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December 31st: New England Presenter Travel Fund, December 31st: Central Pennsylvania Youth Ballet Scholarship, December 31st: 24 Seven Dance Convention, December 31st: National Theater Project Presenter Travel Grant, December 31st: Breck Creek Artist-in-Residence Program

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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery

Global Conversations with Lia Cirio | The Creative Process Ep. 5

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Modern Healthcare: Women health workers are at risk for mental health issues during COVID-19

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Global Conversations with Amy Hall Garner | The Creative Process Ep. 4

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The Washington Post: How Natalia Makarova changed the ballet world with this landmark production

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By Sarah L. Kaufman

Forty years ago almost to the day, American Ballet Theatre premiered a glittering extravaganza of Indian temple dancers, bejeweled Brahmins, an opium-aided trip to the afterlife and an earthquake watched over by a Buddha as big as a house.

By the time the curtain fell, the ballet landscape had changed.

Natalia Makarova created, directed and starred in that landmark production of “La Bayadere.” It became an ABT staple and eventually entered the repertoires of troupes around the world. As she was first bringing it to the stage, Makarova taught the ABT dancers every step and gesture of the three-hour production, with corps de ballet rookies and the company’s greats alike watching in fear and awe as the world-famous Russian ballerina commanded them to dance bigger, move freer and even breathe with more conviction.

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2020 Dance Data Project

Global Conversations with Cathy Marston | The Creative Process Ep. 1

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Pointe: Alabama Ballet’s Repertoire Offers Dancers Chances to Perform Works by Some of Ballet’s Biggest Names

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22 May 2020

By Rachel Hellwig

Flocks of swans, waltzing flowers, bourréeing phantoms and leaping princes are all regular sights in rehearsals at Alabama Ballet’s downtown Birmingham studios. Throughout its season, the company produces classical story ballets as well as works by major names like Twyla Tharp, Agnes de Mille and Jiří Kylián. “We’re classically based,” says artistic director Tracey Alvey, who trained at The Royal Ballet School and was a principal with London City Ballet.

But during Alabama Ballet’s annual Ovation showcase, the programming skews more toward the contemporary, as Alvey aims to “give the dancers something to extend their abilities. They need to be versatile, able to jump into any style and excel.” This May, the double-bill features pieces by two female choreographers: the lyrical Donnette Cannonie and German dancemaker Anna Vita.

Springing from three local organizations, Alabama Ballet traces its roots to the early 1980s, and was originally directed by noted Bulgarian dancer Sonia Arova and her husband, Thor Sutowski. Former American Ballet Theatre principal Wes Chapman served as artistic director next, from 1996 until Alvey’s arrival in 2007. Under Chapman’s leadership, the company began to present George Balanchine’s The Nutcracker. In 1998, Alabama Ballet added a school, which became RAD certified under Alvey.

Alabama Ballet performs four main-stage productions per season plus an in-studio show. Story ballets are a staple, so audiences can expect full-lengths—such as Romeo & Juliet, La Sylphide and The Sleeping Beauty—alongside mixed-repertoire programs ranging from classical to contemporary. In recent years, these have included Act II of La Bayadère, Études by Harald Lander, Tharp’s In the Upper Room, de Mille’s Rodeo and Kylián’s Sechs Tänze. Associate artistic director and resident choreographer Roger VanFleteren also produces original work, like Bonnie and Clyde and Alice in Wonderland.

“I love the variety of the repertoire,” says Ariana Czernobil, who’s now in her ninth season. “It’s so different from year to year.” A graduate of University of North Carolina School of the Arts’ high school program, she became acquainted with Alabama Ballet as a teen because her sister was a company member. “Since we’re unranked, there are also opportunities for new dancers to perform solo roles,” says Czernobil. “An apprentice might be cast in the corps and also in a variation. We cheer everyone on.”

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Vox: Women are burned out at work and at home

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18 May 2020

By Emily Stewart

Sheryl Sandberg on the “double-double shift” women are working during the coronavirus.

Amid the coronavirus crisis, millions of Americans are working from home and trying to balance their home lives. And women, specifically, are bearing the brunt of the labor.

New research from Lean In, the women’s organization founded by Facebook COO Sheryl Sandberg, examines how women working from home are faring during the Covid-19 pandemic compared with men. Their findings, at least to many women in that situation, are likely unsurprising: Women with full-time jobs, a partner, and children report spending a combined 71 hours a week on child care, elder care, and household chores — compared with 51 hours for men.

A quarter of women are experiencing physical symptoms of severe anxiety, compared with just 11 percent of men. Women of color are facing an especially tough situation: 75 percent of black and Latina women spend a combined 21-plus hours per week on housework, compared with just over half of white women; they also spend more time on child care and elder care than their white counterparts.

“We know that when things get hard, women get hit the hardest,” says Sandberg. “The double whammy of what happens in the workforce and then what happens to demands on home help has never been higher.”

Read the full article here. 

The Guardian: BalletBoyz: Deluxe review – striking dances packed with talent

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26 March 2020

By Lyndsey Winship

With their 20th anniversary tour now on hold, BalletBoyz rise to meet the challenge of theatreland going digital, taking their new show Deluxe online to launch the Facebook Premieres series from Sadler’s Wells.

No strangers to the screen, directors Michael Nunn and William Trevitt often use behind-the-scenes video to connect with the audience, and this show’s opening dance was always going to be a film. The Intro is a short by new choreographer Sarah Golding. It’s a striking piece with jazz dance flavour, its camp edge offset by the blokeishness of the six dancers, an enjoyable dissonance that whets the appetite for more of Golding’s work.

Nunn and Trevitt are never predictable in their choices of collaborators, giving us the first UK commission for Chinese choreographer Xie Xin. Her piece Ripple would probably have benefitted from being seen live (or at least on a large screen with the lights off), being all about tapping into an energy state, a continuous ebb and flow of rolling tides, the dancers crossing each other’s paths like warp and weft to the raw strings and electronics of Shaofeng Jiang’s score.

Maxine Doyle’s Bradley 4.18 fares well on screen. Renowned as the choreographer behind immersive theatre megastars Punchdrunk, it’s great to see Doyle’s work stand by itself. Rather than a free-roaming experience, there’s focus with just one camera, and it’s beautifully shot and framed (great lighting too, from Andrew Ellis).

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