Podcasts about American Ballet Theatre

In 2015, Misty Copeland became the first Black woman to become principal dancer at the American Ballet Theatre. Her heartfelt memoir “The Wind at My Back” pays tribute to her mentor and fellow dance pioneer Raven Wilkinson, who performed in the segregated South as a member of the Ballet Russe de Monte Carlo in the 1950s. A few years back, Misty joined guest host Talia Schlanger to talk about Raven's incredible life and legacy.

Creativity through the lens of the Assistant Dean of The North Carolina School of the Arts"I find creativity in so many areas of my life."Jared Redick, an award-winning, sought-after master teacher, choreographer, and coach whose leadership has shaped the global dance community. A third-generation ballet dancer, Jared blends a deep respect for classical traditions with an innovative approach to contemporary work. He currently serves as a full professor and Assistant Dean of Dance at the University of North Carolina School of the Arts (UNCSA), one of the nation's top conservatories.During his 20-year career, Jared danced as a soloist with Boston Ballet, Miami City Ballet, and the Suzanne Farrell Ballet, performing classical, neoclassical, and contemporary works and collaborating with renowned choreographers such as Jorma Elo and Helen Pickett.After retiring, Jared transitioned to teaching and directing, sharing his expertise with leading companies like American Ballet Theatre, Finnish National Ballet, and Cincinnati Ballet. At UNCSA, he directs the acclaimed Nutcracker production, has led equity-focused curriculum updates, and served as interim dean, overseeing major productions and student success initiatives.Jared's accolades include the UNCSA Excellence in Teaching Award and international recognition as a juror and master teacher. Currently pursuing an MBA, he continues to innovate at the intersection of dance education and leadership.https://www.jared-redick.com/https://www.instagram.com/jared_redick/https://www.linkedin.com/in/jared-redick/Send us a text

This week on The Balanced Ballerinas Podcast, I'm honoured to share a conversation with the legendary Lynne Charles as we launch our new mini-series, The Art & Impact of Ballet Teaching. Lynne's career is nothing short of extraordinary—dancing with American Ballet Theatre, London Festival Ballet, and as a principal with Hamburg Ballet and Deutsche Oper Ballet. But it's the teacher she's become that truly inspired this episode. _____ Join the Balanced Ballerinas EXCLUSIVE Teachers Facebook Group here: https://www.facebook.com/groups/balancedballerinasteachers My Instagram! @thebalancedballerina Community Instagram! @balancedballerinas Facebook - Balanced Ballerinas And join the SECRET Facebook group here: https://www.facebook.com/groups/balancedballerinas/ Join the Balanced Ballerinas FREE 5 Day Challenge here: www.balancedballerinas.com/challenge Prenatal, healing or beginner ballet student? This course was designed for you: https://www.balancedballerinas.com/butterballet My Signature 12 Week Adult Ballet Course: https://www.balancedballerinas.com/12weekadultballetcourse The Marketing Blueprint For Dance Teachers & Studio Owners: https://www.balancedballerinas.com/TMB

On today's episode of "Conversations On Dance", we are joined by Sarah Lane, former ballerina with American Ballet Theatre, teacher, coach and ally to furry, four legged friends everywhere. Sarah takes us through her illustrious career as a principal dancer who spent two decades with American Ballet Theater, to her present day passion working to find rescue animals homes. On Monday, June 2nd at Symphony Space in New York City, join Sarah at the inaugural Dance For Paws fundraising event, a night of charity that funds three different rescue organizations in the city. To purchase tickets to the event or to simply donate visit danceforpaws.org. 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.

Our host, Adrian Ellis, speaks with Rachel Moore, President & CEO of The Music Center in Los Angeles, about the organization's evolving role as both a cultural and civic anchor – from its response to recent local challenges and its leadership in the newly designated Grand Avenue Cultural District, to its commitment to democratic values, inclusive programming, and long-term relevance.Guest bio:Rachel Moore is the President & CEO of The Music Center in Los Angeles, one of the largest performing arts centers in the U.S., where she oversees programming, civic partnerships, and a portfolio of over $3B in public assets. A former professional dancer with American Ballet Theatre, she went on to become its CEO and spearheaded nationally recognized diversity and policy initiatives in the arts.With deep experience in cultural leadership, public service, and nonprofit finance, Moore has served on numerous boards, advised on arts equity and Olympic planning, and authored The Artist's Compass. She is a member of the American Academy of Arts and Sciences and continues to advocate for the civic value of the arts in public life.References:The Music Center: https://www.musiccenter.org/American Ballet Theater: https://www.abt.org/Grand Ave Cultural District: https://www.latimes.com/entertainment-arts/story/2025-04-01/la-county-board-of-supervisors-grand-avenue-cultural-district-broadBloomberg Connects: https://www.bloombergconnects.org/The Broad Museum Expansion: https://www.latimes.com/entertainment-arts/story/2024-03-27/broad-expansion-more-galleriesThe Colburn School Expansion: https://colburnschool.edu/future/Refik Anadol Is Opening the World's First A.I. Museum: https://news.artnet.com/art-world/refik-anadol-ai-museum-dataland-2543122GCDN LA Convening: https://gcdn.net/convening/los-angeles-2025/ LinkedIn:The Music Center: https://www.linkedin.com/company/music-center/Rachel Moore: https://www.linkedin.com/in/rachel-moore-4b5b445/ 

