Podcasts about american ballet

Interview Date: May 31st, 2026Episode Summary:In this episode, Alison Stroming shares her inspiring journey from classical ballet training to building a dynamic career across concert dance, commercial work, teaching, choreography, and entrepreneurship. She reflects on her early training at the School of American Ballet and American Ballet Theatre's JKO School, the challenges of rejection, and the career-defining opportunities that led her to dance with Alberta Ballet, Ballet San Jose, and Dance Theatre of Harlem.Alison opens up about transitioning from ballet into the commercial dance world, including her move to Los Angeles and booking major opportunities with artists such as Jennifer Lopez, Mariah Carey, Kendrick Lamar, Brent Faiyaz, Kanye West, and more. She highlights the importance of versatility, visibility, resilience, and trusting your instincts while navigating the dance industry.Beyond performing, Alison discusses the launch of A.S. Dancewear and what it takes to build a business while remaining connected to the dance community. She shares how the pandemic shifted her priorities and pushed her to redefine success on her own terms. Her story is a powerful reminder that a dance career does not have to follow one path, and that persistence, adaptability, and strong relationships can open doors in many different directions.Shownotes:00:02 – Introduction to Alison Stroming's journey03:18 – Early training and dance family background04:30 – Nutcracker performance sparks ballet passion05:44 – Transitioning from competition to ballet06:45 – Rejection leads to first contract08:18 – Navigating companies and finding alignment09:30 – Touring internationally expands artistic growth11:19 – Moving to LA for commercial dance12:10 – First major job with Jennifer Lopez13:30 – Pandemic forces major career pivot13:54 – Launching A.S. Dancewear brand15:29 – Shifting business focus and priorities17:21 – Setting long-term Broadway career goals25:28 – Versatility essential across dance styles42:43 – Balancing entrepreneurship with dance careerBiography:Alison Stroming is a professional dancer, model, teacher, choreographer, and entrepreneur. Born in Recife, Brazil and raised in New York City, she began her formal ballet training at age nine at the School of American Ballet before continuing on full scholarship at the Jacqueline Kennedy Onassis School at American Ballet Theatre. She later joined ABT Studio Company before beginning her professional career with Alberta Ballet.Alison has performed with Alberta Ballet, Ballet San Jose, and Dance Theatre of Harlem, where she danced principal roles and toured internationally. She has also performed with Aretha Franklin at the Kennedy Center Honors and toured with Sarah McLachlan during the Hope Rising! Canadian Tour.As a commercial dancer and model, Alison has appeared in campaigns for Tumi, Canon, Under Armour, Free People Movement, Adidas, McDonald's, and American Eagle. She has also worked on projects for Jennifer Lopez, India Arie, Mariah Carey, Kendrick Lamar, Brent Faiyaz, and Kanye West.In 2018, Alison launched A.S. Dancewear, a brand focused on mentorship, empowerment, and supporting dancers. She continues to perform, teach, choreograph, and inspire dancers around the world.Connect with Alison:Website: https://www.alisonstroming.comA.S. Dancewear: https://www.asdancewear.comInstagram: https://www.instagram.com/alisonstromingFacebook: https://www.facebook.com/AlisonStroming

This episode is sponsored by Flipping 50 Menopause Fitness Specialist. Flipping 50 Menopause Fitness Specialist.- Become a health & fitness coach who finally speaks midlife women's language. Learn how to design workouts that balance hormones that actually get results for women in menopause. Other Episodes You Might Like: Previous Episode - Rebounding vs Whole Body Vibration After 50 Which? When? Worth It? #FEDFitness Next Episode - 4 Fitness Mistakes That Fail Us Over 50 More Like This - Does Hormonal Phase and Training Intensity Change How Hard You Can Train? New Science Finally Tested It Resources: Don't know where to start? Book your Discovery Call with Debra. Leave this session with insight into exactly what to do right now to make small changes, smart decisions about your exercise time and energy. Use Flipping 50 Scorecard & Guide to measure what matters with an easy at-home self-assessment test you can do in minutes. Join the Hot, Not Bothered! Challenge for your best start, restart or reset in or after menopause with 10 Days of coaching, short workouts, and clarity on how to exercise optimally. The hidden cost of diet culture is showing up in ways many women in midlife! Never expected—low energy, stubborn weight changes, poor recovery, burnout, hormone disruption, and feeling frustrated despite “doing everything right.” If you've been exercising harder, eating less, and still feeling exhausted or frustrated with your body, this episode will hit home fast. We unpack how chronic dieting, underfueling, and overtraining quietly impact metabolism, bone health, hormones, and confidence during menopause and beyond. You'll learn why recovery is no longer optional after 40, how low energy availability may be sabotaging your results, and why the old “eat less, move more” advice can backfire in midlife.  This conversation exposes the hidden cost of diet culture and offers a smarter, healthier path forward for active women who want strength, energy, and longevity. My Guest: Heidi Skolnik is a nationally recognized sports nutrition expert, exercise physiologist, and co-author of the New York Times bestselling book The Whole Body Reset. She is also the author of the upcoming book Your GLP-1 Game Plan, focused on helping women thrive while using weight loss medications. Heidi has spent nearly three decades at Hospital for Special Surgery as part of The Women's Sports Medicine Center and currently oversees Performance Nutrition at The Juilliard School and the School of American Ballet. Her extensive experience includes working with professional sports organizations including the New York Knicks, New York Giants, and New York Mets. Known for translating complex science into practical advice, Heidi brings a realistic approach to nutrition, believing healthy eating can include both nutrient-dense foods and occasional treats like M&M's. Questions We Answer in This Episode: [00:09:04] Is there really a way to eat to support your cycle? [00:10:55] What beliefs and diet culture myths are women still carrying that no longer serve them? [00:15:55] What fueling mistakes are active midlife women making, even compared to elite athletes? [00:21:13] How does energy deficiency or underfueling show up in postmenopausal women? [00:43:00] Why do so many women feel stuck, frustrated, and out of control with their bodies in midlife? [00:52:40] Why are so many women struggling with appetite, hunger, and belly fat concerns in midlife? If this episode made you flip your workout routine — share it!

María Noel Riccetto supo triunfar en el mundo de la danza mostrando su arte en NYC en el American Ballet, en el Bolshoi y también en nuestro país. Hoy su mayor triunfo es ser madre de Salvador. Un niño que nació con 26 semanas, prematuro, buscado hasta el cansancio y llegado a la vida para darle a sus padres todo el amor del mundo. María cuenta sobre relaciones programadas, inseminación artificial, fecundación in vitro, ovodonación y la llegada de Salvador en #MalosPensamientosPodcast

Interview Date: April 12th, 2026Episode SummaryIn this episode of The Business of Dance Podcast, Alicia Mae Holloway shares her extraordinary journey from a small-town competition dancer in West Virginia to building a multifaceted career in ballet, commercial dance, modeling, acting, and social media. She reflects on knowing from the age of three that dance was her purpose, and how that conviction led her to leave home at just 13 years old to pursue elite ballet training. From earning a full scholarship to the School of American Ballet to landing her first professional contracts, Alicia's story is one of deep faith, resilience, and bold commitment to her dreams.Alicia also opens up about the realities of a long professional career: painful auditions, injuries, rejection, career pivots, and the mental challenges that dancers face when their identity is tied so closely to performance. She shares how Dance Theatre of Harlem shaped her artistry, how social media unexpectedly expanded her career, and why authenticity matters more than perfection in today's entertainment world. Her advice to young dancers is both practical and inspiring: stay true to yourself, embrace being multidimensional, and remember that rejection is often redirection.Top 10 Show Notes3:58 — Alicia knew dance was her calling6:17 — West Virginia scholarship changed everything9:35 — Moved away from home at 1414:21 — Worst audition led to first contract19:49 — Six-hour audition booked Dance Theatre Harlem21:17 — Mentor predicted her DTH future27:40 — TikTok consistency sparked massive growth35:45 — Talent plus visibility creates more opportunities57:05 — Rejection is redirection, not the end1:09:14 — Dance for yourself, not approvalBiography:Alicia Mae Holloway is from Morgantown, West Virginia and began dancing when she was three years old at Kat and Company Dance Studio. In 2007, Alicia began taking classes at Morgantown Dance Studio. She also trained at Central Pennsylvania Youth Ballet and the University of North Carolina School of the Arts before attending the School of American Ballet from 2011–2015. Alicia has attended the Boston Ballet Summer Dance Program, as well as Pacific Northwest Ballet.She began her professional career dancing with the Suzanne Farrell Ballet, and completed seven seasons with the Dance Theatre of Harlem where she has worked with Alicia Keys, Aretha Franklin, and Gladys Knight. She has shot music videos with Grammy award–winning artist KEM, as well as JAGMAC and Eryn Martin, and can be seen in Google commercials, Maybelline commercials, and in Glamour Magazine's November issue, as well as an online feature of Who Wore What, and most recently, has a story live now with PEOPLE Magazine regarding her audition process and training with the Rockettes. In 2023, Alicia appeared on the cover of PEOPLE, further expanding her national visibility.Alicia was also the Lead Principal Dancer in Josh Bergasse's Sugar Hill: The Ellington/Strayhorn Nutcracker, bringing new life to the iconic reimagining of the classic ballet.She has served as the co-chairwoman of the School of American Ballet's Visiting Faculty Program and was a Princess Grace Award nominee. Alicia was cast as The Lady in a Yellow Dress in the revival of Broadway's show CONTACT, by Susan Stroman. In addition to her dance career, Alicia models for American Eagle, Aime Leon Dore, and Victoria's Secret. She filmed her first movie last year-dancing and acting in Man With the Bag, directed by Adam Shankman.Connect on Social Media:Instagram: Https://www.instagram.com/aliciamaehollowayTik Tok: https://www.tiktok.com/@aliciamaeholloway

