williams
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New York City Ballet will present a mix of old and new works, including premieres by Justin Peck, Alexei Ratmansky and Caili Quan, and introduce fewer intermissions.
By Rachel Sherman
As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance in New York.
By Brian Seibert
The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine’s “Pas de Dix.”
By Gia Kourlas
In “Nail Biter,” a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.
By Gia Kourlas
The pandemic was tough on city centers and cultural institutions. What does that mean for Los Angeles, whose downtown depends on the arts?
By Robin Pogrebin
The choreographer Dianne McIntyre presents “In the Same Tongue,” a dance she calls “an artistic history of myself,” at the new Apollo Stages at the Victoria Theater.
By Gia Kourlas
“We the People,” Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.
By Brian Seibert
Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.
By Gia Kourlas
Ayodele Casel leads a program celebrating Roach’s centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.
By Brian Seibert
Benjamin Millepied and Nico Muhly’s evening of minimally accessorized dance and contemporary music feels right at home at the Philharmonie in Paris.
By Roslyn Sulcas
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As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.
By Brian Seibert
In “Until the Lion Tells the Story…,” Lacina Coulibaly walks in his ancestors’ footsteps.
By Siobhan Burke
The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.
By Brian Seibert
The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.
By Gia Kourlas
A new work, “The White Feather” is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.
By Brian Seibert
The performer stopped dancing after the death of her husband, Stephen Boss. Now she’s a judge on “So You Think You Can Dance,” the show where they met.
By Margaret Fuhrer
A new production of the ballet sets it in 1930s Hollywood instead of a mythic India, eliminating Orientalist clichés while embracing American ones.
By Marina Harss
With the singer Harry Belafonte, she was half of a celebrated, and sometimes denounced, interracial power couple who pressed the cause of civil rights in the 1960s.
By Ian Zack
Mark Morris’s “The Look of Love” at the Brooklyn Academy of Music is uneven, but you can’t fight its swing.
By Gia Kourlas
The production will make its transfer unusually fast, with an opening set for April 24, just 29 days after it wraps up a sold-out run at the Park Avenue Armory.
By Michael Paulson
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The choreographer, who has spent her career mixing genres and disciplines, comes to ballet with an eye on its sometimes calcified gender relations.
By Margaret Fuhrer
At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.
By Brian Seibert
Gayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish dancing.
By Siobhan Burke and Yael Malka For The New York Times
Barry Hughson, a leader at the National Ballet of Canada, will join the company as it tries to get beyond financial woes.
By Javier C. Hernández
Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.
By Gia Kourlas
Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.
By Gia Kourlas
New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.
By Gia Kourlas
Pontus Lidberg’s “On the Nature of Rabbits” at the Joyce Theater is a dance haunted by AIDS.
By Brian Seibert
In Ursula Eagly’s “Dream Body Body Building” at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.
By Siobhan Burke
Hussein Smko’s encounter with an American soldier in Iraq led him to become a dancer. This week he performs in Pontus Lidberg’s work at the Joyce Theater.
By Brian Schaefer
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Imaginative dance abounds in Hollywood, but its creators remain unheralded at awards time.
By Margaret Fuhrer
Olga Pericet’s “La Leona” and a dance panorama by Ballet Nacional de España look to the past, with an eye to recovery and invention.
By Marina Harss
The Afro-Colombian company Sankofa Danzafro presents “Behind the South: Dances for Manuel” at the Joyce Theater.
By Brian Seibert
This narrative dance musical, set to Sufjan Stevens’s album, is a coming-of-age story and a meditation on death, love, community, politics and zombies.
By Melena Ryzik
The institution co-founded by George Balanchine celebrated at Lincoln Center on Monday night.
By Sarah Bahr and Dolly Faibyshev
With Judson Dance Theater and as the founder of contact improvisation, he expanded the possibilities of what dance could be, developing works around basic tasks like walking.
By Brian Seibert
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