Cameron Basden, Répétiteur for the Arpino Trust, joins us ahead of Fort Wayne Ballet's staging of Light Rain, as part of the Ballet Russe Reimagined series conclusion. Jim and Cameron discuss the evolution of our company over the years of performing Gerald Arpino's masterworks and the versatility and skill of Fort Wayne's dancers.

Hip-hop mogul Sean "Diddy" Combs rejected a plea deal offer on Thursday. The 55-year-old recording artist is facing federal charges that include sex trafficking and racketeering. He has pleaded not guilty. Jury selection is set to begin on Monday for his trial. The TSA says about 1 in every 5 flyers are showing up to airports without a Real ID, passport or other compliant ID, meaning they could have major travel troubles when the Real ID requirements take effect next week. CBS News senior transportation correspondent Kris Van Cleave has more. R.E.M. is releasing a new "Radio Free Europe" remix to raise money for the real Radio Free Europe/Radio Liberty ahead of World Press Freedom Day. First on CBS Mornings, CBS News' Anthony Mason speaks with former R.E.M. frontman Michael Stipe about the remix & the importance of RFE. In the "Kindness 101," Steve Hartman and his children are sharing a lesson in equality. A young girl loved to play with Army toys, but noticed there were no female soldiers. Hartman reconnects with the girl years after she decided to take action. Actor Connie Britton played Tami Taylor on "Friday Night Lights." She's drawing on her real life parenting experience in her new show on the Hallmark Channel, "The Motherhood." In each episode, Britton and her team of experts, the "Neighborhood Ladies," help a single mother with everything from parenting strategies to wardrobe. Zarna Garg broke into comedy when she was 45 years old. Since then, the former stay-at-home mom's career has skyrocketed, from touring with Amy Poehler and Tina Fey to working with Mindy Kaling and Kevin Hart. CBS News' Shanelle Kaul has more on her journey. Ballerina Misty Copeland made history nearly a decade ago as the first Black female principal dancer at the American Ballet Theatre. Her new book, "Letters to Misty: How to Move Through Life with Confidence and Grace" offers advice on issues like body image and friendship, based on letters she's received from fans throughout her career. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Boldly going where few fandom scholars have gone before, Fandom for Us, by Us: The Pleasures and Practices of Black Audiences (NYU Press, 2025) breaks from our focus on white fandom to center Black fandoms. Alfred L. Martin, Jr., engages these fandoms through what he calls the “four C's”: class, clout, canon, and comfort. Class is a key component of how Black fandom is contingent on distinctions between white, nationally recognized cultural productions and multicultural and/or regional cultural productions, as demonstrated by Misty Copeland's ascension in American Ballet Theatre. Clout refers to Black fans' realization of their own consumer spending power as an agent for industrial change, reducing the precarity of Blackness within historically white cultural apparatuses and facilitating the production of Black blockbusters like 2018's Black Panther. Canon entails a communal fannish practice of sharing media objects, like the 1978 film The Wiz, which lead them to take on meanings outside of their original context. Comfort describes the nostalgic and sentimental affects associated with beloved fan objects such as the television show, Golden Girls, connected to notions of Black joy and signaling moments wherein Black people can just be themselves. Through 75 in-depth interviews with Black fans, Fandom for Us, by Us argues not only for the importance of studying Black fandoms, but also demonstrates their complexities by both coupling and decoupling Black reception practices from the politics of representation. Martin highlights the nuanced ways Black fans interact with media representations, suggesting class, clout, canon, and comfort are universal to the study of all fandoms. Yet, for all the ways these fandoms are similar and reciprocal, Black fandoms are also their own set of practices, demanding their own study. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Join "Dance Talk” ® with Joanne Carey and special guest Trinity SantoroIn this episode of "Dance Talk” ® , host Joanne Carey interviews Trinity Santoro, an apprentice with the American Ballet Theatre. Trinity shares her journey from a competition dancer to a ballet apprentice, discussing her early experiences, the importance of technique, and the challenges she faces in the professional dance world. She emphasizes the significance of maintaining joy in dance, the role of competition, and the lessons learned from various summer intensives. Trinity also reflects on her experiences as an ABT apprentice, the excitement of working with dance legends, and the preparations for her upcoming tour. Throughout the conversation, she offers valuable insights and words of wisdom for aspiring dancers. Trinity is definitely a dancer to watch, she's going places!Trinity Santoro began her formal training in classical ballet and contemporary dance in Hanover Park, Illinois, at the Faubourg School of Ballet in 2013 under the direction of Watmora Casey. She then spent five years with A&A Ballet under the direction of Alexei Kremnev and Ana Reznik. Santoro also trained at The Royal Ballet School's Summer Intensive in 2018.In May 2022, she performed in Guatemala with A&A Ballet as the title role in Firebird. In September 2022, Santoro joined Kansas City Ballet as a member of KCBII. In 2023 and 2024, she appeared as a guest artist with Southold Dance Theatre, performing the title role in Giselle.Santoro has won numerous awards during her dance career, including winning Gold at the World Ballet Competition in 2017. She is a four-time Youth America Grand Prix Finalist, winning the Grand Prix award in 2022.Santoro joined ABT Studio Company in January 2024, where her repertoire included Amy Hall Garner's Within the Sunset, “Country Gardens” from Twyla Tharp's Brief Fling, and the Diana and Acteon pas de deux. She created a role in James Whiteside's Young & Beautiful.Santoro joined American Ballet Theatre as an apprentice in December 2024.To see Trinity performhttps://www.abt.org/Follow Trinity on Instagram @trinity_santoro“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠Follow Joanne on Instagram @westfieldschoolofdanceTune 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."

