Podcasts about New York City Ballet

This is Part Two of our episode with Bart Cook. If you missed Part One, please check back in our feed.On today's episode of "Conversations On Dance", we are joined by legendary New York City Ballet dancer and repetiteur for the Balanchine Trust Bart Cook. Bart was a favorite of both George Balanchine and Jerome Robbins, prized for his versatility and chameleon like ability to inhabit the inner worlds of the ballets he danced. Bart goes into detail with us about these experiences, both onstage as a dancer and offstage, ensuring that the care and beauty he imbued these works with as a dancer continues in the artists of today. Tickets to Conversations on Dance at the 2025 Vail Dance Festival on sale now! https://vaildance.org/conversations-on-dance/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 legendary New York City Ballet dancer and repetiteur for the Balanchine Trust Bart Cook. Bart was a favorite of both George Balanchine and Jerome Robbins, prized for his versatility and chameleon like ability to inhabit the inner worlds of the ballets he danced. Bart goes into detail with us about these experiences, both onstage as a dancer and offstage, ensuring that the care and beauty he imbued these works with as a dancer continues in the artists of today. Tickets to Conversations on Dance at the 2025 Vail Dance Festival on sale now! https://vaildance.org/conversations-on-dance/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.

Join us around the Rosin Box for our annual listener-contributed "Ask the Dancers" episode. Our intrepid hosts Claire and Aarón and special guest Corps de Ballet Member Lars Nelson answer your questions about rehearsal wear, dancing with Artist in Residence Alexei Ratmansky, remembering steps, and more—including, "Explain dogs at New York City Ballet." (39:06) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Eclectic mix of musicians to perform at Howland Of the 14 saxophones, from tenor to contrabass, Brad Hubbard gravitated to the baritone. "It's my voice and just a different animal for me," he says. The instrument facilitates honking - the twisted mouthpiece resembles a gooseneck. Hubbard plays several woodwind instruments, but when the New York City Ballet orchestra selected a piece from West Side Story with a baritone sax part, or if Woodstock-based Americana mainstay Professor Louie & the Crowmatix wants that low-end presence, he's a go-to. Though he graduated from a classical music conservancy that eschewed jazz, Hubbard enjoys bending genres and playing unlikely styles. "When I first came to New York, I got hired by a country guitarist because I knew all the old songs, though I can't sing a lick," says the North Carolina native, whose voice still resonates with a faint twang. "I'm grateful for my education, but it's taken my entire professional career to recover from it in some ways." On Sunday (June 8), Hubbard will perform at the Howland Cultural Center in Beacon at Composers Concordance, an annual confluence of eclectic musicians. Nine composers, five of the players and conductor Gene Pritsker created works specifically for the concert. (They call themselves the CompCord Ensemble.) "This is about as 'winging it' as classical music gets," says Hubbard. The instrumentation (including members of the B3+ brass trio) consists of horn, trumpet, piano, clarinet, bass trombone and, of course, baritone sax. Roger Aplon, one of the three poet narrators, and pianist Debra Kaye live in Beacon. The concert is an offshoot of the New York City-based collaborative Composers Concordance, which presents a packed schedule of performances. Hubbard has participated in all six of its concerts at the Howland Center. Though classical music and the jazz-oriented sax make strange bedfellows, he points to famous crossover musicians who fused classical training with other forms, including cellist Yo-Yo Ma and bass player Edgar Meyer, who jumped from Beethoven to country. Bluegrass banjo player Bela Fleck and jazzman Wynton Marsalis, who recorded three trumpet concertos by Haydn, Hummel and Mozart in 1983, arrived at classical from other genres. Hubbard also recalls the Kronos Quartet's stirring string arrangement of "Purple Haze," by Jimi Hendrix, in 1986. Like jazz, "there's plenty of space for improvisation in Baroque music," a precursor to the classical period, along with "many compositions called 'theme' and 'variation,'" he says. "The continuo [underpinning bass or cello lines] are also open to alteration and interpretation." Hubbard got his start in the 1990s with the New Century Saxophone Quartet before branching out. In addition to teaching at the Beacon Music Factory, he honks with the Funk Junkies and Hot Wrk Ensemble, which plays original music along with Beatles and Dolly Parton covers. On Saturday (June 7), the Hot Wrk crew will perform at the Kingston Public Library with Beacon violinist Gwen Laster. Blame Google (or human nature) for the creative spelling. According to Hubbard, "people are weird - so weird that all kinds of crazy stuff comes up [when searching for 'hot work'], none of which has to do with music." The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets for the show, which begins at 5 p.m., are $20 at dub.sh/CompCord2025 or $30 at the door. Tickets for seniors and students are $10.

Since 1933, Jacob's Pillow has been a beacon for dancemakers, movers, scholars, students, and audiences. Located in Becket, Massachusetts, and founded by modern dance pioneer Ted Shawn, "the Pillow" (as it has affectionately come to be called) was the first dance site to be designated as a National Historic Landmark, and the first presenting organization to receive the National Medal of the Arts.Opening June 25th and running through August 24th of this year, the Pillow's 93rd Festival season will feature nine weeks of performances, classes, workshops, events, exhibits and activations, spread across the indoor and outdoor venues of a sprawling 220-acre campus. With more than 40 dance companies lined up from around the world, this year's Festival is particularly significant as it marks the opening of the new state-of-the-art Doris Duke Theatre - a venue poised to become one of the dance world's most technologically advanced ever built. Here to speak with us today about all of this is Jacob's Pillow Executive and Artistic Director, Pam Tatge. In her role, Pam is responsible for setting the artistic vision and strategic goals for all aspects of the organization, including Festival programming, education, preservation, audience engagement, residency programming and artist support, long-term planning, collaborative programming, fundraising, marketing, and more. Get tickets & learn more about this summer's programming: https://www.jacobspillow.org/festival/._____________________________Conversations on Dance is proud to be the recipient of the inaugural Clive Barnes Award for Journalism and Media Achievement. Join us for the 15th Anniversary Clive Barnes Awards, Monday, June 9 at 5:30pm at the National Arts Club in New York City. Hosted by Budd Mishkin, the Awards will feature guest presenter Tiler Peck and a special performance by Clive Barnes Award alumnus Victor Abreu of New York City Ballet. For tickets and information, please visit clivebarnesfoundation.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.

