Our 5 Favorite Outtakes From Our March Cover Shoot With Martine van Hamel

When Martine van Hamel burst onto the New York dance scene in the 1970s as a ballerina with American Ballet Theatre, she was a bit of an anomaly. At 5′ 7″, she was taller than most ballerinas at the time, but what really made her shine—in a company already filled with stars like Gelsey Kirkland and Natalia Makarova—was her immaculate technique, poignant interpretations of dramatic roles and extreme stylistic range.

Now 71, she still has the impeccable posture, grace and magnetic presence of a prima ballerina. We were honored to feature her on the cover of our March issue. Check out five of our favorite outtakes from our cover shoot below!


Today, van Hamel translates the unique combination of intuition, musicality and crystalline form that made her a star to the young pre-professional dancers at ABT's Jacqueline Kennedy Onassis School and with the ABT Studio Company, where she is on faculty.

Unlike many retiring dancers, who go straight into teaching, van Hamel eased her way into it. “It was a transition that was really tough," she says. “It scared me at the time. I knew I would find it hard as a novice teacher, even though of course I knew a lot about dance and had my points of view."

“You have to let me see what the music is," she will tell her JKO students, a large group of teens from around the world. “If the music went away, I should still know what song the accompanist is playing."

Van Hamel isn't a fan of perfectly flat turnout. “I don't think everyone is gifted with 180-degree turnout," she says. “Forcing that hurts the knees and ankles, and a lot of unnecessary physical problems happen that way."

She emphasizes to her students that they move in one piece. “When you travel through space," she says, “it's important to realize that the whole body goes through space—not just your legs."


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Despite worldwide theater closures, the Universal Ballet Competition is keeping The Nutcracker tradition alive in 2020 with an online international competition. The event culminates in a streamed, full-length video of The Virtual Nutcracker consisting of winning entries on December 19. The competition is calling on studios, as well as dancers of all ages and levels, to submit videos by November 29 to be considered.

"Nutcracker is a tradition that is ingrained in our hearts," says UBC co-founder Lissette Salgado-Lucas, a former dancer with Royal Winnipeg Ballet and Joffrey Ballet. "We danced it for so long as professionals, we can't wait to pass it along to dancers through this competition."

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Robbie Sweeny, courtesy Funsch

Christy Funsch's teaching career has taken her from New York City to the Bay Area to Portugal, with a stint in a punk band in between. But this fall—fresh off a Fulbright in Portugal at the Instituto Politécnico de Lisboa, School of Dance (ESD), teaching and researching empathetic embodiment through somatic dance training—Funsch's teaching has taken her to an entirely new location: Zoom. A visiting professor at Slippery Rock University for the 2020–21 academic year, Funsch is adapting her eclectic, boundary-pushing approach to her virtual classes.

Originally from central New York State, Funsch spent 20 years performing in the Bay Area, where she also started her own company, Funsch Dance Experience. "My choreographic work from that time is in the dance-theater experiential, fantasy realm of performance," she says. "I also started blending genres and a lot of urban styles found their way into my choreography."

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News
Courtesy Meg Brooker

As the presidential election approaches, it's a particularly meaningful time to remember that we are celebrating the centennial of the 19th Amendment, when women earned the right to vote after a decades-long battle.

Movement was more than a metaphor for the fight for women's suffrage—dancers played a real role, most notably Florence Fleming Noyes, who performed her riveting solo Dance of Freedom in 1914 to embody the struggle for women's rights.

This fall, Middle Tennessee State University director of dance Meg Brooker is reconstructing Dance of Freedom on 11 of her students. A Noyes Rhythm teacher and an Isadora Duncan scholar, Brooker is passionate about bringing historic dance practices into a contemporary context.

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