In this episode of The Brainy Ballerina Podcast, I'm joined by Seth and Sarah Orza - former principal dancers with Pacific Northwest Ballet and the founders of ORZA.Seth and Sarah share their incredible journey from meeting as teenagers at the School of American Ballet to building careers together both on and off-stage. We dive into the realities of dancing through pain, the lack of innovation in ballet footwear, and how their personal injury experiences led to a groundbreaking solution.Seth takes us behind the scenes of developing the first-ever patented shock-absorbing ballet shoe, designed to better support dancers' bodies without sacrificing the aesthetic demands of the art form.We also explore the bigger picture: how dancers are often underserved when it comes to proper equipment, the long-term impact of training on inadequate flooring, and why the “suffering for your art” mindset needs to change.Whether you're a student, professional dancer, or someone navigating life after dance, this episode is full of practical advice and inspiration for what's possible beyond the stage.Key “Pointes” in this Episode: The injuries that sparked the idea for a shock-absorbing ballet shoe Why traditional ballet footwear hasn't kept up with athletic innovation The process of designing and manufacturing a completely new kind of dance shoe What dancers actually feel when wearing shock-absorbing shoes The impact of poor flooring and training environments on dancers' bodies Transferable skills from dance that translate into entrepreneurship What dancers should know as they prepare for life after their performing careersConnect with ORZA:WEBSITE: www.orzabrand.com (use code BRAINYBALLERINA for 10% off your ORZA shoes)INSTAGRAM: instagram.com/orzabrandLinks and Resources:Chronicle StudioAPP: https://chroniclestudio.passion.io/INSTAGRAM: instagram.com/chronicle_cdt_studio/FACEBOOK: facebook.com/chronicleCDTstudioMORE INFO: allongefilms.com/chroniclestudio1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

The topic du jour around The Rosin Box this week is the driving force behind ballet: music. For this conversation, hosts Claire Kretzschmar and Soloist Aarón Sanz are joined by Corps de Ballet Member Maya Milić and Soloist Sebastián Villarini-Vélez, two company members whose connections to music extend far beyond the studio and stage. Maya is a classically trained pianist who graduated with honors from the Manhattan School of Music's Precollege Division, which she attended while also a student at the School of American Ballet; Sebastián was raised in a musical household—his father was a percussionist with an expansive collection of tapes, and Sebastián played the guitar throughout childhood. These formative early exposures to music have influenced their dancing in countless ways: "Developing a taste is the most important thing you can do as an artist," says Sebastián. "That will allow you to shape your approach towards what you're doing. Distinguishing what works for you musically will allow you to find sort of a unique voice to approach the steps." (40:12) Edited by Gus Reed  Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Kaitlyn trained with Loyce and Lise Houlton at Minnesota Dance Theatre and at the School of American Ballet (SAB) in New York City, where she earned the Mae L. Wien Award for Outstanding Promise in 2004. She danced with the New York City Ballet (NYCB) from 2006 to 2011 and was named the company's 2010 Janice Levin Dancer. After leaving NYCB, Kaitlyn became a sought-after freelance artist and began working with Twyla Tharp in 2014. She has since created and performed leading roles in numerous Tharp works, appearing most recently in the 2022 Bessie Award-winning revival of In The Upper Room at New York City Center. After returning to Minneapolis, Kaitlyn founded A Dancer's Place Productions in 2024 to create meaningful performing opportunities for local dancers. She also continues to stage Tharp repertory around the world and leads the ballet programming at Summit Dance Shoppe in Plymouth, MN. Kaitlyn has previously served on the faculty of the School of American Ballet and as New York City Ballet's Assistant Children's Rehearsal Director. She holds a BA from Columbia University and an MBA from the Yale School of Management.

"Dance Talk” ® with Joanne Carey and special guests dance photographer, Gene Schiavone and writer, Gavin LarsenJoin host Joanne Carey as she chats with both Gene Schiavone and Gavin Larsen about their new collaborative book 'Infinite Steps,' Thirty-three Dancers and Their Lives in Ballet." This book isn't just a coffee table dance photo, it is a book that explores the stories behind ballet dancers and reads like an entry point into what and who Gene saw and captured from behind his lens. You will not only discover insights into their careers, the creative process, and the inspiring stories of dancers' lives but while reading it, but be moved by each individual experience and journey. Listen also how Gene and Gavin's friendship and trust in each other's artistry enabled the stories to shine through and create this legacy for the dance world for generations.Gene Schiavone became interested in photography as a child.  With no formal training, he went on to become a sought after Dance Photographer. What began as a childhood curiosity became a budding career,  photographing some of the worlds best ballet dancers. Gene attributes his introduction to the world of ballet to his wife through her involvement with ABT (American Ballet Theater). His informal conversation with renowned ballerina ,Julie Kent, piqued his interest in the art form and he began to attend more ballet performances. Around that same time, Gene was given permission to photograph performances of ABT's studio company and after two years was invited to photograph the main company, which led to other requests for similar work.Gene's work and images includes Boston Ballet, Mariinsky Theatre, Bolshoi Ballet, Washington Ballet, Miami City Ballet, Atlanta Ballet and The Radio City Rockettes among others. His images have appeared New York Times, Washington Post, Wall Street Journal and all the major dance publications both here and abroad.Gene continues to acknowledge his gratitude for all the dancers he has worked with over the years and for the hundreds of pairs of signed shoes and photos he remembers them by. Gavin Larsen, Born and raised in New York City, received her professional dance training at the School of American Ballet, the PacificNorthwest Ballet School and the New York School of Ballet. In 1992, she joined Pacific Northwest Ballet under the direction of Kent Stowell andFrancia Russell, leaving the company in 1999 to join the Alberta Ballet, directed by Mikko Nissinen. In 2002, she performed with the SuzanneFarrell Ballet as a soloist at the Kennedy Center in Washington, D.C. In 2003 Ms. Larsen joined Oregon Ballet Theatre as a principal dancerunder artistic director Christopher Stowell. Over the course of her career, Ms. Larsen danced prominent roles in ballets by George Balanchine, Jerome Robbins, Christopher Wheeldon and Paul Taylor, among others, and originated roles in numerous ballets. She retired from performing in 2010 to focus on teaching, coaching and writing about dance. Ms. Larsen has taught and coached widely across the country and worldwide. She has been a regular contributor for Pointe, Dance Teacher, and Dance Spirit magazines. In 2015 she was honored with a fellowship to the Helene Wurlitzer Foundation inTaos, NM, to pursue her work as a writer. Her memoir, Being a Ballerina: The Power and Perfection of a Dancing Life, was published by the University Press of Florida in 2021. She lives in Asheville, NC.To purchase their book:https://floridapress.org/9780813081502/infinite-steps/https://www.amazon.com/Infinite-Steps-Thirty-Three-Dancers-Ballet/dp/0813081505https://www.barnesandnoble.com/w/infinite-steps-gavin-larsen/1148313125“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠⁠⁠Please leave us a Review.Please help support the podcast:⁠⁠⁠⁠⁠⁠⁠https://gofund.me/e561b42ac⁠⁠⁠⁠

Listen to Conversations on Dance ad-free on Patreon: https://www.patreon.com/cw/conversationsondanceToday on the Conversations on Dance podcast, we talk with former New York City Ballet dancer and Balanchine répétiteur Deborah Wingert about her early training at Central Pennsylvania Youth Ballet, where rigorous daily classes, musical and artistic context, and early teaching responsibilities shaped her discipline and curiosity. Wingert recounts being accepted to the School of American Ballet, performing key workshop roles, and joining NYCB at 16, including formative experiences and personal coaching from George Balanchine before his death in 1983. She describes thriving as a detail-oriented “sponge,” navigating later casting and body-image pressures, and building a wide repertory across Balanchine and Robbins works. After leaving NYCB, she began teaching privately and at multiple New York schools, then expanded into staging Balanchine works around the world.00:00 Meet The Hosts00:11 Debra Wingert Overview01:35 First Ballet Spark04:16 CPYB Magic And Context06:31 Rigor And Early Teaching14:24 SAB Audition And Move16:50 Workshop Breakthrough Roles18:57 Joining NYCB At Sixteen25:10 Balanchine Coaching Moments27:21 Life After Balanchine28:19 Other SAB Teachers33:22 Body Image And Confidence35:09 Backstage Ballet Devotion35:34 Staying in the Company36:39 Outside Projects and Robbins38:07 Leaving NYCB and Starting to Teach40:55 Outreach and Repertory Staging43:10 Learning to Stage New Works45:33 Musicality and Version Options51:18 Keeping Patterns and Details Alive55:56 Dream Ballets and Future Stagings01:04:06 Closing Thanks and SignoffLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceCOD MerchListen to COD on YouTubeJoin our email listSponsorship information Hosted on Acast. See acast.com/privacy for more information.

On today's episode of "Conversations On Dance" we are joined by two leaders of the School Of American Ballet, Jenifer Ringer, Director Of Intermediate/Advanced Divisions and Artistic Programming, and Aesha Ash, Head Of Artistic Health and Wellness. They tell us about their own experiences as students at the school before heading onto illustrious careers at the New York City Ballet, what goes into planning the curriculum and various programs the school offers, and most excitingly, how the recently opened wellness center is impacting the day to training and student experience at SAB. For more information on all things SAB, visit sab.org. Listen to Conversations on Dance ad-free on Patreon: https://www.patreon.com/cw/conversationsondanceLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceCOD MerchListen to COD on YouTubeJoin our email listSponsorship information Hosted on Acast. See acast.com/privacy for more information.