In this inspiring episode, former New York City Ballet dancer Ari Bliss shares her transformative journey from professional ballet to becoming a mindset coach and podcast host. Ari opens up about her early passion for dance, the challenges of a rigorous ballet career, and her courageous decision to pivot towards personal growth and mentoring. She provides valuable insights for dancers, parents, and anyone navigating career transitions, emphasizing the importance of mental health, self-respect, and finding joy in personal development. Through her unique perspective, Ari reveals how the discipline of dance can be a powerful foundation for life's broader challenges and opportunities. Connect with Ari: X - https://x.com/blueblisscoach?s=21&t=bfDTtlYSLteK6bMnVBRo8A Instagram - https://www.instagram.com/growthandgracemindset?igsh=MTRxN2NtZ3d5b3Zubw%3D%3D&utm_source=qrPodcast - Growth Grace Gratitude Podcast https://open.spotify.com/episode/3dOLkNaGhkERsW0hTL1KD1?si=zTPpMeCKRJSYQk8EIGDMKgYouTube - https://youtube.com/shorts/v5dlr7yyEr4?si=0yDegFu6nEiuc-OzWebsite - https://blueblisscoach.wixsite.com/website Connect with Kim: EFT Tapping Booster Session - https://courses.kimkeane.com/courses/tapping-booster-sessionFree Emotional Detox Workbook - https://courses.kimkeane.com/f/emotional-detox-workbookFree Everyday Spirituality Handbook - https://courses.kimkeane.com/f/everyday-spirituality-handbookInstagram - https://www.instagram.com/kimvkeane/Facebook - https://www.facebook.com/kimvkeaneYouTube - https://www.youtube.com/@kimvkeaneEmail - kim@kimkeane.com If you found this episode helpful, please take a moment to leave a review and tell your friends about it. If you have a question or need help, please don't hesitate to reach out! 

Rebecca here to share some big news!!! Join us on Monday June 9th for the 15th Anniversary Clive Barnes Awards!The Clive Barnes Foundation will honor outstanding theater and dance professionals at the 15th Anniversary Clive Barnes Awards, Monday, June 9 at 5:30pm at the National Arts Club in New York City. Carrying on the legacy of legendary dance and theater critic Clive Barnes and his encouragement of young artists, the annual Awards will recognize three theater performers and three dance performers as Honored Artists. This year, Conversations on Dance is proud to be the recipient of the inaugural Clive Barnes Award for Journalism and Media Achievement. Hosted by Budd Mishkin, the Awards will feature guest presenter Tiler Peck and a special performance by Clive Barnes Award alumnus Victor Abreu of New York City Ballet. For tickets and information, please visit clivebarnesfoundation.org. Hosted on Acast. See acast.com/privacy for more information.

This week Jeremy and Reid have made a jumbo sized episode that chronicles epic tooth pain, a heroic retirement performance at New York City Ballet, Sirens, Dying for Sex, and an extensive discussion about Pee-wee as Himself. Our episode with director Matt Wolf was Episode 164.◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.com⁠

Toni Pimble moved to Oregon from her home in England more than 46 years ago and co-founded the Eugene Ballet. As the company’s artistic director, she has choreographed over 60 pieces and collaborated with composers, artists and other organizations, from the Eugene Opera to the Oregon Bach Festival to the University of Oregon School of Music and Dance. Her award-winning work has also been performed by the New York City Ballet, Oregon Ballet Theatre and many others. We sit down with Pimble to talk about her career and her hopes for the company as she prepares to leave her role in June.  

SPAC President Christopher Shiley and Chief Executive Officer Elizabeth Sobol join us this morning for a preview of their Summer Season including highlights from the New York City Ballet and the Philadelphia Orchestra.When last we met, Chris was SPAC's Senior Vice President of Artistic Planning and now has been promoted to President. He is now overseeing SPAC's programming and day-to-day operations in alignment with the organization's goals for the future. And he works collaboratively with Elizabeth and, the Board of Directors.

Today's guest, Kati Hanlon Mayo, Academy Associate Director for Charlotte Ballet's Upper School, trained at The Boston School of Ballet under the direction of E. Virginia Williams & Violette Verdy. At the age of 15, she became a member of Boston Ballet 2 before joining North Carolina Dance Theatre (now Charlotte Ballet) as a principal dancer. She also performed with Chautauqua Ballet Company under the direction of Jean Pierre Bonnefoux.Her students have gone on to professional careers with companies throughout the world, including: New York City Ballet, Nederland Dans Theater, San Francisco Ballet, Boston Ballet and Houston Ballet. Kati has been a guest teacher for The Alvin Ailey American Dance Theater, The Chautauqua Institution, Regional Dance America and she is a repetiteur for the Salvatore Aiello Trust. She is a certified instructor of Dance for Parkinson's Disease through The Mark Morris Dance Group and she also completed her instructor certification with Progressing Ballet Technique.In our conversation, Kati shares about the value of mentors, allowing yourself to grow, and staying focused on your training despite the distractions of competing for roles, navigating the unknowns, and all the things that can pull your focus from your technique.Thanks for listening to our conversation, thanks for sharing this episode with a friend and for leaving a review. Takeaways from our conversation:-mentors help you understand what you don't know-a life in dance starts at a young age; requiring both physical and emotional strength and maturity-stay connected to the joyful adventure of danceLearn more about Kati and Charlotte Ballet - including their summer program at Charlotteballet.org.You can learn more about dance education and career planning for dancers at theballerinatist.com#dance #danceeducation #professionaldancer #dancecompany #ballet #ballerina #summerdanceprogram

