Articles filed under Artistry

  • Stitch and Step: Fashion Designers Craft Statement-Making Costumes for Choreographers

    Fashion designers have had a long tradition of creating costumes for choreographers, from Coco Chanel’s knit swimsuits for Ballets Russes’ “The Blue Train” to the bold, black-and-white striped Norma Kamali pajamas for Twyla Tharp’s “In the Upper Room.” Dance and high fashion have their proponents and faultfinders. Read on.. 

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  • Determination and Perseverance: Dance/USA ‘Ernie’ Awardee Ann Williams Builds a Legacy in Dallas

    Ann Williams receives the Dance/USA Ernie Award this month at Dance/USA's annual conference in Austin, Texas. Williams founded Dallas Black Dance Theatre and her tireless dedication to the dance world and to encouraging black dance around the country has empowered young dancers, leaving a lasting legacy. 

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  • Weaving a Future for Inclusive Dance

    Judith Smith cofounded AXIS Dance Company in Oakland, Calif., as one of the first contemporary dance companies to create and present dance on dancers with physical disabilities who used wheelchairs, prosthetics and crutches performing alongside nondisabled dancers. In May 2016, AXIS brings together physically integrated dancers and dance companies, presenters, dance service organizations, and funders with expertise in this area for the first time since 1997.

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  • Residencies on the Rise

    A professional life in the dance field is often a fragmented one. Few choreographers have the luxury of working in the studio with a group of full-time dancers. One powerful antidote to this fragmentation comes in the form of artist residencies, which allow for time and space to develop choreographic projects. Read on for Ellen Chenoweth's look at a few models that support artistic exploration through the artistic residency.

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  • Raven Wilkinson: 2015 Dance/USA Trustee Awardee

    Raven Wilkinson helped change the complexion of the classical ballet world. Notable as the first African-American ballet dancer in a major American ballet company, Serge Dehnam's Ballet Russe de Monte Carlo, Wilkinson's lengthy stage career spanning 70 years has proven to be inspiration for young dancers of color around the U.S. and beyond. This month, Wilkinson receives the prestigious Dance/USA's Trustee's Award in recognition of her strength in the face of adversity and her contributions to the dance field as a groundbreaker.

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  • Letter to a Young Dancer

    Choreographer and 2011 Dance/USA Honor recipient Lar Lubovitch recently composed this letter to an anonymous young dancer. It should be required reading for anyone who wishes to dance. Just as he choreographs, Lubovitch writes, too, with great humanity and understanding of an emotional inner life residing within each of us. Read on.

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  • LEADERSHIP CORNER: Katherine Brown, Executive Director, New York City Ballet

    With this interview, From the Green Room inaugurates a new series, the Leadership Corner, featuring one-on-one conversations with top leaders in the dance field. Katherine Brown is executive director of New York City Ballet, and in that capacity oversees the management and administrative functions of the ballet and the David H. Koch Theater and manages a budget of approximately $77 million.

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  • Company Spotlight: Winifred Haun & Dancers

    The first in a series on Dance/USA’s From the Green Room focusing on member dance companies and their model programs. This month we look at Chicago’s Winifred Haun & Dancers, a small company that has evolved to make long-term, larger projects reflecting the choreographer’s artistic curiosity.

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  • Dance and Computer Gaming

    Dancer, choreographer, and assistant professor of computer game design at George Mason University Boris Willis explores the relationship between game design and modern dance choreography. Learn about how the principles that make good choreography are the same as those that make good video games. A game of PacMan will never be the same.

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  • World Ballet Day and Sustainable Audiences:

    October 1, 2014, was a big day for the dance field. Around the world, five of the world’s best ballet companies joined together for a full day of behind-the-scenes live streaming on YouTube featuring rehearsals, interviews and company class. On the same day, the Wallace Foundation announced a six-year, $40 million initiative to support building audiences for sustainability. While I wondered if the planners of the two events were each aware of the other, I also found myself staring at the negative space between the two and wondering if anyone else noticed the solution to be found within. Combine these two events with Dance/USA’s recently announced “Call for Questions” for next year’s conference and I figured it would be as good a time as any to posit a few questions that I know are seldom asked (or answered properly) across the arts community.

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Covering the business of dance for dancers, choreographers, administrators, dance organizations and foundations with news, commentary and discussion of issues relevant to the field.
Editor: Lisa Traiger

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