Join "Dance Talk” ® with Joanne Carey  and special guest Charlene Campbell CareyIn this episode of "Dance Talk” ® , host Joanne Carey speaks with Charlene Campbell Carey, the Artistic Director of Rocky Mountain Ballet Theatre and president of Ballet Beyond Borders. They discuss Charlene's journey in dance, the unique ballets created in Montana, and the importance of cultural relevance in dance. Charlene shares insights about her organization, which fosters cultural exchange and harmony through dance. She shares the impact of personal loss on her artistic vision. The conversation also touches on the challenges of international collaboration, the role of improvisation in performances, and the exciting future projects and tours planned for Ballet Beyond Borders.Charlene Campbell Carey's career in ballet and choreography began in 1976 and branched into entertainment and diplomacy. Studying ballet in Chicago and training on scholarship throughout high school at the National Academy of Arts, led her to American Ballet Theatre where she also became a member of the faculty and assistant to Director Patricia Wilde. Ms. Campbell danced at Radio City Music Hall, choreographed for Chicago's “Light Opera Works” and served on the faculty for Lou Conte and the Hubbard Street Dance Company.Ms. Campbell's career spans hundreds of ballets, operas, night club acts, and industrials.In 1998, Ms. Campbell founded Rocky Mountain Ballet Theatre in Missoula, Montana. 2008, prior to the Olympic Games, Ms. Campbell led the RMBT delegation to Beijing, Guilin, Yangshou, Shanghai, and Suzhou China. The tour was a diplomatic and artistic success, returning to China October 2008 to participate in the Beijing Dance Academy International Ballet Competition as a master teacher and coach.RMBT began a tradition of offering performances in Montana for former Senator Max Baucus, visiting Ambassadors and diplomats. RMBT has toured Europe and participated in an official Trade Mission with Senator Max Baucus to both Brazil and Colombia in 2011. Ms. Campbell continues to create ballets with topics relevant to Montana, showcasing and informing the community about the facts of Ebola, Polio, HPV, Dengue Fever , West Nile , and Influenza. The Gates Foundation utilized the Polio Ballet as an educational tool internationally.RMBT was thrilled to represent the USA & Montana in Gala performances and opening ceremony events for the prestigious Salzburg Music Festival & in collaboration with the Salzburg Ballet in Austria. In 2014, RMBT embarked to China on an official USA State Department tour of the Henan and Guangxi Provinces. RMBT was presented in Beijing by the National Ballet of China at the Tianquio Theater and participated in cultural exchanges throughout the three week tour including a memorable day with the Chinese Disabled Performance Troupe as facilitated by USA Ambassador to China Max Baucus and accompanied by his wife Melodee Hanes Baucus.RMBT currently has an active, unprecedented and successful partnership with Lizt Alfonso in Havana, Cuba. Both USA & Cuba arts organizations are working in harmony via the arts and people to people global understanding projects. The next BBB Festival will be in Cuba January 2025 . BBB also has a feature film in development titled “Rain Balls” which celebrates love and the process of living and dying through a Mother and Childs experience with cancer and chemotherapy.She has continued to teach and choreograph commissions across the United States, Europe, South America and Asia.Learn about RMBT and Ballet Beyond Bordershttps://www.rmbt.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune 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."