durée : 00:25:07 - Benjamin Millepied, danseur, chorégraphe (3/5) - par : Thomas Vergracht - Engagé comme danseur au New-York City Ballet, Benjamin Millepied vit au rythme effréné de la compagnie, qui ne ménage ni les corps ni les esprits. C'est aussi l'occasion pour notre invité d'évoquer sa passion pour la musique américaine d'aujourd'hui. Un vrai new-yorkais d'adoption en somme ! - réalisé par : Béatrice Trichet

Jacques d'Amboise & Richard Wolinsky, KPFA, April 6, 2011. Jacques d'Amboise (1934-2021), whose memoir is titled “I Was a Dancer,” in conversation with host Richard Wolinsky, April 6, 2011. First posted May 9, 2021. Jacques d'Amboise, who died on May 2, 2021 at the age of 88 following complications from a stroke, was a principal dancer for the New York City Ballet from 1953 to his retirement in 1984. As such, he was considered the living embodiment of the choreography of the great George Balanchine. In 1976, he founded the National Dance Institute to teach dance to children. In time, he became one of the most famous dancers in America, appearing as one of the Seven Brides for Seven Brothers and as the male dancer in the second act ballet in Carousel in those respective 1950s films. The post Jacques d'Amboise (1934-2021), “I Was a Dancer,” 2011 appeared first on KPFA.

Choreographer Kyle Abraham's first collaboration with the New York City Ballet was in 2018. This month, he premieres his fourth project. It's called "When We Fell," a work he created during the pandemic that was only performed on film because of lockdowns and social distancing. He speaks about performing that piece live, running his own dance company called A.I.M and his style of dance which he describes as a "post-modern gumbo."

Jeff and Phil welcome director Jennifer Lin and producer Jon Funabiki to talk about their documentary Ten Times Better and the incredible untold story of George Lee, a pioneering dancer with an unheralded place in ballet and Broadway history. They discuss the sensational skill and artistry that landed George the role he originated in The Nutcracker with the New York City Ballet; the filmmakers' search for the former dance prodigy that tracked him down in Las Vegas, where he was working in relative obscurity as a blackjack dealer; the ongoing struggle for recognition and inclusion in the performing arts; and the film's efforts to honor and preserve George's story, especially in this moment as diverse narratives face the threat of suppression and erasure.  

Silas Farley walked away from his performing career while he was arguably at the top of his game. In this thoughtful and deeply personal conversation, Farley—former New York City Ballet dancer and current choreographer, educator, and leader—reflects on his journey through the ballet world. He shares how his cultural background shaped his experience, the pressures of representation, and what ultimately led him to step away from the stage at a young age. Silas opens up about the emotional challenges of transition, the role of faith and mentorship, and why he's committed to building a more inclusive and emotionally intelligent future for ballet. We also explore how training can evolve without losing its rigor, and what he'd say to a young boy considering dance today. This is a must-listen for anyone questioning what it means to succeed in ballet—and how to define that for yourself. Learn more about Silas Farley and his curent role as Armstrong Artist in Residence, Meadows School of the Arts at Southern Methodist University. 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

Scott Kerr is joined by world-famous fashion designer Gilles Mendel, who recently launched a new business venture House of Gilles, a couture atelier he founded along with his daughter Chloe Mendel Corgan. Gilles discusses the next chapter of the family-run house and how its offerings are bringing the essence of a Parisian atelier to New York City. He also talks about the rise of young couture clientele and their new expectations, why there has been a greater appreciation for artisans, why couture defies the economic climate, and designing costumes for New York City Ballet dancers. Plus: A new couture bridal footwear collaboration with CasadeiFeaturing: Gilles Mendel, Fashion Designer and Co-Founder of House of Gilles (houseofgilles.com)Host: Scott Kerr, Founder & President of Silvertone ConsultingAbout The Luxury Item podcast: It's a podcast on the business of luxury and the people and companies that are shaping the future of the luxury industry.Stay Connected: scott@silvertoneconsulting.comListen and subscribe to The Luxury Item wherever you get your podcasts. Tell a friend or a colleague!

