Honors & Awards

  • Former New York City Ballet principal Patricia McBride receives the 2014 Kennedy Center Honors on December 7. McBride, 72, spent 28 years as a principal at NYCB and joins the ranks of Arthur Mitchell, Jacques d’Amboise, Maria Tallchief, Edward Villella, Suzanne Farrell, Jerome Robbins and George Balanchine as a Kennedy Center honoree. McBride and her husband Jean-Pierre Bonnefoux direct Charlotte Ballet (formerly known as North Carolina Dance Theatre). Look for the broadcast on CBS, December 30 at 9 pm, EST.

  • The American Dance Guild honors Philadanco founder Joan Myers Brown, choreographer and educator Bill Evans and choreographer Douglas Dunn at its annual festival, December 4–7, at The Ailey Citigroup Theater in New York. In keeping with the festival’s tradition, the works of the honorees will be performed alongside the works of emerging choreographers as a living timeline of modern dance. For tickets and the full roster of the 33 choreographers presenting work, see americandanceguild.org.

    Philadanco performing Christopher Huggins' Enemy Behind the Gates

  • The New York State Dance Education Association announces its 2014 awardees: for outstanding leadership, Pat Cohen and Joan Finkelstein (DT, November 2005); for outstanding dance educator, post-secondary, Bill Evans (DT, July 2010); for outstanding dance researcher, Elizabeth McPherson, author of The Bennington School of the Dance; for life achievement, Elsa Posey, director of the National Registry of Dance Educators; and for the Diana Domoracki-Kisto award—which gives a dance educator $500 toward attending the National Dance Education Organization’s national conference—Traci Hinton-Peterson, a middle school dance teacher in the NYC Department of Education.

  • The New York Dance and Performance Awards—nicknamed “The Bessies” after influential choreographer Bessie Schönberg—honors Arthur Mitchell for lifetime achievement in dance and Dr. Chuck Davis for outstanding service to the field. Mitchell was New York City Ballet’s first African-American principal. In 1969, he created Dance Theatre of Harlem, the first African-American classical ballet company. Davis directs the African American Dance Ensemble in North Carolina and created the annual DanceAfrica! festival.

 

Photo by Lois Greenfield, courtesy of ADG

Teacher Voices
Getty Images

In 2001, young Chanel, a determined, ambitious, fiery, headstrong teenager, was about to begin her sophomore year at LaGuardia High School of Music & Art and Performing Arts, also known as the highly acclaimed "Fame" school. I was a great student, a promising young dancer and well-liked by my teachers and my peers. On paper, everything seemed in order. In reality, this picture-perfect image was fractured. There was a crack that I've attempted to hide, cover up and bury for nearly 20 years.

Keep reading... Show less
Health & Body
Getty Images

Though the #MeToo movement has spurred many dancers to come forward with their stories of sexual harassment and abuse, the dance world has yet to have a full reckoning on the subject. Few institutions have made true cultural changes, and many alleged predators continue to work in the industry.

As Chanel DaSilva's story shows, young dancers are particularly vulnerable to abuse because of the power differential between teacher and student. We spoke with eight experts in dance, education and psychology about steps that dance schools could take to protect their students from sexual abuse.

Keep reading... Show less
Technique
Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.