For the first time in its history, Fort Wayne Ballet is performing a work by the great choreographer George Balanchine. As we anticipate the upcoming part two of our Ballet Russe Reimagined series, Jim Sparrow and Karen Gibbons-Brown discuss the iconic ballet Serenade.Fort Wayne Ballet's second of a three-part series, Ballet Russe Reimagined, will be performed on April 11 and 12 at the Pearl Street Arts Center. This performance features Rite of Spring and Serenade.Purchase tickets at:   https://tickets.artstix.org/TheatreManager/6/login?event=0&search=P_SEQ%20in(4250,4251,4252)

How can we recognize potential and unlock it? Misty Copeland was the first Black woman to be promoted to principal dancer with the American Ballet Theatre. But as a child she almost quit after her first class – until an early teacher convinced her to return. Misty talks to Meet The Leader about the ways dance changed how she navigated life and how it taught her key skills such as resilience, empathy and curiosity. She shares how she uses her perspective and experience to found the Misty Copeland Foundation and develop a free afterschool program that reinvents how dance is taught to bridge diversity gaps while also teaching key leadership skills. She shares why these skills and approaches are vital to driving future change and what any leader can learn about elevating others.  This interview was recorded in January 2025 at the World Economic Forum's Annual Meeting in Davos, Switzerland. To learn more:  Misty Copeland Foundation: Special Open Forum Screening: Flower: Dancing Through Adversity: How can art drive equality for women? Two cultural trailblazers weigh in: About this episode:  Transcript: Related Podcasts:  Radio Davos: Dance or die: the ballet dancer who faced down Al Qaeda to become the voice of stateless refugees:

Today on Conversations on Dance, we are joined by Paloma Herrera. Paloma is an Argentinian ballerina who, at the age of 19, became the youngest Principal Dancer at American Ballet Theatre in the company's history. We talk with Paloma about what drew her to ballet, her teachers who shaped her as a dancer, her incredible career with American Ballet Theatre, and where life has taken her since her retirement at the age of 40.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.

David Ingram is Fort Wayne Ballet's guest choreographer for Les Sylphides as part of the Ballet Russe Reimagined series. In this interview, Jim Sparrow asks David about his career and his inspiration for setting new movement to this classic piece. Fort Wayne Ballet's first of a 3-part series, Ballet Russe Reimagined, will be performed on March 21 and 22 at the Pearl Street Arts Center. The first performance features Les Sylphides and The Rite of Spring.

This week Ivy Slater, host of Her Success Story, chats with her guest, Sonia Kostich. The two talk about Sonia's unique merger of arts and finance, her role in fostering artistic talent at Baryshnikov Arts, and the importance of building relationships and support systems in every career phase.  In this episode, we discuss: How Sonia Kostich transitioned from a professional ballet dancer to a career in finance, going to college at 42 and working at Goldman Sachs. What inspired her to reinvent herself and pursue a new path after a successful 20-year career in dance. When Sonia made the decision to take the next step in her life and focus on education and a new career direction. Why Sonia believes keeping strong relationships and a support network is crucial, especially during major life transitions. How the skills and discipline from a dance career can translate into success in the business world. The importance of staying open to possibilities and being willing to step into the unknown as part of personal and professional growth. Sonja Kostich- Executive Director of Baryshnikov Arts brings with her both the knowledge and experience of having been a professional dancer for over two decades as well as significant business acumen derived from her business education and time working at Goldman Sachs. Through a unique and successful professional trajectory, she now merges her artistic and business experience as an arts leader. Ms. Kostich was hired by Mikhail Baryshnikov at the age of 17 to join American Ballet Theatre from The School of Classical Ballet, the training school for ABT created by Mr. Baryshnikov, consisting of only seven female students and five male students. She later danced with the San Francisco Ballet and the Zurich Ballet, Mikhail Baryshnikov's White Oak Dance Project, and in multiple collaborations with opera/theater director Peter Sellars, before co-founding OtherShore, which she co-directed for six years. Her experience in ballet, contemporary, and modern dance resulted in a diverse international career that spanned across artistic disciplines.  Upon retiring from dancing, Ms. Kostich returned to school, obtaining a Bachelor of Business Administration (BBA) in Accounting and Business Communication from Zicklin School of Business, CUNY Baruch College, where she graduated Salutatorian at the age of 42. Following, she began a full-time position at Goldman Sachs in the Finance Division with a focus on regulatory capital requirements. Simultaneously she obtained an MA in Arts Administration, eventually returning to the dance world, first as the finance manager at Mark Morris Dance Group and then as program manager at New York City Center. From 2018 to 2022, she served as the Chief Executive and Artistic Officer at Kaatsbaan Cultural Park, a 153-acre artist sanctuary located in Tivoli, NY, where she led the successful rebrand and revitalization of the over 30-year organization, bringing it to award-winning status for its significant artistic and economic contributions to the Hudson Valley.  In October 2022, Ms. Kostich joined Baryshnikov Arts as its new Executive Director. As a female Korean American, born in Seoul, Korea, and raised in Minnesota, her history, both personal and professional, lends itself to cultivating and supporting new perspectives as Baryshnikov Arts expands its capacity to create multi-platform and collaborative havens for artistic expression, innovation and freedom and especially as we commit further to elevating and sharing the stories of artists of diverse cultures and histories. Social Media Links: Instagram handle:  @sonja.kostich  