Silas Farley, former New York City Ballet dancer and current Dean of the Colburn School's Trudl Zipper Dance Institute, explores the profound connections between classical ballet, Christian worship, and embodied spirituality. From his early exposure to liturgical dance in a charismatic Lutheran church to his career as a professional dancer and choreographer, Farley illuminates how the physicality of ballet can express deep spiritual truths and serve as an act of worship.Episode Highlights from Silas Farley“The physicality of ballet is cruciform. The dancer stands in a turned-out position... the body becomes the intersection of the vertical and the horizontal plane.”“Sin makes the soul curve in on itself, whereas holiness or wholeness in God opens us up.”“We are Christian humanists. We don't need to be intimidated by beauty.”“There's knowledge and insight in all the different parts of our bodies, not just in our brain.”“The mystery of the incarnation is that when the creator of all things wanted to make himself known to his creation, he didn't come as a vapor or as a mountain or as a bird. But he came as a man.”Resources for Ballet EngagementLocal community ballet companies/schools“B is for Ballet” (ABT children's book)“My Daddy Can Fly” (ABT)Celestial Bodies, by Laura JacobsApollo's Angels, by Jennifer HomansSilas Farley's Podcast: Hear the Dance (NYC Ballet)The Nutcracker (NYC Ballet/Balanchine)Jewels (1967, Balanchine)Agon (Balanchine/Stravinsky)About Silas FarleySilas Farley is a professional ballet dancer and choreographer. Dean of the Trudl Zipper Dance Institute at the Colburn School in Los Angeles, Silas is a former New York City Ballet dancer, choreographer, and educator. He also currently serves as Armstrong Artist in Residence in Ballet in the Meadows School of the Arts at Southern Methodist University.His work includes choreography for the Metropolitan Museum of Art, Houston Ballet, and the New York City Ballet. He hosts the Hear the Dance podcast and creates works that integrate classical ballet with spiritual themes.Silas also serves on the board of The George Balanchine Foundation.Show NotesSilas Farley's Early Dance Background & FormationSilas Farley: Originally from Charlotte, North Carolina; youngest of 7 children (4 brothers, 2 sisters); multiracial family (white father, Black mother)First exposure through charismatic Lutheran church's liturgical dance ministrySaw formal ballet at age 6 when Christian ballet company Ballet Magnifica performedDance initially experienced as form of worship before performanceLiturgical vs Classical BalletLiturgical dance:Amplifies worshipFunctions as embodied prayerNot primarily performativeHistorical examples: David with Ark of Covenant, Miriam after Red Sea crossingClassical ballet:Performed on proscenium stageRequires specific trainingFocuses on virtuosic movementsExplicitly performativeBoth forms serve as offerings/vessels for transmitting energy to audienceTechnical Elements of Ballet: Turnout, Spiritual Turnout, and Opening UpFoundational concept of “turnout”—rotation of feet/hips outward“That idea of turnout makes the body more expressive in a way. Because if our toes are straightforward, like the way we're designed, you only see a certain amount of the leg. Whereas if the body stands turned out, you see the whole inside of the musculature of the leg. It's a more complete revelation of the body.”Creates more complete revelation of body's musculaturePhysicality conveys “spiritual turnout” - openness/receptiveness“Spiritual turnout: that you are open   and receptive and generous. And that's embodied in the physicality of ballet.”“So much of what developed as ballet as we know, it happened at the court of Louis the XIV in the  1660-1670s.”“It's not artificial, it's actually supernatural.”Physical & Spiritual Connections in Ballet“Our walk  with God is that he's  defining us so that we are becoming open. We're open to him. We're open to receive his love. We're open to be vessels of his love. We're open to receiving and exchanging love with  other people.”Freedom within the constraints movements and positionsSwan Lake: “They're so free. They're almost like birds. But that's come through a lifestyle of discipline.”“You get a hyper awareness of your own body.”Develops hyper-awareness of bodyLinks to incarnational theology—Christ as God-manFreedom through discipline and submissionMovement vocabulary builds from simple elements (plié, tendu)Plie: Mama and Dada“As a dancer grows up in ballet, the dancer then develops  this enormous vocabulary of movement  that are all reducible back to the microcosm of the plié and the tendu.”Creates infinite lines suggesting eternityCombines circular power with eternal linesTheological Dimensions of BalletSilas's choreographed interpretation of C.S. Lewis's The Four Loves, as a balletBallet and the Art of Choreography“The music and choreography were like brothers.”“Songs from the Spirit”“The music becomes my map.”Choreographing in silenceThe Role of the Audience and Their ExperienceIdeas to dialogue withA set of ideas to gather together and embodyArvo Part, The Genealogy of Jesus in Luke 3Uniting my heart with JesusI'm never didactic about it.An embodied musical experience“If I  say ‘family, friendship, romance, divine love,' you all instantly have associations, beauty, pain, trauma, consolation that are associated with those four loves.”“ I'm not writing a sermon about any of these ideas. I'm choreographing a ballet. I'm assembling these classical steps with this music to create a visceral, embodied musical experience.”The audience: “They come to it with their experiences, their own eyes and ears and their own bodies. And that's enough.”Arvo Part: “Music is white light, and the prism is the soul of the listener.”“The musical ideas are refracted through the hearer.”“The audience is always in my heart and mind.”“I always think of the artwork as an act of hospitality.  … I'm just setting the table.”What's Unique about Ballet as a Physical ArtformBeautiful interconnectednessAsking the body to reach to its limits“The Infinite Line” in BalletRadiating out into multiple eternal lines at the same timeConstant reaching in many directions at onceCruciform positioning: intersection of vertical and horizontal planes“The body becomes radiant”Use of “épaulement”—spiraling of body around spine's axisReveals pulse points (neck, wrists) creating vulnerable energy exchange with audienceOpening up the life force of the dancerNo separation between dancer and instrument (“I am the work of art”)Cruciform physicalityContemporary Cultural ContextModern culture increasingly disembodied due to screens/digital media“We live in an increasingly disembodied culture, we are absorbed with screens two dimensional, uh, highly edited and curated,  mediated self presentation   as opposed to like visceral nitty gritty blood, sweat, tears, good, bad, and ugly of life itself. So we get insulated from the step that makes life what it is.”Education often treats people as “brains on sticks”“The Christian life is a lifestyle of in embodied discipleship to the God man, Jesus  Christ. And he's not a brain on a stick. He's the God man. He has a jawbone and he went through puberty and he has wounds like the beautiful hymn. It says, rich wounds, yet visible and beauty glorified. The mystery of the incarnation is that when the creator of all things wanted to make  himself known to his creation, he didn't come as a  vapor or as a mountain or as a bird, but he came as a man. And so he sublimates and affirms the glory of his creation, the materiality of his creation and the body as the crown of his creation by coming as a man.”Church needs more embodied practicesBallet offers counterpoint to disembodied tendenciesImportance of physical discipline in spiritual formationRomans 12:1 and making our bodies as living sacrificesHow to Experience Ballet“There's nothing you need to know before going to experience ballet.  You have a body, you have eyes, you have ears. That's all you need. Just let it wash over you.Let it work on you in its own kind of visceral way, and let that be an entry point  to not be intimidated by the, the music,  or the wordlessness or the tutu's or the point shoes or whatever.There's so many different stylistic manifestations of ballet. But just go experience it.And if you can, I would really encourage people almost as much or more than  watching it go see if like your local YMCA or  something has an adult ballet class, or if you're a kid, maybe ask your parents to sign you up to go try a class and just feel what that turned-out physicality feels like in your own body.It's so beautiful. It's very empowering.”Production NotesThis podcast featured Silas Farley and Macie BridgeEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie Bridge, Alexa Rollow, Zoë Halaban, Kacie Barrett & Emily BrookfieldA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Kylie Manning is a painter, surfer, and fisher based in Brooklyn, New York. Her parents were both art teachers, and, while she was growing up, the family moved between their home in Juneau, Alaska, to various regions in Mexico, which would inform her artwork—and her surfing. She is a graduate of Mount Holyoke College, Massachusetts with a double major in philosophy and visual arts. While she was getting her MFA at the New York Academy of Art, she had a captain's license to operate 500-ton commercial fishing boats on international waters, and spent her summers catching salmon on the Pacific coast. Manning has gained global respect for her abstract figurative paintings, which embody powerful yet delicate compositions with brushstrokes that seem to be in motion. Her work is held in numerous collections worldwide, including the Columbus Museum of Art, Ohio; Institute of Contemporary Art, Miami, Florida; and the X and Yuz Museums in China. In this episode of Soundings, Manning talks with Jamie Brisick about weather and wonderment, beauty and brawls aboard commercial fishing vessels, atmospheric fascination, style, her proudest artworks, the nuances between grit and growth, and her collaboration with the New York City Ballet.  

