Helene

I wouldn't have gone there at all. Aside from family privacy and discretion, it's already 37+ years since Balanchine's death and several administrations --- Martins + Rpbbins, Martins, the temporary triad, Stafford. 1968 was over half a century ago. There are two direct types of day-to-day impact I can see on dancers who were never trained by Balanchine -- and when Peter Boal was one of the first, you know that was a while ago -- and those are 1. Not getting coaching from Farrell (at least through NYCB) during the Martins administrations and 2. (potentially) Any passed-on trauma from th

I can't wait until Part 2

Rebecca King Ferraro and Michael Breedon interviewed former New York City Ballet ballerina Gloria Govrin for their podcast Conversations on Dance. It's going to be a two-parter, and Part 1, about Govrin's early training through dancing with New York City Ballet for Balanchine is available now: https://conversationsondancepod.com/2021/01/13/gloria-govrin-1/

Wow, what an awesome resource! Thank you so much for posting, Anne .

As a percentage of their gender, I'm pretty certain there are more Black male dancers than Black female dancers in ballet companies. I wouldn't be surprised if the actual number is greater, even if men are a smaller percentage of most companies. And colorism is more rampant against female Black dancers, because they're supposed to look like swan replicas, unlike hunters, who can be individuals. Leading Black male dancers are a different story, ie, the dancers who are Principals and/or get the white tights leads, whether classical or neoclassical. I remember when Mel Tomlinson danced wi

Ashton Edwards described himself as "male-presenting" and I don't see any pronoun preference in the article or interview -- I apologize if I missed it -- so I'll use male pronouns. I have no idea whether PNB will hire Edwards into the Company. PNB, like most arts organizations, is in a precarious financial position, and the roster is actually net one down for Principals, after the recent promotions. and net down one corps member. While they hired two male and one female apprentice this season, the season before, they hired none. I assume that if they do, and Edwards is cast in male

People, post your opinions of the subject, not each other. BA! policy is no different for this topic than any other.

I thnk Ashton Edwards has been clear about self-definition and presentation, regardless of how anyone else views this.

I love this ending. If this is the original original, then it makes sense for a shallow, wide stage in a school.

PNB Facebook linked to this Pointe Magazine article about PNB's newest soloist, Cecilia Iliesiu: https://www.pointemagazine.com/cecilia-iliesiu-2649542768.html?rebelltitem=3#rebelltitem3

PNB just posted on Facebook that Amanda Morgan was named one of Dance Magazine's 2021 "25 to Watch": https://www.dancemagazine.com/25-to-watch-2021-2649251522.html?rebelltitem=7#rebelltitem7 She's got an eye for her peers' strengths and musicality and a real choreographic voice. I'm glad she's being recognized.

In the interview with Megan Fairchild, who views her as a mentor, it seemed to me that Ashley wants to spend her life now actively retired with Fitzpatrick, who is in his '80's and giving her body a rest away from trying to demonstrate ballet. My impression was that it's not worth it to her anymore. Why would she give up this time with anyone she feels isn't working up to Balanchine's standards as she interprets them?

Bravo to them!

What a treasure! Happy New Year, everyone

Khoreva is also working on a Zoom-enabled collaboratin with Twyla Tharp and three other dancers, which should bring her bigger name recognition, once American Masters airs. But I doubt a small percentage of North Americans who would recognize Copeland's name now would be able to place Khoreva's. But Copeland's name recognition goes far beyond her industry, which is niche here. Good for Khoreva to get a Nike deal!