The En Avant series, narrated by Fort Wayne Ballet Artistic Director Karen Gibbons-Brown, airs Saturdays on 89.1 WBOI during the Classical Connections Review. This episode of the Kinetic Conversations Podcast is a supercut of Karen's six-part series on the history of the Ballet Russe, from its post-classical beginnings in Russia to its influence on the American ballet renaissance.Fort Wayne Ballet's first of a 3-part series, Ballet Russe Reimagined, will be performed on March 21 and 22 at the Pearl Street Arts Center. The first performance features Les Sylphides and The Rite of Spring.

Jared Redick|Transformational Leader|Mentoring the Next Generation of ArtistsPreparing Dancers for a Global StageJared Redick, an award-winning, sought-after master teacher, choreographer, and coach whose leadership has shaped the global dance community. A third-generation ballet dancer, Jared blends a deep respect for classical traditions with an innovative approach to contemporary work. He currently serves as a full professor and Assistant Dean of Dance at the University of North Carolina School of the Arts (UNCSA), one of the nation's top conservatories.During his 20-year career, Jared danced as a soloist with Boston Ballet, Miami City Ballet, and the Suzanne Farrell Ballet, performing classical, neoclassical, and contemporary works and collaborating with renowned choreographers such as Jorma Elo and Helen Pickett.After retiring, Jared transitioned to teaching and directing, sharing his expertise with leading companies like American Ballet Theatre, Finnish National Ballet, and Cincinnati Ballet. At UNCSA, he directs the acclaimed Nutcracker production, has led equity-focused curriculum updates, and served as interim dean, overseeing major productions and student success initiatives.Jared's accolades include the UNCSA Excellence in Teaching Award and international recognition as a juror and master teacher. Currently pursuing an MBA, he continues to innovate at the intersection of dance education and leadership.LinkedIn:https://www.jared-redick.com/Support PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprPEG uses StreamYard.com for our live podcastshttps://streamyard.com/pal/c/6290085463457792Get $10.00 Credit for using StreamYard.com when you sign up with our linkRSShttps://anchor.fm/s/3b31908/podcast/rss

Anamarie McGinn is the School Director for Central Florida Ballet. She has received training from prestigious schools all over the U.S. such as; American Ballet Theatre, Boston Ballet, Miami City Ballet, and Joffrey Ballet School. She danced professionally  with Orlando Ballet for 19 seasons, dancing under Fernando Bujones, Bruce Marks, Robert Hill, and Jorden Morris. In 2006, at the American Dance Competition, Anamarie was awarded the Gold Medal in the Senior Classical division as well as The Fernando Bujones “Excellence Award.”  Anamarie received her Bachelor's Degree from the University of Central Florida.  During her tenure with Orlando Ballet, Anamarie also held the title of Company Rehearsal Assistant, where she worked closely with the company and Artistic Staff to stage choreography and run rehearsals.  Anamarie received her ABT Teaching Certification, and was on the teaching faculty for Orlando Ballet School for over 15 years. Takeaways from our conversation:-always give it your all whether in rehearsal, class, or performance-explore how you can move in different techniques and styles-advocate for yourself inside and outside of the studio - a dancer's life is uniqueThanks for listening to our conversation, thanks for sharing this episode with a friend and for leaving a review. Learn more about Anamarie and Central Florida Ballet.You can learn more about dance education and career planning for dancers at theballerinatist.com

We're excited to welcome the amazing Audrey Schultz! Audrey brings incredible talent to her role as the Production Manager for the American Ballet Theatre's Studio Company. Today, she'll share her journey, how she got to where she is, and what she enjoys most about her work.

The Ballet Russe finds new life in America after Diaghilev's death.

After getting his start in the Ballet Russe, George Balanchine makes a name in New York.

Stravinsky's unnerving music meets backdrops by... Picasso? As we move into our Spring season, we look ahead to our three stagings of the Ballet Russe Reimagined.  Jim and Karen sit down and discuss what the Ballet Russe means historically to ballet, and how our performances bring back the traditions of the roving dance company of the early 20th century. 