Damian Woetzel got addicted to dance when he was 11 years old. While his “dirty secret” is that ballet was never that hard for him, his experience as a young boy in the world of dance wasn't always easy. In this episode, Damian takes us backstage on his remarkable journey from being called “twinkle toes” in high school, to becoming a principal dancer and choreographer for the New York City Ballet, to his influential second act as the president of The Juilliard School and an advocate for arts education. Here are his songs. Knee Play 5 - Philip Glass We are the World 1985 - USA for Africa More Than This - Roxy Music Fast Car - Tracy Chapman Tom Traubert's Blues - Tom Waits Other Song - Caroline Shaw Freedom - Jon Batiste Listen to Damian Woetzel's full playlist on Spotify. Find the transcript of this episode at lifeinsevensongs.com. Thoughts? Guest suggestions? Email us at lifeinsevensongs@sfstandard.com.

Silas Farley returns with another Hear the Dance conversation, focusing this week on the George Balanchine pas de deux Sonatine, choreographed in 1975 as the opening ballet for the company's Ravel Festival. Repertory Director Christine Redpath shares memories of performing in that festival and of watching Sonatine's original dancers Violette Verdy and the late Jean-Pierre Bonnefoux, commemorated in this episode by former Principal Dancer Peter Boal, while Principal Dancer Megan Fairchild describes the ways in which this ballet taught her that a single piece can have "many textures." (56:31) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Sonatine for Piano (1905) by Maurice Ravel All music performed by the New York City Ballet Orchestra, All Sonatine excerpts played by NYCB Solo Pianist Elaine Chelton Reading List:  Thirty Years: The New York City Ballet by Lincoln Kirstein Repertory in Review: Forty Years of The New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein Balanchine Then and Now Edited by Anne Hogan Mr. B: George Balanchine's 20th Century by Jennifer Homans Ravel by Roger Nichols Maurice Ravel: A Life by Benjamin Ivry The Cambridge Companion to Ravel by Deborah Mawer Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Violette Verdy by Dominique Delouche and Florence Poudrou

Silas Farley returns with another Hear the Dance conversation, focusing this week on the George Balanchine pas de deux Sonatine, choreographed in 1975 as the opening ballet for the company's Ravel Festival. Repertory Director Christine Redpath shares memories of performing in that festival and of watching Sonatine's original dancers Violette Verdy and the late Jean-Pierre Bonnefoux, commemorated in this episode by former Principal Dancer Peter Boal, while Principal Dancer Megan Fairchild describes the ways in which this ballet taught her that a single piece can have "many textures." (56:31) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Sonatine for Piano (1905) by Maurice Ravel All music performed by the New York City Ballet Orchestra, All Sonatine excerpts played by NYCB Solo Pianist Elaine Chelton Reading List:  Thirty Years: The New York City Ballet by Lincoln Kirstein Repertory in Review: Forty Years of The New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein Balanchine Then and Now Edited by Anne Hogan Mr. B: George Balanchine's 20th Century by Jennifer Homans Ravel by Roger Nichols Maurice Ravel: A Life by Benjamin Ivry The Cambridge Companion to Ravel by Deborah Mawer Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Violette Verdy by Dominique Delouche and Florence Poudrou