Este bailarín granadino está considerado entre los coreógrafos y bailarines de flamenco más reconocidos de España. Ha recibido reconocimiento internacional como solista principal bailando en los más prestigiosos escenarios del mundo juntos a las primeras figuras del Bolshoi Ballet, Mariinsky Ballet, American Ballet, Ópera de París, Royal Ballet y Mikhailovsky Ballet entre muchos otros. Ha sido uno de los primeros artistas flamencos invitados a bailar en el Teatro Mariinsky de San Petersburgo, Rusia. También fue parte del Balet Nacional de España durante 3 años. A temprana edad bailó en la aclamada película El Amor Brujo de Carlos Saura y Antonio Gades, para más tarde convertirse en uno de los Bailarines Principales en el famoso Corral de la Morería de Madrid. Inaugura su propia compañía de danza, Flamenco Suite Española, en 1994: https://www.castroromeroflamenco.com Actualmente reparte su tiempo entre la fotografía y la creación de nuevos espectáculos, Ricardo es sin duda uno de los bailarines más importantes en España y el mundo.

In this episode of "Dance Talk” ® with Joanne Carey , host Joanne Carey interviews Emily CoatesIn this episode of  "Dance Talk” ® with Joanne Carey engages in a deep conversation with dancer, choreographer, and writer Emily Coates. They explore Emily's journey from her early dance training in ballet to her transition into modern dance, her experiences working with renowned figures like Baryshnikov, and her current project 'Tell Me Where It Comes From.' Tell Me Where It Comes From, was sparked by the discovery of an archival box housed at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, chronicling George Balanchine's brief touchdown there in 1933. The discussion highlights the importance of following one's artistic instincts, the role of dance history, and the collaborative nature of creating new work. Emily shares insights on the creative process, the significance of archival research, and the impact of dance on personal and artistic growth.Emily Coates is a dancer, choreographer, and writer and has performed internationally with New York City Ballet (1992-98), Mikhail Baryshnikov's White Oak Dance Project (1998-2002), Twyla Tharp Dance (2001-2003), and Yvonne Rainer and Group (2005-present), and worked with an array of choreographers, including Jerome Robbins, Angelin Preljocaj, Trisha Brown, Deborah Hay, Mark Morris, John Jasperse, and Sarah Michelson. Career highlights include performing three duets with Baryshnikov, in works by Morris, Karole Armitage, and Erick Hawkins.Her choreographic work has been commissioned and presented by Danspace Project, Performa, Baryshnikov Arts Center, Works & Process at the Guggenheim, Ballet Memphis, Wadsworth Atheneum, Carnegie Hall, University of Chicago, Yale Repertory Theatre, Yale Art Gallery, and Columbia Ballet Collaborative, among other venues. She is currently completing a film project titled “Dancing in the Invisible Universe” in collaboration with filmmaker John Lucas and Yale's Wright Laboratory.Her essays have appeared in PAJ: A Journal of Performance and Art, The Huffington Post, Theater, PEAK Journal, programs and an exhibition catalogue for the Paris Opera Ballet, and in the forthcoming Oxford Handbook of Contemporary Ballet. Her awards and distinctions include the School of American Ballet's Mae L. Wein Award for Outstanding Promise; the Martha Duffy Memorial Fellowship at the Baryshnikov Arts Center; Yale's Poorvu Family Award for Interdisciplinary Teaching; a grant from the Alfred P. Sloan Foundation in the category of Public Understanding of Science, Technology, and Economics; a 2016 Fellowship at the Center for Ballet and the Arts at NYU; and a 2019 Jerome Robbins Dance Division Dance Research Fellowship at the New York Public Library for the Performing Arts at Lincoln Center. She graduated magna cum laude with a BA in English and holds an MA and MPhil in American Studies from Yale. Her first book, Physics and Dance, co-written with her longtime collaborator, particle physicist Sarah Demers, was released in January 2019 by Yale University Press.She is Professor in the Practice in Theater, Dance and Performance Studies at Yale University, with a secondary appointment in Directing at the Yale School of Drama. She has directed the dance studies concentration at Yale since its inception in 2006.Informationhttps://campuspress.yale.edu/emilycoates/Make plans to check out this piece on tour!February 26, 2026 at The Avery Theater , Hartford ConnecticutApril 23 & 24th 2026 at Schwarzman Center , Yale University“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."https://dancetalkwithjoannecarey.com/Please leave us a Review.You support the podcast:https://gofund.me/e561b42acFollow Joanne Carey on Instagram@westfieldschoolofdance

Hear the Dance host Silas Farley returns for a deep-dive discussion with former Principal Dancer Merrill Ashley and Repertory Director Glenn Keenan on George Balanchine's Ballade, a ballet returning to the NYCB stage after a hiatus of more than 20 years. Keenan shares that when she was a student at the School of American Ballet, Ashley's "humongous care and attention" as a teacher helped shape her approach to her current role, and that watching Ashley in the studio today has been both helpful and inspiring. Ashley recalls the surprise of learning that Balanchine had chosen to make this first work post-heart surgery on her; as he told her then, Ballade is "like skating," though she describes it as one of the most challenging ballets she ever performed. (1:02:43) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Ballade for piano and orchestra, Op. 19 (1881) by Gabriel Fauré All music performed by the New York City Ballet Orchestra Reading List:  Dancing For Balanchine by Merrill Ashley Mr B: George Balanchine's 20th Century by Jennifer Homans Gabriel Fauré: A Musical Life by Jean-Michel Nectoux, Translated by Roger Nichols Dancing Across the Atlantic: USA – Denmark, 1900-2014 by Erik Aschengreen and Grete Hvam

Julianna Rubio Slager is the Co-Founder and Artistic Director of Ballet 5:8—a nationally recognized company based in Chicago. She trained with renowned mentors from the Ann Arbor Ballet Theater, New York City Ballet, the Vaganova Academy, and the Puerto Rican National Ballet. Julianna also danced at Greater Lansing Ballet and Ballet Magnificat. In 2012, Julianna co-founded Ballet 5:8 with Amy Sanderson, aiming to elevate ballet as a medium for discussion of life and faith. With over two decades of teaching experience, she oversees programming for over 400 students at Ballet 5:8 annually, guiding them to pursue both technical excellence and personal authenticity. Her approach honors each dancer's unique story, encouraging the integration of culture, faith, and self-reflection into their artistic voice. She was named a National Visiting Fellow at the School of American Ballet in 2023. She is a recipient of multiple Illinois Arts Council grants and was awarded a DCASE Individual Artist Grant in 2015. Her work has been featured by NBC, PBS, Fox, Chicago Magazine, Newcity Stage, and See Chicago Dance.In our conversation, Julianna shares about sculpting a unique identity for Ballet 5:8, leaning into uncertainty, and finding beauty in every stage of life as an artist.Learn more about Julianna and Ballet 5:8 at https://www.ballet58.org/You can learn more about dance education and career planning for dancers at theballerinatist.com

In this episode, I'm joined by former principal ballerina and author Gavin Larsen to discuss the full arc of a ballet career - from the innocence of a child's first class to the quiet, often emotional decision to step away from the stage.With striking honesty and warmth, Gavin retraces her early, formative years as a student in New York, through the rigorous training at the School of American Ballet, into her professional years with major companies like Pacific Northwest Ballet, Alberta Ballet, and Oregon Ballet Theatre. Along the way, she touches on issues that resonate deeply with dancers at all levels: identity, injury, finding artistic fulfillment, and reinvention.This episode not only provides a front-row seat to Gavin's career but also gives listeners a behind-the-scenes look at the creation of her acclaimed memoir Being a Ballerina, the Brainy Ballerina Book Club's current pick!Key “Pointes” in this Episode Gavin's training at the School of American Ballet beginning at the age of 11 The start of her professional career in the corps of Pacific Northwest Ballet How Gavin chose to move to Alberta Ballet - a smaller company that offered huge artistic opportunities and growth The chance meeting that led Gavin to Oregon Ballet Theatre, the company she would finish her dance career with How she knew it was time to retire from the stage after 18 years as a professional ballerina The journey of writing her memoir, Being a Ballerina, starting with vivid, honest “snapshots” of her dance life.Connect with Gavin:WEBSITE: www.gavinlarsen.comFACEBOOK: facebook.com/GavinLarsenAuthor/INSTAGRAM: instagram.com/gavinalarsen/Links and Resources:Join the Brainy Ballerina Book Club: https://www.thebrainyballerina.com/the-brainy-ballerina-book-clubGet 20% off your first order of ALOHA protein bars: https://aloha.com/BRAINYBALLERINA1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