Susan Jaffe is the artistic director of American Ballet Theater. Called “America's quintessential American ballerina," and “born to dance,” by the New York Times, Susan was a principal dancer at American Ballet Theatre. She performed on stages around the world for 22 years. This summer American Ballet Theatre celebrates its 85th anniversary at the Metropolitan Opera House. Their anniversary season also marks 30 years of ABT Studio Company and two decades of the ABT Jacqueline Kennedy Onassis School. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Dance Talk” ® with Joanne Carey and special guest Skylar Brandt.  In this episode of "Dance Talk” ® , host Joanne Carey interviews Skylar Brandt, a principal dancer with the American Ballet Theatre. They discuss Skylar's journey from childhood dance classes to becoming a professional dancer, the importance of private coaching, and the emotional connection required in performance. Skylar shares insights into her preparation for roles, the dynamics of partnering, and her experiences as a principal dancer. The conversation also touches on her advocacy for causes close to her heart, her love for teaching, and her upcoming performances.  Skylar Brandt was born in Purchase, New York and began her training at the age of six at Scarsdale Ballet Studio. She attended the Jacqueline Kennedy Onassis School at American Ballet Theatre from 2005-2009. Brandt was a silver medalist at Youth America Grand Prix in 2004 and 2008. Brandt joined ABT II in 2009, became an apprentice with ABT in 2010, and joined the corps de ballet in 2011. She was promoted to Soloist in 2015 and to Principal in 2020. Among her leading roles with the Company are Giselle in Giselle, Medora in Le Corsaire, Kitri in Don Quixote, Odette/Odile in Swan Lake, Gamzatti in La Bayadere, Olga in Onegin, Clara, the Princess in The Nutcracker, Young Jane in Jane Eyre, Columbine in Harlequinade, Princess Praline in Whipped Cream, the Lead Maiden in Firebird, the Golden Cockerel in The Golden Cockerel, and roles in The Green Table, Pillar of Fire, The Sleeping Beauty, Bach Partita, The Brahms-Haydn Variations, Company B, Gong, In the Upper Room, Piano Concerto #1, Raymonda Divertissements, Sinfonietta, Symphonic Variations, and AFTERITE. Brandt was awarded a 2013 Princess Grace Foundation-USA Dance Fellowship. That same year, she was featured in the movie “Ballet's Greatest Hits”. In 2018, Brandt was the recipient of an unprecedented Special Jury Award for her performances on the Russian television show “Big Ballet”. In 2022, Brandt was named to the renowned "Forbes 30 Under 30" list of most influential leaders and entrepreneurs.  Skylar Brandt Website  ⁠https://www.skylarbrandt.com/ ⁠ Follow Skylar on Instagram ⁠ ⁠ ⁠@skylarbrandtballet ⁠  American Ballet Theatre Upcoming Performances  ⁠https://www.abt.org/performances/abt-on-tour/⁠  “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."

On today's episode of "Conversations On Dance" we are joined by Elizabeth Yntema the president and founder of Dance Data Project, an organization that promotes gender equity through its research and analysis. Dance Data Project has just released its Artistic and Executive Director compensation report and Elizabeth helps us comb through the data to explore things like the remaining gender pay gap and pay increases for executives in spite of deficits. Visit dancedataproject.com to view the full report. https://www.dancedataproject.com/ddp-research/artistic-and-executive-compensation-report-2024/* ADDITIONAL NOTE regarding dancer compensation * Follow up from DDP: "In FY22, 1 company within the Largest 10 reported dancer salaries - San Francisco Ballet. In FY23, 4 companies within the Largest 10 reported dancer salaries - San Francisco Ballet, American Ballet Theatre, Houston Ballet, and Pacific Northwest Ballet. Notably, all of the dancers with reported salaries were principal dancers."According to the IRS, here are the guidelines for which persons must be listed on Form 990s: "The organization must also list up to 20 current employees who satisfy the definition of key employee (persons with certain responsibilities and reportable compensation greater than $150,000 from the organization and related organizations), and its five current highest compensated employees with reportable compensation of at least $100,000 from the organization and related organizations who are not officers, directors, trustees, or key employees of the organization."Be in touch with Dance Data Project: https://www.dancedataproject.com/contact-us/.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.

On today's episode of "Conversations On Dance", we are joined by choreographer Helen Pickett. We talk to Helen about her time working with William Forsythe at Ballett Frankfurt, how she began her own choreographic journey and the process creating "Crime and Punishment", the first full-length ballet choreographed by a woman at American Ballet Theatre. "Crime and Punishment" will be performed at the Kennedy Center in Washington, DC from February 12th through 16th. To purchase tickets, visit Kennedy-Center.org. 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.