Daniela Candillari grew up in Serbia and Slovenia.  She holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music, and a Master of Music and Bachelor's degree in Piano Performance from the Universität für Musik in Graz. She is also a Fulbright Scholarship recipient.Daniela is in her fourth season as principal conductor at Opera Theatre of Saint Louis. In celebration of its 50th anniversary season, she is conducting the company's 44th world premiere, This House, with music by Ricky Ian Gordon and libretto by Pulitzer Prize-winner Lynn Nottage and her daughter, Ruby Aiyo Gerber.Daniela made her New York Philharmonic debut in its inaugural season in the new David Geffen Hall, conducting cellist Yo-Yo Ma in Elgar's Cello Concerto.  And she made her “Carnegie Hall Presents” debut leading the American Composers Orchestra in a program of premieres.  Other engagements include debuts with the Metropolitan Opera and Deutsche Oper Berlin, and productions with Lyric Opera of Chicago, Minnesota Opera, Detroit Opera, Orchestre Métropolitan Montreal, and Classical Tahoe Festival.Finally, Daniela has been commissioned by established artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center: the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. She is deeply involved with Music Academy of the West's programming for young artists and she recently participated in master classes and discussions at DePaul University, Chicago Humanities Festival, and Valissima Institute.It's a pleasure to have her with me on this episode.

Som 25-årig forlader Nikolaj Hübbe den Kgl. Danske Ballet, hvor han var været siden han var 10 år gammel, for at blive solodanser på the New York City Ballet. Publikum og anmelderne elsker den nye stjerne fra Danmark, og efterhånden føler han, at han kan gå på vandet. Men da han runder de 30 år, får han alligevel en krise. Han overvejer, om han i stedet skal blive skuespiller.See omnystudio.com/listener for privacy information.

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning. Hosted on Acast. See acast.com/privacy for more information.

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning.

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning.

Investigative journalist and head of narrative at Stak, Nicky Anderson has been a ballet nut since she was a kid. And the New York City Ballet under George Balanchine? For many, it's ballet at its pinnacle. But at what cost?  In her new seven-part podcast series, Dancing With Shadows, Nicky explores the history of the New York City Ballet and its influence, with a focus on the dark side of the company and the culture and legacy created and left by Balanchine.  Mick got her on the Zoom to talk about this deep dive into a sport-slash-art form renowned for demanding absolute sacrifice from its young, predominantly female, dancers and for being a very closed institution, how it shines a light on abuse sort of becoming par for the course, and the perils of genius. Learn more about your ad choices. Visit megaphone.fm/adchoices

For a topic that's truly "on pointe," our guest today reminds us of the joys and rewards of freedom and discipline, just in time for Lent: ballet dancer and choreographer Silas Farley.We discuss his early journey in discipleship and liturgical dance, holy coincidences that connected him with his Russian ballet hero, how discipline can lead to freedom in the Spirit both in dance and liturgical life, and understanding the meaning of "grace."We hope you've done your work at the barre, because Silas will stretch our imaginations for worship and discipleship, and even what's possible when it comes to dance in church. Hold on to your leotards. Silas is Armstrong Artist in Residence in Ballet in the Meadows School of the Arts at Southern Methodist University in Dallas. He's been a teacher and choreographer at places like the New York City Ballet, the Guggenheim, the Washington Ballet, the Met, and all over the world.More about SilasJoin a Living Church conferenceGive to support this podcast

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

This week on The Broski Report, Fearless Leader Brittany Broski discusses her visit to the New York City Ballet, dissects the Iron Man trilogy, and recounts her visit to NASA. 

Kathryn Morgan is in the studio this month! She is a trailblazing ballerina - or bunhead - as she described herself in this interview - who has redefined what a ballet career can look like beyond traditional company life. She began her professional career in 2006 with the New York City Ballet, rising to the rank of soloist before making the difficult decision to leave the company to focus on personal health challenges. She made a return to the stage with Miami City Ballet in 2019. In 2020, in the midst of pandemic shutdowns that challenged every industry — including the performing arts — she went to work to transform the ballet landscape by founding her brand, Kathryn Morgan & Friends. This is a community dedicated to celebrating dancers for who they are, beyond only their technical skills. Her platform offers online classes, workshops, and retreats, emphasizing the joy of dance and creating a supportive environment for adult ballet dancers in particular.Through her online classes, YouTube channel, social media platform, and workshops, Kathryn continues to inspire and empower dancers at all levels, challenging traditional norms for ballet and advocating for a more inclusive culture within the art form. Her willingness to speak out against toxic ballet culture and instead create a welcoming environment in her classes has not only enriched ballet but has sparked meaningful conversations about what being a successful, healthy and well rounded dancer truly looks like.This conversation discusses body image and health struggles particularly related to diet culture and weight, which can be a sensitive topic for some listeners. Those topics are throughout this conversation, so please be kind to yourself and fast forward if you hear something that's difficult for you. There are two places where that discussion is particularly detailed — around minutes 4:00-11:00 and again during minutes 21:00-27:00. Check out what Kathryn had to say!Follow Kathryn on Instagram: @kathryn_morganVisit Kathryn's website: www.kathrynmorganonline.comLearn more about Kathryn Morgan & Friends: www.kmandfriends.comSubscribe to Kathryn's YouTube channel: @kathryn_morganSign up for Kathryn's upcoming adult ballet retreats: https://www.kmandfriends.com/retreats Music in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom 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=USUAN1100310Artist: http://incompetech.com/@eblosfield  | theadultballetstudio@gmail.comAd: Support Author Meg Groff and her book Not If I Can Help It: A Family Lawyer's Battles for Justice for Victims of Domestic Violence and the Poor. A book release party will be held at Puck Live in Doylestown, PA.Purchase her book from Rivertowns Books: https://www.rivertownsbooks.com/book-page/not-if-i-can-help-it-by-meg-groffCheck out her book on Goodreads: https://www.goodreads.com/book/show/219393016-not-if-i-can-help-itOrder her book on Amazon: https://a.co/d/2dahGVDSupport this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link