Christopher Stowell was born in New York City and received his training at Pacific Northwest Ballet School and the School of American Ballet. In 1985, he joined San Francisco Ballet where he danced for 16 years, appearing in theaters throughout the world. An established interpreter of the George Balanchine repertoire, Stowell has appeared in almost every Balanchine ballet performed by San Francisco Ballet. In 2003 Stowell was named the Artistic Director of Oregon Ballet Theatre, a position he held until 2012. In 2017, Stowell was named the first Associate Artistic Director of The National Ballet of Canada, a position he held until 2022. Stowell has taught and coached in San Francisco, New York, Japan, China and across Europe. He has created works for San Francisco Ballet, Pennsylvania Ballet, The National Ballet of Canada, The Los Angeles Ballet and Pacific Northwest Ballet as well as the New York City Ballet Choreographic Institute. His ballets are in the repertoire of Carolina Ballet, Grand Rapids Ballet, Ballet Idaho, Diablo Ballet, Orlando Ballet and Oregon Ballet Theatre. Stowell is a representative of the Balanchine Trust and has also staged the works of Mark Morris and Christopher Wheeldon. Last month, Stowell began his tenure as the Artistic Director of the Royal Winnipeg Ballet. Stowell brings a leadership philosophy centred on relationship-building and community connection to the Royal Winnipeg Ballet. He articulates a refreshing vision for making ballet accessible: bringing performances to unexpected spaces, letting audiences witness the creative process up-close, and strengthening relationships with regional communities. His dancer's directive: "be a student in the classroom and a wild animal on stage". Listen as Stowell shares insights from both sides of the stage and his plans to shape ballet's future in Winnipeg and beyond. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

In this heartfelt and inspiring episode I sit down with Royal Danish Ballet Principal Ballerina Holly Dorger - a childhood friend whose dance journey has taken her from suburban Michigan to the royal stage of Copenhagen.Holly's path has been anything but predictable. From training at the School of American Ballet with dreams of joining New York City Ballet, to unexpectedly being offered a contract abroad, Holly opens up about how she began her professional career at 18 with the Royal Danish Ballet.She shares candid reflections on everything from finding personal healing through dancing roles such as Giselle to what it's like to be knighted by the Queen of Denmark. We talk about the challenges of building a life in a foreign country, what it's like to grow artistically over nearly two decades as a professional, and how she brings authenticity and emotional depth to every performance - especially the ones rooted in human experience and vulnerability.If you've ever wondered what it's like to build a career abroad, channel personal pain into performance, or face the question of "what's next?" after reaching the top, this conversation is a must-listen.Key “Pointes” in this Episode

 Miriam Landis trained at the School of American Ballet, danced with Miami City Ballet, and now teaches at Pacific Northwest Ballet, all experiences that informed her work as the author of three young adult novels set in the ballet world. In this episode, she talks about the reality of the professional ballet path, the emotional and practical sides of stepping away from performing, and how her cultural background shaped her journey. Miriam also discusses what led her to transition out of ballet, how her training continues to influence her life, and why she keeps returning to ballet as a central theme in her writing. Miriam also offers her thoughts on the current challenges in ballet training, the need for change in how dancers are taught, and the generational shift she sees happening in the field. Interested in reading her books? Find them here! Learn more about Miriam on her website More Links: Support Ballet Help Desk Summer Intensive Essentials Guide Buy Summer Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

durée : 00:25:07 - Benjamin Millepied, danseur, chorégraphe (2/5) - par : Thomas Vergracht - Figurant sur la scène de l'Opéra de Bordeaux, Benjamin Millepied partira très jeune en internat au Conservatoire de Lyon, pour une période trépidante d'apprentissages tous azimuts. Jusqu'à un stage décisif outre-Atlantique, à la School of American Ballet… - réalisé par : Béatrice Trichet

Join "Dance Talk” ® with Joanne Carey and special guests Stevn Melendez and Wendy Perron.In this episode of "Dance Talk” ® , host Joanne Carey engages with Steven Melendez, the artistic director of New York Theatre Ballet, and Wendy Perron, a dance historian and former editor of Dance Magazine. They discuss the significance of Judson Dance Theater, its impact on modern dance, and how its philosophies resonate with contemporary dance practices.The conversation explores the challenges of restaging historical works, the importance of audience engagement, and the political context of dance as a form of protest and expression.The episode culminates in a preview of an upcoming performance that aims to bridge the past and present of dance April 23-26.The Judson Dance Theater was a pioneering experimental dance collective that operated in New York City from 1962 to 1964. They performed at Judson Memorial Church in Greenwich Village, known for its social and artistic activism. Judson Dance Theater is widely recognized as a key force in the development of postmodern dance and its avant-garde approach influenced subsequent generations of choreographers. Steven Melendez was born in New York City in 1986 and started his ballet training with the LIFT Program at Ballet School New York at the age of 7. He has danced as a Soloist dancer with Ballet Concierto in Buenos Aires, Argentina, a Principal dancer with The Vanemuine Theater Ballet Company in Tartu, Estonia, and for over 15 years with New York Theatre Ballet. He was a national and international guest artist and teacher and has worked across Europe, Asia, and Central and South America. Steven co-choreographed his first large-scale work, Song Before Spring, for New York Theatre Ballet which was named a Dance Europe critic's choice “Best Premiere” of 2016. Steven is currently a member of the alumni advisory committee on diversity and inclusion for School of American Ballet and served as the Hiland Artistic Director for National Dance Institute New Mexico. Steven was named as the Artistic Director of New York Theatre Ballet in April of 2022Wendy Perron is a dancer/choreographer turned writer/editor/scholar. She trained in modern dance and ballet and earned a BA from Bennington College and an MA from SUNY Empire State College. She danced with the Trisha Brown Company in the 1970s and choreographed more than 40 works for her own group, which received commissions from Lincoln Center Festival, the Joyce Theater, Jacob's Pillow, and the Danspace Project. Perron has taught at Bennington, Princeton, NYU Tisch School of the Arts, and the Conservatory at SUNY Purchase. In the early 1990s she served as associate director of Jacob's Pillow. She was the editor in chief of Dance Magazine from 2004 to 2013, and has also written for the New York Times, the Village Voice, vanityfair.com, and journals in Europe and China. An authority on Judson Dance Theater and postmodern dance, Perron has lectured across the country and in Russia and China. In 2011 she was the first dance artist to be inducted into the New York Foundation for the Arts' Hall of Fame. Her second book, The Grand Union: Accidental Anarchists of Downtown Dance, 1970-1975, met with acclaim when it was published in 2020. She has recently performed with Yoshiko Chuma and the School of Hard Knocks in downtown venues. Her new online series, “Unsung Heroes of Dance History,” presents research on dance artists outside the “canon.” She has been on the Juilliard faculty since 2019.To see this performancehttps://nytb.org/tickets“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

This week around the Rosin Box, hosts Claire Kretzschmar and Soloist Aarón Sanz are talking about students on stage, with the help of two dancers at either end of that journey: 12-year-old (soon to be 13!) Theo Rochios, a current student at the School of American Ballet, and Soloist Harrison Coll, who is a substitute teacher at SAB. They share some of the challenges, thrills, and lessons dancers take on while at the School, and trade stories about the ultimate students-on-stage ballet: George Balanchine's The Nutcracker®. (1:05:11) Edited by Gus Reed Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

In this episode I am joined by Lars Nelson, a professional dancer with New York City Ballet since 2010. Lars shares his captivating journey from singing in the Grand Rapids Choir of Men and Boys to falling in love with ballet during a performance of The Nutcracker. He discusses his rigorous training in Michigan, his transformative experiences at the School of American Ballet, and his transition from student to professional at New York City Ballet.Lars also reflects on his most cherished and challenging roles, including dancing in George Balanchine's Kammermusik No. 2 and Square Dance. He opens up about the honor of dancing in the corps de ballet, the camaraderie within the company, and how he keeps performances fresh even after 15 years on stage.Beyond ballet, Lars shares his journey pursuing a Bachelor of Business with a focus on Supply Chain Operations Management at Penn State, offering insight into balancing academics with a demanding dance career. Connect with Lars:INSTAGRAM: instagram.com/larsikistlerEMAIL: larsnelson1@gmail.comLinks and Resources:Get your copy of The Intentional Career Handbook1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

On today's episode of "Conversations On Dance", we are joined by esteemed teacher and repetiteur Darla Hoover. Darla tells about how her early training at CPYB including teaching regularly, her time working with Balanchine at the School of American Ballet and later as a member of the New York City Ballet, her process to prepare for her stagings of Balanchine's work and how she tailor makes a syllabus for the needs of individual schools. Note: When Darla refers to Marcia, she is talking about Marcia Dale Weary who founded Central Pennsylvania Youth Ballet. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Steve Gruber discusses news and headlines 

