The dancer-turned choreographer joined the Fort Worth company as associate artistic director in 2002 and was appointed acting artistic director last summer when Ben Stevenson retired. - The Ballet Herald
"It's not just that he's commandingly large and muscular, with a Moses-like beard. ... Standing in profile with his chest angled forward, he could be an Assyrian sculpture. Breathing like a dragon and then opening his eyes, he could be inspirited clay, the first man." - The New York Times
Now it’s ballet’s turn, and a subversive new performance will become the world’s first AI ballet, using generative AI to inspire all aspects of the composition; from the concept to the score and the set design. - Wallpaper
"Stumbling on Ja'Bowen is like uncovering a New York City art secret. The lucidity of his body and the music that it produces are steadying forces in an unpredictable space. ... With rigor, elegance and humor, he takes the craft of tap seriously while disarming the crowds." - The New York Times
"The factors driving the Bananas' online success are obvious. In-game clips of players swinging flaming baseball bats, pitching from atop stilts, and performing choreographed dance routines are tailor-made for social media. To reduce the team's popularity solely to its viral antics, however, is dishonest." - The Guardian
"Whether the company's open call for corps members marks a change in relationship with the San Francisco Ballet School is still uncertain." The company is completing a major change in leadership: Tamara Rojo is just finishing her first season as artistic director following Helgi Tomasson's 37-year tenure. - San Francisco Chronicle
Catherine and Ti have devised a coding language by which sequences of human movements are translated into what they call choreographic hashes—code that determines the appearance of a piece of digital art. - Decrypt
In a work titled Corps Extrêmes ("Extreme Bodies"), which choreographer Rachid Ouramdane calls "halfway between a documentary and an art piece," involves highliner Nathan Paulin, eight acrobats from Compagnie XY and the Swiss free climber Nina Caprez. - The Guardian
"Far too often, women in ballet have been disbelieved, gaslighted, judged, or blamed for the harms inflicted on them by their abusers. Kourlas continues this trend, but attaches these behaviors to words like 'feminism' and 'freedom' in a way that diminishes them." - Dance Magazine
Mira Nadon, who's 21: "That's exciting for me to have some responsibility and feel like I can do something to help ... the culture in our company." - CBS
"Performed by Cloud Gate Dance Theatre, Legacy is widely considered to be the first contemporary dance to tell the story of modern Taiwan. It re-enacted the journey undertaken by the 17th-century pioneers who traveled from mainland China, via the choppy Taiwan Strait, before settling on the island." - CNN
"Dancers at a North Hollywood topless bar," Star Garden, "will become the only strippers in the United States to gain union recognition after the club's management withdrew challenges to their guild election, the union announced Tuesday. … The strippers join the ranks of the Actors' Equity Association." - Yahoo! (Los Angeles Times)
"Next summer, the best 16 B-boys and 16 B-girls from around the world will face off in solo battles soundtracked by a live DJ on the Place de la Concorde, ... (and) there is a hope that breaking will bring the jolt of a new audience." - The Observer (UK)
"As they prepared for the leadership transition, (outgoing artistic director Virginia) Johnson and (successor Robert) Garland spoke with Dance Magazine about their deep, shared history with DTH, their commitment to continuing the work of Arthur Mitchell, and their hopes for the future of DTH's company and school." - Dance Magazine
The facility only opened in 2018, and by the following year, demand for its technical rehearsal residency was nearly outrunning supply. Then the pandemic hit. Now the organization's Catskill, NY property is for sale, and Lumberyard will focus on including neurodivergent audiences in mainstream theater. Why the change? - Dance Magazine