"Dance Talk” ® with Joanne Carey and special guest Lar Lubovitch.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews renowned choreographer Lar Lubovitch, who shares his journey into the world of dance, his artistic influences, and his experiences at Juilliard. Lubovitch discusses the importance of intuition in dance, the correlation between painting and choreography, and the defining moments that shaped his career. He reflects on his first choreographic experience and the evolution of the Juilliard Dance Department, highlighting the significance of mentorship and the transformative power of dance. In this conversation, Lar Lubovitch shares his journey in the world of dance, discussing the importance of movement poetry, the essence of dance as a higher value, and the significance of improvisation in choreography. He reflects on his recent Lifetime Achievement Award and the sense of community within the dance world. Lubovitch emphasizes the ongoing process of learning and evolving as a dancer and choreographer, encouraging others to embrace the journey of creation and expression in dance.Lar Lubovitch is one of America's most versatile, popular and widely seen choreographers. Based in New York City, Lubovitch's company has performed throughout the world, and his dances have also been performed by many other major companies, including American Ballet Theater, Joffrey Ballet, New York City Ballet, Paris Opera Ballet, Royal Danish Ballet, San Francisco Ballet, Alvin Ailey American Dance Theater, and many others. His dances are renowned for their musicality, rhapsodic style and sophisticated formal structures. His radiant, highly technical choreography and deeply humanistic voice have been acclaimed worldwide.THE COMPANY. The Lar Lubovitch Dance Company is internationally renowned as one of the world's best dance companies. Founded in 1968, the company is now celebrating its 56th anniversary. The 50th season kicked off with a preview performance on Nov 13 (2017) at Lincoln Center's Clark Studio Theater, and culminated with performances from April 17-22 (2018) at the Joyce Theater. Celebrated for both its choreographic excellence and its unsurpassed dancing, the company has created more than 120 new dances and performed before millions throughout the United States and in more than 40 foreign countries. During 2023, the company created two new dances. The first, Conversing With Brahms, premiered in Dallas in April, and the second, Desire, premiered at the Guggenheim Museum in NYC on December 5, 2023. During 2024, the company is creating Many Angels, together with Alvin Ailey American Dance Theater.⁠https://lubovitch.org/Company/Lar_Lubovitch/lar_lubovitch.html⁠“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."

After Peter Martins' actions were exposed, a dancer named Chase Finlay was caught taking inappropriate pictures and videos of dancers at the New York City Ballet. In this episode, we dive into how the misogynistic culture created by Peter Martins spurred others to misuse their perceived power.

As Nazi tanks roll toward Leningrad in August 1941, an unmarried nineteen-year-old ballerina gives birth to twin girls in the soon-to-be besieged city. Bereft of hope, the dancer—once a rising star at the Kirov—slashes her wrists, but her babies survive, rescued by the devoted friend who arrives just too late to save their mother. The friend, too, is a dancer with the Kirov, and her tutelage and self-sacrifice ensure that the girls, Maya and Natasha, become students at the Vaganova Academy after the Siege of Leningrad is broken. We meet the twins as they enter their senior year in 1958. At once inseparable and competitive, Maya and Natasha have developed quite different personalities, with Natasha the leader and future star, Maya her loyal follower. But as they turn seventeen, various factors pull them apart: boys; the changing climate of Khrushchev's USSR; and the approaching end to their schooling, which even in a state-run economy doesn't guarantee anyone a specific place in the world. But it's when the state declares that, in response to recent defections by artists to the West, only one member of any given family can join the Kirov Ballet that Maya and Natasha must confront the reality that one sister's success will come at the cost of the other's. How each of them responds to that challenge drives the rest of this thoroughly engrossing novel. And although neither girl really recognizes it until near the end of the book, the choices each makes are driven at least in part by their determination to fulfill the goals their mother never had the chance to achieve. Weaving together such disparate elements as the Cuban Missile Crisis, the Cold War competition that drove the exchange between the New York City Ballet's visit to Moscow and the Kirov's tour of the United States in 1962, the filming of Sergei Bondarchuk's monumental version of War and Peace, and the difficult yet rewarding training that produces elite dancers, Maya and Natasha (Mariner Books, 2025) explores the eternal bond between sisters while prompting readers to consider just how far they would go to achieve a cherished goal. Elyse Durham, a graduate of the MFA Program for Writers at Warren Wilson College, lives in Kalamazoo, Michigan, with her husband, who is a Greek Orthodox priest. Maya & Natasha is her debut novel. 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

As Nazi tanks roll toward Leningrad in August 1941, an unmarried nineteen-year-old ballerina gives birth to twin girls in the soon-to-be besieged city. Bereft of hope, the dancer—once a rising star at the Kirov—slashes her wrists, but her babies survive, rescued by the devoted friend who arrives just too late to save their mother. The friend, too, is a dancer with the Kirov, and her tutelage and self-sacrifice ensure that the girls, Maya and Natasha, become students at the Vaganova Academy after the Siege of Leningrad is broken. We meet the twins as they enter their senior year in 1958. At once inseparable and competitive, Maya and Natasha have developed quite different personalities, with Natasha the leader and future star, Maya her loyal follower. But as they turn seventeen, various factors pull them apart: boys; the changing climate of Khrushchev's USSR; and the approaching end to their schooling, which even in a state-run economy doesn't guarantee anyone a specific place in the world. But it's when the state declares that, in response to recent defections by artists to the West, only one member of any given family can join the Kirov Ballet that Maya and Natasha must confront the reality that one sister's success will come at the cost of the other's. How each of them responds to that challenge drives the rest of this thoroughly engrossing novel. And although neither girl really recognizes it until near the end of the book, the choices each makes are driven at least in part by their determination to fulfill the goals their mother never had the chance to achieve. Weaving together such disparate elements as the Cuban Missile Crisis, the Cold War competition that drove the exchange between the New York City Ballet's visit to Moscow and the Kirov's tour of the United States in 1962, the filming of Sergei Bondarchuk's monumental version of War and Peace, and the difficult yet rewarding training that produces elite dancers, Maya and Natasha (Mariner Books, 2025) explores the eternal bond between sisters while prompting readers to consider just how far they would go to achieve a cherished goal. Elyse Durham, a graduate of the MFA Program for Writers at Warren Wilson College, lives in Kalamazoo, Michigan, with her husband, who is a Greek Orthodox priest. Maya & Natasha is her debut novel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