"Dance Talk” ® with Joanne Carey and special guest Sara Adams In this episode of "Dance Talk” ® host Joanne Carey interviews New York City Ballet soloist Sarah Adams. They discuss Sarah's journey from a young girl dreaming of ballet to becoming a soloist in one of the most prestigious ballet companies in the world. Sarah shares her early experiences in dance, the challenges of moving to New York City, her apprenticeship, and the excitement of being promoted to soloist. The conversation highlights the dedication, passion, and community within the dance world. In this engaging conversation, Sara shares her experiences and insights as a ballerina, discussing the joy of dance, the challenges faced in the industry, and the importance of collaboration and growth. She reflects on her favorite roles, the unpredictability of scheduling, and the significance of setting goals while finding joy in the art of dance. Sara emphasizes the need for strength training and movement, and offers valuable advice for dancers and individuals alike. Sara Adams was born in Dennis, Massachusetts, and began her dance training at the age of six at the Mid-Cape Ballet Academy. She later studied at the Boston Ballet School, before taking a summer course at the School of American Ballet, the official school of New York City Ballet, during the summer of 2003. She enrolled as a full-time student at SAB from 2003 to 2008. She became an apprentice with NYCB in June 2008 and became a member of the corps de ballet in September 2009. In February 2017, Ms. Adams was promoted to soloist. For more information on New York City Ballet and to go see Sara perform: https://www.nycballet.com/discover/meet-our-dancers/soloists/sara-adams/ Follow Sara @sara_jane_adams “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Justin Leaf is a Minneapolis-based ballet teacher, choreographer, and performance artist whose multifaceted career spans over two decades. A graduate of The Juilliard School with a BFA in Dance Performance, Justin's training also includes The Kirov Academy, School of American Ballet, and Pacific Northwest Ballet School.As a dancer, Justin was a company member with James Sewell Ballet and Minnesota Dance Theatre, and has also performed works by Ernesta Corvino, John Kelly, Morgan Thorson, George Stamos, and others through independent engagements. Critics have described them as “a fascinating and beguiling dancer—so lanky, loose, and idiosyncratic that [their] fine-tuned ballet chops take you by surprise” (Deborah Jowitt, The Village Voice).In their extensive teaching career, Justin has worked with various schools and companies, including Ballet Hispánico, James Sewell Ballet, Minnesota Dance Theatre, Ballet Co.Laboratory, and Minnesota Ballet. Their teaching is influenced by their professional experiences and mentorship under master teachers Andra and Ernesta Corvino.As a choreographer, Justin has created works presented by organizations such as Minnesota Dance Theatre, James Sewell Ballet, and Minnesota Orchestra. Their performance work currently encompasses dance, theater, and vocal artistry. Since 2006, they have frequently performed as Mistress Ginger, a glittering cabaret persona. As Ginger, they authored Mistress Ginger Cooks!: Everyday Vegan Food for Everyone (2014).Justin is honored to have received awards such as the Zaraspe Prize for Outstanding Choreography, a Minnesota SAGE Award for Best Performance, a McKnight Fellowship for Dancers, and a Next Step Fund Grant.

Send us a textOriginal Air Date: March 5, 2024We're joined by Maria Kowroski, the artistic director of the New Jersey Ballet. Maria, who shares her journey from Michigan to the School of American Ballet and eventually the New York City Ballet, reflects on her unique path to becoming a ballerina, driven by a profound passion for dance. The episode unfolds with an exploration of the New Jersey Ballet's rich history since its founding in 1958 and making its home theater the Mayo Performing Arts Center in Morristown.As Maria takes on the dual role of overseeing both the New Jersey Ballet company and school, the podcast delves into the challenges faced in maintaining interest in ballet post-pandemic. Maria provides valuable insights into the audition process for the company, shedding light on the criteria she considers, including technique, musicality, and a team player attitude. The episode also touches upon the intimate details of Maria's personal journey, the impact of mentors, and pivotal moments in her career.As the conversation evolves, Mike and Maria explore the transition from dancer to artistic director, discussing the unexpected nature of this shift and the newfound passion that led Maria to her current role. Technical hiccups add a humorous touch to the episode, keeping the conversation engaging and dynamic. The podcast concludes with Maria's vision for the New Jersey Ballet's future, emphasizing the importance of innovative programs, engaging performances, and the unique experience offered by live ballet shows.Listeners are encouraged to explore the New Jersey Ballet's upcoming programs, with Maria extending an invitation to experience the diversity, affordability, and artistic excellence showcased by the company. Whether you're a seasoned ballet enthusiast or a first-time attendee, this episode provides a fascinating glimpse into the world of dance, artistry, and the enduring legacy of the New Jersey Ballet.njballet.orgGET YOUR JERSEY FEST TICKETS NOW! https://www.seetickets.us/event/jersey-fest/588283Music: "Ride" by Jackson Pinesjacksonpines.comThank you to our sponsors:Lasso: lassoinc.comNew Jersey Lottery: njlottery.comNew Jersey Innovation Institute: njii.comMake Cool Sh*t: makecoolshit.coUCS Advisors: ucsgreatness.comAlbert & Whitney CPAs:  awcpasllc.comMayo Performing Arts Center: mayoarts.org/events-calendarContact the show: mike@greetingsfromthegardenstate.com Support the show

"Dance Talk” ® with Joanne Carey and special guest  Paloma Hererra In this episode of "Dance Talk”, host Joanne Carey speaks with celebrated ballerina Paloma Herrera about her journey from a young girl discovering her passion for ballet to becoming a principal dancer at the American Ballet Theater and now serving as the artistic director of the Kaatsbaan Ballet Intensive. Paloma shares her experiences, the importance of mentorship, and her vision for nurturing the next generation of dancers. The conversation highlights the significance of support systems in a dancer's career and the joy of pursuing one's passion in the art of dance. Paloma Herrera was born in Buenos Aires, Argentina, and began her training at the age of seven. In January 1991, having just turned 15 years old, she moved to New York and continued her studies at the School of American Ballet. After only six months, she joined the American Ballet Theatre and, in 1995, became the youngest Principal Dancer in American Ballet Theatre history at age 19. She has appeared in ballets ranging from Don Quixote, Romeo and Juliet, and Swan Lake, to Apollo, The Prodigal Son, and Stepping Stones. She has appeared as Guest Artist with great ballet companies around the world, including New York City Ballet, Kirov Ballet, Bolshoi Ballet, Tokyo Ballet, Teatro Colon, and National Ballet of Cuba, to name a few. She retired from American Ballet Theatre at the end of November 2015, right before turning 40. Since that, she moved back to her home, Buenos Aires, Argentina, and continued to teach all over the world. In 2016, she wrote her autobiography that was presented at Feria del Libro in 2017. That same year, she also launched her own perfume Paloma Herrera, in 2019 her second fragrance Paloma Herrera Passion, and in 2022 her third fragrance Paloma Herrera Fantasy. In Argentina she received the award: Konex de Platino, Maria Ruanova and distinctions by the Honorable Camara de Diputados de La Nación, Medalla del Bicentenario by the government of the Buenos Aires city, among many others, and since 2012 she is a member of the gallery of popular idols of the Argentine Government House.  In 2017, she became the artistic director of Ballet Estable del Teatro Colon, where the company has grown immensely since she arrived. She resigned in 2022. To find out more about Kaaatsbaan Summer Ballet Intensive https://kaatsbaan.org/ “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance YOUTUBE:  ⁠⁠https://www.youtube.com/channel/UC4NldYaDOdGWsVd2378IyBw⁠⁠ Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Igor Burlak danced professionally with Miami City Ballet, Kansas City Ballet, Atlantic Southeast Ballet and as a principal with Minnesota Ballet. Since retiring from the stage, Igor has had an extensive career working as a Company Manager, Ballet Master, Choreographer, Instructor, Realtor and Photographer.We covered SO MUCH in this episode, from Igor's training at the School of American Ballet to appearing in THE Center Stage. We get expert tips on taking a great dance photo, dealing with onstage snafus and transitioning into a brand new career outside of the dance world. Plus, Igor spills the secret behind the magical moving bed in NYCB's Nutcracker. This episode truly has it all!Key Moments: Early dance training at the School of American Ballet [1:40] Igor's transition from student to professional [3:40] How Igor began teaching and choreographing [5:27] What he hopes to instill in his students as an instructor [7:20] The biggest hurdles dancers are facing today [8:23] Igor's work as a dance photographer and his tips for dancers to feel more comfortable in front of the camera [9:32] How he transitioned into a new career as a realtor [14:43] Dancing as an extra in Center Stage [18:05] Dancing in the iconic filmed version of the NYCB Nutcracker [19:04] Advice for dancers dealing with a mistake on stage [20:42] His biggest piece of advice for dancers pursuing a career [28:30]Connect with Igor:WEBSITE (real estate): www.igorburlakrealestate.comWEBSITE (photography): igorburlakphotography.comLinks and Resources:Get your copy of The Ultimate Audition Guide1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

Send us a textGuest: Alice RobbWriterIn this engaging conversation, Eileen and Amy interview Alice Robb, author of 'Don't Think, Dear: On Loving and Leaving Ballet', exploring her journey from the ballet world to becoming a writer. They discuss the emotional complexities of loving ballet, the impact of dreams (in regards to her first book), and the importance of curiosity, especially as we learn. Alice shares her insights on body image, the need for change in ballet training, and how writing this book has allowed her to illuminate problematic themes that have influenced how some readers approach teaching dance moving forward. The conversation highlights the significance of inclusivity, the need for disruption and the acknowledgement of diverse paths within the dance world.Alice (she/her) is the author of two non-fiction books: Why We Dream (Picador 2019), which was translated into fifteen foreign languages, and Don't Think, Dear: On Loving and Leaving Ballet (HarperCollins 2023), which has been called “devastating” (New York Times); “beautiful, difficult, and compelling” (Vanity Fair); “nuanced, intimate” (Guardian); “enlightening, perceptive” (Wall Street Journal).  Don't Think, Dear uses her childhood at the School of American Ballet as a jumping-off point for an exploration of femininity, beauty, pain, the body, and ballet's place in the modern world.Her journalism and essays have appeared in Vogue, Vanity Fair, the Washington Post, the Guardian, the New Statesman, the Financial Times, the Times Literary Supplement and elsewhere.Follow / Learn More / Mentions:IG: @alicelrobb Website: https://alicerobb.com/ Don't Think Dear: On Loving and Leaving BalletWhy We Dream: The Transformative Power of Our Nightly JourneySharon EyalBatsheva Dance CompanyGagaHortonABT & SABSupport the showM.O.V.E. with Eileen + Amy is a Kaia Evolutions Podcast.New episodes air on Wednesdays when in season.To learn more about Eileen + Amy, be sure to follow them on IG at @ekielty + @amyreah and keep up to date on the podcast at @movewitheileenandamy. For more information about Kaia Evolutions, a culmination of Eileen's life's work and a love letter to her sister, Katie, who died by suicide in 2019 - visit https://www.kaiaevolutions.com/ or follow on IG at @kaia.evolutions If you want to share part of your dancer / movement artist journey with us, email us at movepod@kaiaevolutions.com*If you or anyone you know is in need of support, please call the National Suicide Prevention Lifeline at 800.273.8255 OR text 988. You are not alone.

