Recommended: 4 Editors' Picks

Martha Graham Center of Contemporary Dance App

By Google Cultural Institute in collaboration with Martha Graham Dance Company • Compatible with iPhone, iPad and Android; free

This app contains photos, musical scores, videos, facts and anecdotes to familiarize viewers with Martha Graham's legacy: her early life and work, her iconic choreography and the defining principles of her choreographic style, like contraction and release.

Swan: The Life and Dance of Anna Pavlova

By Laurel Snyder; Illustrated by Julie Morstad • Chronicle Books; 52 pages; $17.99

From humble beginnings, Anna Pavlova became one of dance history's most revered ballerinas, becoming famous for her heartbreaking rendition of The Dying Swan. Her story unfolds through the brightly illustrated pages of this book for children ages 5 to 8.

Raising the Barre: Big Dreams, False Starts, & My Midlife Quest to Dance The Nutcracker

By Lauren Kessler • Da Capo Press; 272 pages; $24.99

In this humorous memoir, journalist Lauren Kessler tells how she set out to recapture a childhood dream by doing the seemingly impossible: perform The Nutcracker with a professional company after not dancing since she was 12.

Moving Field Guide: A Teacher Training Toolkit for Grades 3–5

By Cassie Meador • Dance Exchange; 43 pages; $20

To create this guidebook for third- through fifth-grade educators, Cassie Meador, artistic director of the Washington, DC–based Dance Exchange, collaborated with environmental educators, artists and the U.S. Forest Service to use outdoor movement activities as a way for children to connect with their environment.

Teachers Trending
Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

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The author with Maurice Hines. Photo by Anthony R. Phillips, courtesy Hopkins

In March, prior to sheltering in place due to the coronavirus outbreak, my husband and I traveled from New York City to Miami to screen our award-winning documentary, Maurice Hines: Bring Them Back, at the Miami Film Festival.

Our star, Tony Award–nominated dancer and choreographer Maurice Hines joined us in Miami for the festival—stepping and repeating on the opening night red carpet, sharing anecdotes from his illustrious seven-decade career with local tap students, and holding court at a cocktail mixer with lively female fans.

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Haruko Photography, courtesy ABT

Gabe Stone Shayer may be American Ballet Theatre's newest soloist, but he never dreamed he'd be dancing with the company at all. Though he grew up in Philadelphia, his sights were always set on international ventures—especially The Bolshoi Ballet and The Royal Ballet.

Even in his early training, he was learning from Russian educators: Alexander Boitsov at Gwendolyn Bye Dance Center, and Alexei and Natalia Cherov, from the Koresh School of Dance. At age 13, he transferred to The Rock School for Dance Education, where he danced until his acceptance to The Bolshoi Ballet Academy at age 14. At 16, Shayer returned to spend his summer in the States and attended ABT's summer intensive—fully intent on going back to Bolshoi to continue his training in the fall. Four weeks in, he was offered a studio-company contract. "I was so surprised," Shayer says. "Having come of age in Russia, I was very Eurocentric. Of course ABT was on my radar, I just never imagined it was for me."

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