Diaghilev takes the reigns and showcases Russian dance to the rest of the world.

The Ballet's repertoire expands during a successful tour of South America.

Diaghilev brings together the greatest artists, composers, and choreographers of the day to create innovative and sometimes controversial works.

The Bolshevik revolution makes artistic expression a dangerous undertaking in Russia, and Diaghilev takes the Ballet to the West instead.

Having found new life in America, the Nutcracker thrives as a holiday tradition.

Petipa works with the famed composer to establish the music for the famed holiday ballet.

We explore Petipa's inspiration for the dances in his Nutcracker

"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."

Time to hear from the dancers!In this all-new Nutcracker chat, we start with three of our dancers - Talbot Rue, Anna Orzulak, and Abby Zinsser, who tell us what dancing in The Nutcracker every year means to them, both artistically and nostalgically. Then, we join Jim and Karen for a discussion on bringing new elements to this year's staging of the Christmas classic.

Graham travels to New York City to sit down with dancer Misty Copeland. The ballerina discusses her history-making performance as the Firebird, inequality within the ballet community and her newest role of motherhood. In this 2022 interview, Copeland also remembers a rough childhood in the public eye and how she overcame it all to be the first black woman principal dancer in the history of American Ballet Theatre.

En Avant is a five minute ballet segment, hosted by Karen Gibbons-Brown, which airs during Rob Nylund's Classical Connection Review, every Saturday evening on Fort Wayne's 89.1 WBOI. This version has been modified from its broadcast edition to accommodate musical copyright.We know and love The Nutcracker, but was it always so popular? Marius Petipa and his assistant, along with Tchaikovsky, created a holiday classic that wasn't initially well received. 

Deborah Engerman is a ballet teacher, coach, choreographer and published author of Let's Talk About Fifth: Teaching Ballet in the 21st Century. For over three decades, her students have gone on to dance with professional companies including American Ballet Theatre, Universal Ballet, Vienna Opera Ballet, Nashville Ballet, Barcelona Ballet Theatre, Complexions Contemporary Ballet as well as on Broadway.Deborah is a passionate and caring educator and I am thrilled to share her wisdom with you today. My biggest takeaways from this episode included the importance of fundamentals, asking for help, and chasing after what you really want in life. I highly recommend her book and this conversation to every dance teacher who wants to become a more well-rounded and effective educator!Key Moments: Early dance training [2:11] How Deborah chose to make teaching dance a career [5:20] Her very first teaching job [6:17] How Deborah's teaching has evolved over the years [7:50] How she continues to learn as a veteran educator [16:10] Deborah's secret to getting dancers to the professional level [21:30] The process of writing a book about the art of ballet [30:02] What Deborah hopes people will gain from reading her book [37:49] Her biggest piece of advice for dancers pursuing a career [41:14]Connect with DeborahDEBORAH'S WEBSITE: www.deborahengerman.comFACEBOOK: facebook.com/DeborahEngermanBalletINSTAGRAM: instagram.com/deborahengerman_balletteacherLinks and Resources:Get your copy of The Ultimate Audition GuideJoin the Brainy Ballerina Book ClubGet your copy of Let's Talk About Fifth: Teaching Ballet in the 21st Century (affiliate link)Let's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerina1-1 CAREER MENTORING: book your complimentary career callQuestions/comments? Email me at caitlin@thebrainyballerina.com

Katie checks in with co-founder and co-Artistic Director of Complexions Contemporary Ballet Company, as well as noted dancer and choreographer (The Joyce, the Bolshoi, The Marinsky, BAM, Cairo Opera House, Holland Dance Festival, and more), Dwight Rhoden.