Welcome back to another episode of Talks To-Go! Jill and George talk with our next special guest father/daughter duo, Alicia Mae Holloway and Kenny Holloway. Alicia is a dancer from Morgantown, West Virginia who began her professional career with the Suzanne Farrell Ballet and performed with the Dance Theatre of Harlem where she worked with Alicia Keys, Aretha Franklin, and Gladys Knight. She has shot music videos, was on the cover of PEOPLE Magazine Winter/Spring 2023 Health Edition, served as a co-chairwoman of the School of American Ballet's Visiting Faculty program and was a contestant on The Bachelor. Kenny is a husband, friend and avid fisherman who loves his family and friends dearly. A retired Director of Public Works for the city of Morgantown, he now spends the majority of the time doing what he loves most. You guessed it…fishing. No reservations necessary.  All TALKS are TO-GO. Follow our guests: Alicia: @aliciamaeholloway_ Follow us: Instagram: @talkstogopodcast TikTok: @talkstogopod Jill: @jillmorgannnn George: @georgealanruthvo

Today I'm talking with Juliana Rubio Slager. She co-founded Ballet 5:8 in 2012 and is known for her unique ability to engage audiences in discussions of life and faith through choreography. She has created over 50 works for the Company and School during her tenure at Ballet 5:8. She has had the privilege of working daily at the School of Ballet 5:8 and has guest taught at over 100 schools across the United States. In 2023 Rubio Slager was awarded the coveted position of National Visiting Fellow at the School of American Ballet.Ballet 5:8 tours nationally, bringing her critically acclaimed ballets such as Reckless, Butterfly, The Space in Between and BareFace to audiences across the nation. Julianna Rubio Slager is a groundbreaking figure within the field, as one of the few Mexican American Artistic Directors and Resident Choreographers of professional ballet companies in the world. She hopes that her leadership and creative work at Ballet 5:8 will pave the way for other women and under-represented artists in professional ballet.Website: ballet58.orgYouTube: @ballet58IG: @ballet58 Tiktok: @ballet58chiFacebook: @ballet58I'm so grateful to know Julianna, and to have seen ballet 58 grow. It's definitely played an important role in our lives, and the journey of my daughter's dance career.Ok amigos, thank you so much for listening please rate and review this podcast so we can get more ears listening to these stories and can continue elevating la cultura. You can also comment on our YouTube video if you're watching online. I always like to hear from people and how they resonate with the stories I share. Enjoy the rest of the day/afternoon/evening whenever you're listening, y nos vemos next week! 

City Ballet The Podcast returns just in time for the upcoming 24-25 Season. Hear the Dance host Silas Farley is joined by legendary former Principal Dancer and current School of American Ballet faculty member Kay Mazzo and Principal Dancer Anthony Huxley to discuss George Balanchine's Duo Concertant, one of the new works to premiere during the 1972 Stravinsky Festival. Mazzo shares her memories of the speed with which Balanchine choreographed each of the four movements, and commiserates with Huxley on the many unique challenges the ballet presents, including interacting with the piano and violin that share the stage—a "commentary on the festival itself," in Farley's words, as it honored Stravinsky's music and his importance to the Company. (48:57)  Written by Silas Farley Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky All music performed by the New York City Ballet Orchestra Reading List: Stravinsky and Balanchine: A Journey of Invention by Charles M. Joseph Mr. B: George Balanchine's 20th Century by Jennifer Homans Stravinsky's Ballets by Charles M. Joseph Stravinsky Inside Out by Charles M. Joseph An Autobiography by Igor Stravinsky Stravinsky: A Creative Spring: Russia and France, 1882-1934 by Stephen Walsh Stravinsky: The Second Exile: France and America, 1934-1971 by Stephen Walsh Stravinsky: Chronicle of a Friendship by Robert Craft Stravinsky: Discoveries and Memories by Robert Craft The Stravinsky Festival of The New York City Ballet by Nancy Goldner Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy Balanchine Variations by Nancy Goldner

Former New York City ballet dancer, Silas Farley, first learned about dance in the context of worship at his church—a perspective that would stick with him through grueling training at the School of American Ballet and through his professional career. Silas shares the nerve-wracking story of taking a leap of faith towards dance over other paths, how he got to see a unique and beautiful dream come to life on stage and help others realize their dreams too, and how he got to embody his love for the Lord through movement.    Quotes “My first encounter with dance was dance as worship, not dance as performance, and that really resonated with me.” - Silas Farley “Getting to dance in the New York City Ballet was like someone who wanted to be an astronaut and actually got to go to the moon. The days were long, hard, and deeply rewarding, beginning with morning classes, rehearsing all day, and then performing most nights of most weeks of the year. That pace of work was relentless, but it was also deeply gratifying.” - Silas Farley  “It was kind of an embodied form of prayer to get to come into the theater and to work in this beautifully embodied art form and to do it for the glory of my King Jesus—kind of offering to the Lord through performing and working. I feel incredibly close to God when I dance.” - Silas Farley “I always think about how Jesus is God made man, that He is the incarnation of God. He has a body, and in His resurrection, He shows us the glorious potential and future for the body.” - Silas Farley “In my final year in the company, there were more dancers of color than had ever been in the history of the company. That felt really, really special and really significant—a beautiful shift in the evolution of the art form. I thought it a great privilege and joy to be at the New York City Ballet at a point in the institution's story when part of that original vision was starting to be realized.” - Silas Farley  “I hope I get to spend the rest of my life dancing, laughing, singing, and thanking God for His great, great grace and love.” - Silas Farley   Resources Mentioned in This Episode Southern Methodist University New York City Ballet George Balanchine Patricia McBride School of American Ballet Professional Children's School Harvard University Lincoln Kirstein Colburn School Cassia Farley   Connect with Sally Lloyd-Jones Jesus Storybook Bible Facebook Jesus Storybook Bible Instagram  Sally's website Sally's Facebook Sally's Instagram *Episode produced by Four Eyes Media*  

Serene Mechel-Dillman talks about the global success of her film documenting first-hand accounts of the terminally ill who have used medical aid in dying (MAID). Airing on Amazon Prime, Take Me Out Feet First has been in the top five TV documentaries for the past three months, with more than 24 million minutes of viewing. About Serene A New York native and dancer with a passion for the visual arts, Serene attended The School of American Ballet, Tenafly High School then The University of Vermont. Post graduation, she opted out of law school and worked at an advertising agency in New York, founded a company that imported baskets from Haiti, then moved to Los Angeles to work in production on television commercials. Commercial production stuck and she worked her way up until she became a producer. In 2014 Serene conceived and directed the documentary film, “Getting to The Nutcracker”, a behind the scenes look at what it takes to produce the classic ballet from auditions to final performance. The movie garnered 7 major festival awards, including a Grand Jury Prize, Audience Award, Best Direction, and Best Feature Documentary. Her second documentary, “The 5th Dementia” is about a Los Angeles-based band whose members live with Alzheimer's, dementia and Parkinson's. They are able to sing and play music despite their neurodegenerative diseases. "Take Me Out Feet First" is her first documentary series. The first 6 episodes of season 1 are currently airing on Amazon Prime. Look for season 2 later this year. Key Takeaways Medical aid in dying (MAID) is the practice where a physician provides a terminally ill patient with the means to voluntarily and intentionally end their own life. This usually involves prescribing a lethal dose of medication that the patient can self-administer. "Medical aid in dying" is distinct from "assisted suicide." Medical aid in dying involves the self-administration of prescribed medication by terminally ill patients, and there are strict safeguards in place to prevent abuse. Oregon's Death with Dignity Act, enacted in 1997, has not reported a single instance of abuse since its initiation 27 years ago. The term "suicide" implies a desire to die, whereas medical aid in dying is a choice made by individuals facing an unavoidable terminal illness. Compassion & Choices is a nonprofit organization in every US state that advocates for end-of-life care options, including medical aid in dying. The organization works to expand and improve end-of life care and ensure that patients can make their own decisions about their treatment and how they wish to spend their final days.

