Op Ed: What’s Possible in Writing About Ballet?

How do we respond to recurring accounts of an acclaimed choreographer’s damaging relationships with dancers, especially women? Recent podcasts (Erika Lantz’s The Turning: Room of Mirrors) and books (Alice Robb’s Don’t Think, Dear) have contributed to a narrative that’s been emerging for decades: Throughout his career, George Balanchine employed power dynamics that controlled and hindered…

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Begin Again: Acting for Dancers

It’s my personal belief that at the center of every electrifying dance performance is a story. Even the works that are supposedly plotless have something evocative going on behind the eyes—in the way the body floats, jabs, crumples, and reaches. Sure, dancers tell their own tales from time to time, but more often than not,…

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Are dancers getting injured more? Part I

A big leap, a multiple turn, an intricate phrase of choreography – and, pop. There goes an injury. Alternatively, other dancer injuries are quieter, yet no less debilitating — building up over time from misalignments or simply the physical demands of a certain style. Injuries have always been an unfortunate phenomenon in the dance field….

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Supporting connection over comparison

Some of my earliest memories from my formal dance education are of watching the “model” student stand in the front of the class and demonstrate how to execute (input said skill). Without realizing it at the time, this behavior, while attempting to support education and skill building, actually created an unhealthy atmosphere for comparison. I…

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Jennifer Archibald’s “Guess Who’s Coming to Dinner” Premieres at Richmond Ballet

Recent ballets by choreographer Jennifer Archibald explore how dancing creates a distinct kind of remembrance, homage and hopefulness. This week, her unique combination of choreography and documentary brings together political history, a cinematic classic and Richmond Ballet. Entitled Guess Who’s Coming to Dinner, her new ballet was inspired by the 1967 film of the same title that…

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