Dance Talk” ® with Joanne Carey and special guest, Sonja Kostich In this episode of Dance Talk, host Joanne Carey chats with Sonja Kostich, the president and executive director of Baryshnikov Arts. Sonia shares her inspiring journey from her early years in dance, through her transition from a professional dancer to a career in finance, and ultimately to her current role in arts administration. The conversation highlights the importance of collaboration in the arts, the challenges of career transitions, and the innovative programming at Baryshnikov Arts that supports artists in their creative processes. Sonia emphasizes the value of taking risks and stepping outside of one's comfort zone to discover new opportunities in life and art.  Sonja Kostich brings with her both the knowledge and experience of having been a professional dancer for over two decades as well as significant business acumen derived from her business education and time working at Goldman Sachs. Through a unique and successful professional trajectory, she now merges her artistic and business experience as an arts leader. Ms. Kostich was hired by Mikhail Baryshnikov at the age of 17 to join American Ballet Theatre from The School of Classical Ballet, the training school for ABT created by Mr. Baryshnikov, consisting of only seven female students and five male students. She later danced with the San Francisco Ballet and the Zurich Ballet, Mikhail Baryshnikov's White Oak Dance Project, and in multiple collaborations with opera/theater director Peter Sellars, before co-founding OtherShore, which she co-directed for six years. Her experience in ballet, contemporary, and modern dance resulted in a diverse international career that spanned across artistic disciplines.Upon retiring from dancing, Ms. Kostich returned to school, obtaining a Bachelor of Business Administration (BBA) in Accounting and Business Communication from Zicklin School of Business, CUNY Baruch College, where she graduated Salutatorian at the age of 42. Following, she began a full-time position at Goldman Sachs in the Finance Division with a focus on regulatory capital requirements. Simultaneously she obtained an MA in Arts Administration, eventually returning to the dance world, first as the finance manager at Mark Morris Dance Group and then as program manager at New York City Center. From 2018 to 2022, she served as the Chief Executive and Artistic Officer at Kaatsbaan Cultural Park, a 153-acre artist sanctuary located in Tivoli, NY, where she led the successful rebrand and revitalization of the 30+ year organization, bringing it to award-winning status for its significant artistic and economic contributions to the Hudson Valley. In October 2022, Ms. Kostich joined Baryshnikov Arts as its new Executive Director. As a female Korean American, born in Seoul, Korea, and raised in Minnesota, her history, both personal and professional, lends itself to cultivating and supporting new perspectives as Baryshnikov Arts expands its capacity to create multi-platform and collaborative havens for artistic expression, innovation and freedom and especially as we commit further to elevating and sharing the stories of artists of diverse cultures and histories. More about Baryshnikov Arts ⁠⁠https://baryshnikovarts.org/⁠ Follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠ 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."

On today's episode of "Conversations On Dance", we are joined by renowned choreographer Kyle Abraham. Kyle sits down with us to talk about his upcoming first work for American Ballet Theatre, "Mercurial Son", including the casting process, the creative environment and how working on several projects concurrently fuels his creativity. To catch "Mercurial Son", premiering on October 16th and running through the 24th, visit abt.org to purchase tickets.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.

Welcome to a special bonus episode from the 2024 Vail Dance Festival. Today we welcome back our friend, Calvin Royal III, Principal Dancer with American Ballet Theatre. We chat about his met season at ABT, his experience this year at the Vail Dance Festival, and about the ballet festival he is producing at the Joyce this month.UNITE: Joyce Ballet Festival, directed and co-produced by Calvin Royal III. August 13-18, 2024Tickets: https://www.joyce.org/performances/118/unite/ballet-festivalLINKS: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.

Today, we've got a really special conversation for you.Our guest today is a real trailblazer… A boundary breaker in the world of ballet… An incredibly special human… She went from living in motel rooms to performing on the world's biggest stages… She is the legendary Misty Copeland.Misty's journey from living in motel rooms to becoming the first African American female principal dancer at the American Ballet Theatre is nothing short of inspiring.Misty started ballet at the late age of thirteen and rose to perform lead roles in iconic productions like Swan Lake and Romeo and Juliet. During her meteoric rise, she was also featured on the covers of Time, ESSENCE, and Women's Health. Misty didn't just enter the ballet world; she transformed it, merging classical finesse with her powerful narrative. She has not only shattered ceilings but also redefined what safety and success look like in the arts.Misty's influence extends well beyond dance, collaborating with artists like Taylor Swift, Camila Cabello and H.E.R, and authoring several New York Times bestsellers. Her work through the Misty Copeland Foundation continues to inspire a new generation to embrace ballet and find their voice in the arts.In today's episode, Misty will share insights into the pivotal experiences that shaped her, her approach to handling the pressures of her field, and how she crafts her breathtaking performances that tell stories which resonate with so many.With Fire,MG and the FM Team-----WATCH this episode on our YouTube channel.Connect with us on our Instagram.Order my book, "The First Rule of Mastery" HERE!For more information and shownotes from every episode, head to findingmastery.com.To check out our exclusive sponsor deals and discounts CLICK HERESee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Renowned American ballet dancer Misty Copeland opens up about the instability she faced in her childhood and how her natural athleticism and incredible discipline led her to shine as a dance prodigy in her teens. She talks about the evolution of her relationship to food and nutrition from growing up in various different kitchens to eating like an athlete. Plus, you'll hear how to make one of her healthy, go-to recipes: Baked tilapia with veggies.Misty Copeland is a Principal Dancer with the American Ballet Theatre. She made history in 2015, becoming the first African-American woman to ever be promoted to that position. She's written several New York Times bestselling books and launched her own foundation in 2022. Hosted on Acast. See acast.com/privacy for more information.