The Adult Ballet Studio has another special guest for this episode! Cecelia Beam, faculty member for adult ballet and dance classes for people with Parkinson's at San Francisco Ballet, is in the studio. Cecelia is a former dancer, training at School of American Ballet in New York City and graduating from the high school ballet program at the University of North Carolina School of the Arts. After dancing in Oakland, California, North Carolina, Indiana and New York, Cecelia found teaching. She earned a master's degree in ballet at Indiana University and has taught ballet at universities and private ballet schools, including Mills College, Indiana University, and San Francisco Ballet School.  She has a passion for teaching ballet for adults, and in addition to that, she manages and is the lead teacher for San Francisco Ballet School's Dance Class for People with Parkinson's and has coordinated San Francisco Ballet Adult Education Programs for more than 15 years. She shared some of the ways she structures her classes to make them as inclusive as possible while remaining committed to ballet technique and challenging her students. She also talked about the ways she's seen ballet change throughout her time studying it, and where she hopes things are headed in the future. Check it out! Learn more about Cecelia and her classes at SF Ballet: https://www.sfballet.org/artist/cecelia-beam/  Learn about Cecelia's work with the Parkinson's Foundation: https://www.parkinson.org/living-with-parkinsons/stories/cecelia-beam  Donate to the Parkinson's Foundation: Donate here! Learn about SF Ballet's adult program and Dance Class for People with Parkinson's: https://www.sfballet.org/school-community/adult-programs/parkinsons/ Email Cecelia: ceceliasballetclass@gmail.com  Vote for The Adult Ballet Studio in the arts category for The People's Choice Podcast Awards! Voting ends July 31. https://www.podcastawards.com/app/signup Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310 Artist: http://incompetech.com/ @eblosfield  | theadultballetstudio@gmail.com Support this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

Adriana Pierce is a dancer, choreographer, and director based in New York City, and she joined the studio to talk about her work elevating queer artists in ballet, creating community, and her career in classical ballet as well as musical theater!  Adriana is the founder of Queer the Ballet, an initiative with the mission to widen the scope of classical ballet by producing queer work by queer dance artists. Queer the Ballet says on its website that it seeks to “queer” our ballet spaces and explore choreography often absent from ballet stages. After training at School of American Ballet, Adriana began her dancing career with New York City Ballet and Miami City Ballet before realizing another dream of hers - working in Broadway, film and tv! She appeared in the 2018 Broadway revival of Carousel, in Steven Spielberg's 2021 West Side Story film, and in the 2019 limited series on FX, Fosse/Verdon.  She's currently the associate director and associate choreographer for Justin Peck's “Illinoise" on Broadway. Adriana's other choreographic work features movement and partnering that allows dancers of all genders equal agency, dismantling the traditional gender dynamics of dance. Her choreography has been performed by American Ballet Theatre, Carolina Ballet, Columbia Ballet Collaborative, Ashley Bouder Project, and more. She's also completed residencies with Center for Ballet and the Arts at NYU and Bridge Street Theatre, and she was recognized by Dance Magazine as one of 25 to watch in 2022. Follow Adriana on Instagram: @adriprc Follow Queer the Ballet on Instagram: @queertheballet Check out Adriana's work: www.adrianapierce.com Support Queer the Ballet: www.queertheballet.com/donate Get tickets to Queer the Ballet's upcoming performance, Dream of a Common Language: https://ci.ovationtix.com/36678/production/1194112?performanceId=11435956 Get tickets for Illinoise: https://illinoiseonstage.com/tickets/ Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310 Artist: http://incompetech.com/ @eblosfield | theadultballetstudio@gmail.com Support this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

As we prepare for opening night of Spring performances, Associate Artistic Director and New Combinations host Wendy Whelan catches up with sought-after choreographer Amy Hall Garner between rehearsals for her first commission for NYCB, premiering in just over a week. Garner shares the long, dance-rich journey—including summer sessions at the School of American Ballet, studying modern, tap, and jazz, and performing on Broadway—that led to this moment in her dance-making career. "I love being in the studio," she says of the creative process. "I think that's a sacred space." (40:04)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Hello Everyone, I am so excited for you all to listen to this really pleasant conversation I had with Tiler Peck. The world renowned, incredibly dynamic, musical and versatile dancer of today. People have said about her "I don't even have to hear the music to be able to know what it sounds like when I watch you dance." Tiler Peck started dancing at her mother's studio at the age of two and was introduced to various dance styles. She worked with former Bolshoi principal dancer Alla Khaniashvili and former New York City Ballet dancers Patricia Neary and Yvonne Munsey. Peck's journey led her to the School of American Ballet (SAB) and eventually to New York City Ballet. She had to navigate the transition from jazz to ballet and overcome feelings of comparison and insecurity. P eck's musicality is a defining characteristic of her dancing, and she describes it as being an extension of the music. She believes in breaking the rules and being fearless on stage. In this conversation, Tiler Peck discusses the importance of musicality in ballet and how it can be taught. Can it be taught to the degree Tiler is gifted? She emphasizes the need for dancers to listen to the music and become comfortable with it, allowing it to guide their movements. Tiler also shares her experience as a perfectionist and how it has both helped and hindered her progress. She highlights the importance of finding a balance between striving for perfection and letting go to fully express oneself. Tiler also talks about the significance of downtime and having experiences outside of ballet, which can enhance a dancer's artistry and bring more depth to their performances. Let's meet Tiler! Chapters 00:00 Introduction and Early Dance Training 04:12 Transition to Ballet and School of American Ballet 07:32 Working with Former Bolshoi Principal Dancer 10:42 Choosing Ballet as the Focus 20:35 Musicality and Jazz Background 25:14 Maintaining Musicality in Ballet Training 27:45 Nerves and Performing 29:23 Definition of Musicality in Dance 35:28 Developing Musicality as a Student 36:24 The Importance of Musicality in Ballet 39:04 Teaching Musicality in Ballet 41:19 The Relationship Between Technical Ability and Musicality 42:56 Stretching Time and Musicality 47:10 The Pitfalls of Perfectionism 51:49 The Importance of Downtime and Life Outside of Ballet 56:28Finding Yourself Outside of Ballet 01:05:50 Exploring Other Creative Fields 01:09:10Takeaways and Conclusion ------ Enjoy! Like and subscribe! ---------------------------------- 14 day free trial to the BWI platform https://balletwithisabella.com/select-a-plan/ * My website - Online classes and courses Memberships to enhance you training Live classes and more! https://balletwithisabella.com MOST RECENT CLASSES AND COURSES GRAND ALLEGRO COURSE https://balletwithisabella.com/course/grand-allegro-course/ MAT MADNESS 14 DAY CHALLENGE https://balletwithisabella.com/course/mat-madness/ ABSOLUTE BEGINNER 8 WEEK COURSE https://balletwithisabella.com/plan/absolute-beginner-course/ * Listen to my podcast to enhance your mindset as a dancer! become more confident, with higher self esteem and self belief. Join thousands of listeners! https://open.spotify.com/show/72hZ7nnhKSG97VofHYPBOW?si=8ebb73d9aedf425e * Follow me on Instagram https://www.instagram.com/balletwithisabella * Follow me on TIKTOK www.tiktok.com/@balletwithisabella Join the BWI Community! Your secret weapon to excellence https://balletwithisabella.com/select-a-plan/

This week at The Rosin Box, hosts Claire Kretzschmar and Soloist Aarón Sanz are joined by NYCB dancers and "real-life" couple Emily Kikta and Peter Walker to talk about partnering—onstage and off. Peter and Aarón share their memories of learning from legendary former Principal Dancer Jock Soto, who taught partnering at the School of American Ballet when they were students, while Claire and Emily reflect on the ways in which pas de deux challenge their stamina while offering opportunities to take risks. The most important element for a successful partnership, they all agree, is simple, if not always easy: communication. (56:23)  Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Episode Summary: Professional dancer and choreographer Anthony Carr shares insights from his career journey. Anthony's dance path began at age four, guided by his mother's influence as a dancer. He transitioned from ballet to hip hop, finding solace and freedom in the latter despite initial setbacks.  He reflects on his experiences in various dance schools and becoming an associate choreographer of The Wiz in NYC, emphasizing the role of mentors and support in his journey.  His story includes shifts from New York to Los Angeles, and even Canada working on films like Hairspray. He shares experiences of auditioning for TLC and touring with Corbin Bleu.  Anthony also touches on mentorship and parental support in dance, advising parents to give dancers space to learn and grow independently. He discusses choreography and working with directors, praising the skills of choreographers like Marguerite Derricks and Jamal Sims. Anthony's admiration for industry legends like Mikhail Baryshnikov and Michael Jackson is evident, showcasing his appreciation for their talent and impact. The episode concludes with Anthony encouraging dancers to embrace discomfort, take risks, and support each other, emphasizing the importance of staying passionate about the art form. Show notes: 0:03 Dance industry insights and experiences. 2:15 Dance career path and transition from ballet to hip hop. 5:56 Dance career paths and financial sustainability. 9:29 Dance career, business, and personal growth. 16:35 Dance motivation and rejection. 19:44 Dance career paths and experiences. 26:43 Dance mentorship and parental support. 29:33 Choreography and working with various directors. 36:13 Dance career inspiration and industry legends. 39:25 Dance career paths and industry insights. 45:41 Transitioning from competition dancer to industry professional. 48:36 Dance choreography and training with a professional. 53:50 Dance training and career sustainability. 57:14 Dance career, inspiration, and advice with Broadway choreographer Anthony Morigerato. Biography: Born and raised in the Bronx, Anthony "Kanec" Carr emerges as a distinguished figure in the global arts scene, renowned for his prowess as a dancer, choreographer, and actor. His journey commenced at New York City's prestigious School of American Ballet, demonstrating early on his unwavering commitment to his craft. Simultaneously, he pursued his education at the Professional Performing Arts School (PPAS), showcasing a dedication to both his artistic and academic pursuits. This dual focus propelled his growth, culminating in a fusion of exceptional raw talent and intensive technical training in ballet, tap, jazz, musical theatre, and hip hop by the age of 17. Kanec swiftly found himself gracing the stage alongside multi-platinum selling recording artists such as Justin Bieber, Missy Elliott, Usher, Chris Brown, Cardi B, and TLC, among other illustrious names. His portfolio boasts featured roles in prominent movies and television shows, including notable appearances in Step Up 1 & 3, FAME, Hairspray, the Justin Bieber 3D Movie, and Glee. His stage presence has illuminated celebrated venues like the Grammys and the Oscars, as well as various other prestigious musical award ceremonies. Kanec's creative genius extends to choreography, where his artistry has enriched the work of acclaimed artists like Neyo, Eric Bellinger, and Daddy Yankee. His choreographic creations have been showcased on televised events such as "So You Think You Can Dance," attesting to his ability to craft compelling movement narratives. Currently contributing to the choreography team for Broadway's "The Wiz" in NYC, Kanec's journey exemplifies a lifelong passion for dance, choreography, and the performing arts.  Website:  Kanec Carr | IDC Official Site (innovationdancecenter.com) Connect on Social Media: https://www.instagram.com/klassikkanec/ https://www.facebook.com/AnthonyLeeCarr

We're joined by Maria Kowroski, the artistic director of the New Jersey Ballet. Maria, who shares her journey from Michigan to the School of American Ballet and eventually the New York City Ballet, reflects on her unique path to becoming a ballerina, driven by a profound passion for dance. The episode unfolds with an exploration of the New Jersey Ballet's rich history since its founding in 1958 and making its home theater the Mayo Performing Arts Center in Morristown.As Maria takes on the dual role of overseeing both the New Jersey Ballet company and school, the podcast delves into the challenges faced in maintaining interest in ballet post-pandemic. Maria provides valuable insights into the audition process for the company, shedding light on the criteria she considers, including technique, musicality, and a team player attitude. The episode also touches upon the intimate details of Maria's personal journey, the impact of mentors, and pivotal moments in her career.As the conversation evolves, Mike and Maria explore the transition from dancer to artistic director, discussing the unexpected nature of this shift and the newfound passion that led Maria to her current role. Technical hiccups add a humorous touch to the episode, keeping the conversation engaging and dynamic. The podcast concludes with Maria's vision for the New Jersey Ballet's future, emphasizing the importance of innovative programs, engaging performances, and the unique experience offered by live ballet shows.Listeners are encouraged to explore the New Jersey Ballet's upcoming programs, with Maria extending an invitation to experience the diversity, affordability, and artistic excellence showcased by the company. Whether you're a seasoned ballet enthusiast or a first-time attendee, this episode provides a fascinating glimpse into the world of dance, artistry, and the enduring legacy of the New Jersey Ballet.njballet.orgMusic: "Ride" by Jackson Pinesjacksonpines.comThank you to our sponsors:Lasso: lassoinc.comNew Jersey Lottery: njlottery.comNew Jersey Innovation Institute: njii.comMake Cool Sh*t: makecoolshit.coUCS Advisors: ucsgreatness.comAlbert & Whitney CPAs:  awcpasllc.comMayo Performing Arts Center: mayoarts.org/events-calendarContact the show: mike@greetingsfromthegardenstate.comSupport the show

Julianna Rubio Slager is the artistic director and co-founder of Ballet 5:8 dance company out of Chicago. She returns for the second time to the podcast to talk about the powerful language of the body through dance and how it can speak in ways words cannot. We discuss misconcenptions about the body and dance among church culture and the importance of making peace with our bodies in surrender to God's work in our lives. Julianna is known for her unique ability to engage audiences in discussions of life and faith through her choreography. She has created over 50 works for the Company and School during her tenure at Ballet 5:8. In 2023 she was awarded the coveted position of National Visiting Fellow at the School of American Ballet. Ballet 5:8 Support the Podcast Connect with Libby Instagram @artandfaithpodcast  

This week, Stauney talks about the Prima Ballerina, Maria Tallchief and how her pioneering spirit challenged the norms of the predominantly European art form and ushered in a new era for ballet in the United States. From her early training at the School of American Ballet to becoming the first American and Native American prima ballerina, Tallchief's career was marked by a relentless pursuit of excellence. This episode discusses the life and achievements of Maria Tallchief, from her formative years in the Oklahoma Osage Tribe to her extraordinary rise as a legendary ballet figure. We discuss her contributions of change to the future of ballet forever, her role in breaking down racial barriers, and her enduring influence on the world of dance. Maria Tallchief's remarkable and transformative odyssey is a testament to the enduring power of passion, talent, and cultural pride. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Stauney talks about the Prima Ballerina, Maria Tallchief and how her pioneering spirit challenged the norms of the predominantly European art form and ushered in a new era for ballet in the United States. From her early training at the School of American Ballet to becoming the first American and Native American prima ballerina, Tallchief's career was marked by a relentless pursuit of excellence. This episode discusses the life and achievements of Maria Tallchief, from her formative years in the Oklahoma Osage Tribe to her extraordinary rise as a legendary ballet figure. We discuss her contributions of change to the future of ballet forever, her role in breaking down racial barriers, and her enduring influence on the world of dance. Maria Tallchief's remarkable and transformative odyssey is a testament to the enduring power of passion, talent, and cultural pride. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this first part of a special Hear the Dance episode, host and former NYCB Dancer Silas Farley is joined by dance scholar Jennifer Homans to discuss her recently published biography, "Mr. B: George Balanchine's 20th Century.” Homans describes how her own background as a dancer—including as a student at the School of American Ballet in the 1970s—and a return to Balanchine's works while facing personal loss inspired her lasting interest in the Company's founding choreographer. Farley and Homans dig into Balanchine's Georgian upbringing, the way the hardship and uncertainty of his years in Russia and France shaped his vocabulary, and the spirituality that infuses both his approach to the creative process and to the ballets he choreographed themselves. (1:03:58) Written by Silas Farley Edited by Gus Reed Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky All music performed by New York City Ballet Orchestra Reading List:  Balanchine: A Biography by Bernard Taper George Balanchine: Ballet Master by Richard Buckle in Collaboration with John Taras Balanchine and the Lost Muse: Revolution and the Making of a Choreographer by Elizabeth Kendall George Balanchine: The Ballet Maker by Robert Gottlieb Balletmaster: A Dancer's Vision of George Balanchine by Moira Shearer By With To & From: A Lincoln Kirstein Reader by Lincoln Kirstein, Edited by Nicholas Jenkins Apollo's Angels: A History of Ballet by Jennifer Homans

In this week's episode of GRUFFtalk: How to Age Better, host Barbara Hannah Grufferman talks with sports nutritionist Heidi Skolnik to take a deep dive into the many benefits of fiber, the ‘unsung hero' of nutrition and which many longevity experts believe is the ‘secret weapon' to aging better and living longer.  Here are a few of the things you'll learn by listening to this episode:  The Science Behind Fiber: Understand exactly what fiber is and the distinct types that can benefit our health.  The Connection Between Fiber and Gut Health: Dive into fiber's crucial role in digestion, gut health, and its direct link to a robust metabolism.  Combatting Diseases: Learn how a fiber-rich diet can reduce the risk of type 2 diabetes, stabilize blood sugar levels, and reduce your risk for common chronic diseases such as cancer, stroke, and heart disease.  Longevity's Link to Fiber: Unravel the research that connects higher fiber intake to a longer, more vibrant life.  Get to Your Healthy Weight: Decode the ways in which fiber assists in weight control, satiety, and overall calorie regulation.  Practical Tips: Get actionable advice on seamlessly incorporating more fiber-rich foods into your daily meals and snacks.  More about Heidi Skolnik:  Heidi Skolnik is a nutritionist and exercise scientist who works with professional athletes, Broadway stars, and also oversees Performance Nutrition for Julliard and the School of American Ballet. Heidi is also the co-author of the New York Times best-selling and wildly successful book “The Whole Body Reset”, which sheds light on how to stop age-related weight gain with while keeping muscles strong with the power of protein timing.  Learn more about Heidi Skolnik here:  Website: https://www.heidiskolnik.com  Connect with Barbara:  Website: https://www.barbarahannahgrufferman.com   Facebook: https://www.facebook.com/BarbaraHannahGruffermanAuthor  Instagram: https://www.instagram.com/barbarahannahgrufferman/  LinkedIn: https://www.linkedin.com/in/barbara-hannah-grufferman/  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on 'Conversations on Dance' we are joined by Philip Duclos, corps de ballet dancer with the Royal Danish Ballet. We talk with Philip about his training at the School of American Ballet and his first year in a company. He gives us a preview of what he will be dancing this year at the Vail Dance Festival, and tells us how he first came to be invited to the festival in 2021 while he was still a student at SAB.VAIL DANCE FESTIVAL TICKETS ON SALE NOW! Conversations on Dance events: https://vaildance.org/conversations-on-dance/Performance tickets: https://vaildance.org/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

This week on Conversations on Dance, we are happy to bring you a chat with our friend, Damien Johnson. The topic of today's conversation was suggested by one of our listeners who was looking for us to delve into male specific training and some of the issues that arise that are different from females in the field. Damien is a permanent guest faculty member at The School of American Ballet, and a sought after teacher who is certified in the American Ballet Theatre National Training Curriculum in Pre-Primary-Level 3 as well as classical Pilates through Power Pilates. It was just announced that Damien will be stepping into the role of Upper Division Head at The Washington School of Ballet after his recent time as a faculty at Central Pennsylvania Youth Ballet.Damien is the perfect person to chat with about this topic as he shares advice for young male dancers navigating an aspiring career in ballet.Special thanks to Brett Elizabeth Gardner for this topic suggestion. As a parent of a male dancer, who is now a part of a second company, Brett has founded The Ballet Help Desk, to help other parents support their dancers as they navigate the serious ballet training path. The Ballet Help Desk provides an extensive digital library, featuring a collection of articles and videos. Users can explore various topics, ranging from the path to becoming a professional dancer to how to choose a ballet residential program to how ballet competitions fit into the mix. Be sure the check them out at ballethelpdesk.com.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

PART EIGHT - "Blackness is a vehicle. It's a vehicle to get people where they need to go."For more content, follow us on Instagram @RococoPunchTRANSCRIPT - https://www.rococopunch.com/turningtranscripts See omnystudio.com/listener for privacy information.