This week Reid is vomiting in Miami as Jeremy prepares to go to Cleveland. Topics include "Angels in America" with two more chapters of Adam Moss' “The Work of Art” and "Paquita" at New York City Ballet. ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.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.

The American Ballet Company, led by the charismatic Peter Martins, was the epitome of grace and perfection—until allegations of abuse and exploitation surfaced. In this episode, we explore how Martins used his influence to exploit dancers and manipulate those around him to maintain his dominance.

On today's episode of "Conversations On Dance" we are joined by New York City Ballet dance legend and trailblazer Debra Austin. Debbie, as she liked to be called, takes us through her time as a native New Yorker training locally before entering the New York City Ballet, her experiences working with Balanchine, charting new territory leading full lengths as a principal dancer at the Pennsylvania Ballet and the work she does now as a rehearsal director for Carolina Ballet for over 25 years. 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.

Molly Rowe, newly appointed Executive director of the Hilliard Art Museum, joins Discover Lafayette to discuss her love of the arts and working with artists. Molly has worked with arts and culture organizations such as the New York City Ballet and Savannah College of Art and Design, and Fortune 500 companies such as Google and The New York Times. Born and raised in Lafayette, Molly's mother was an antique dealer; from an very early age, Molly was exposed to art, antiques, antiques, provenance, and the research that goes into collecting and telling stories about objects. She grew up appreciating art and objects, learning about other cultures and people. At the age of 18, after graduating from the Episcopal School of Acadiana and ready to see the world, she left Lafayette at 18 to attend Cornell University where she earned Bachelor's degrees in History and French literature. Molly then earned an MBA in Strategic Management from Tulane, and completed graduate work in Art History at Sorbonne University and Ecole Normale Supérieure in Paris. Molly's first job was writing for the President and Co-Founder of the Savannah College of Art and Design, Paula Wallace. "It's an institution that started with a dream of one woman who was an educator and now it is globally recognized. It is one of, if not the, largest private art institution in the world. It is a mission driven arts organization, and I learned so much about how it was run, how to build organizations of that nature, how to inspire people through that." The experiences Molly gained help define her career. "Whenever I started working with Paula Wallace, I envisioned myself to be a writer who was going to go on and do doctorate work in literature. I was very always interested in languages and storytelling. But through my work with her at SCAD, I realized that art has it own language and communicates things that words can't. Through studying art and learning about art and exhibiting art, working with artists, you're able to transcend time, cultures, and geography.” Molly shared, "We so often think that being able to create an art object or a painting defines creativity. But some of the most creative people I know are creative in business. I've built my career on working with artists and supporting artists and building businesses with them." After her work at SCAD, she moved to New York and was employed by consultants who worked with arts organizations, museums, institutions, and galleries based all over the world. She eventually opened her own consulting firm with that same focus, at the intersection of arts, education and business,. Molly worked with over 50 institutions internationally, from the United States to Europe, South America, and Asia. Molly says, "It's that work that allowed me to consult with incredible organizations such as Google, New York City Ballet, and The New York Times. My work with them was always focused around art and culture. I think so many businesses recognize the power of art and culture; in order to get a product into the hands of people, they have to tap into how their desired audience communicates, what they like, what they read, what they listen to." Molly explained, "Being able to tap into an audience's culture means you're going to be working with artists. It means you're going to be working with the people that are creating and building that culture. That's where I came in, as this sort of middle person, who would help organizations figure out how they were going to bring their product to people. It was always around working with artists. The other side of that was not only making sure it was good for business, but also that it was good for rhe artists. If we look at Louisiana, one of our biggest economies is cultural tourism. We don't think enough about who is benefiting from that. My job was always making sure that artists were represented appropriately and that were being compensated and rewarded in the right way.

Hear the Dance host Silas Farley is joined by Associate Artistic Director Wendy Whelan and former Soloists Repertory Director Jean-Pierre Frohlich and Repetiteur Diana White for a conversation about Jerome Robbins' The Cage. From its "empowering" choreography to the manners in which the relationship between the Mother and the Novice mimic that of senior and newer members of the company, they describe the unique qualities of this ballet beloved by dancers and audiences alike. (59:01 Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto in D for String Orchestra, "Basler" (1946) by Igor Stravinsky Performed by New York City Ballet Orchestra Reading List: 1. Somewhere: The Life of Jerome Robbins by Amanda Vaill 2. Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir by Jerome Robbins, Edited by Amanda Vaill 3. Jerome Robbins: A Life in Dance by Wendy Lesser 4. Stravinsky: A Creative Spring: Russia and France, 1882-1934 by Stephen Walsh 5. Stravinsky: The Second Exile, France and America, 1934-1971 by Stephen Walsh 6. The Stravinsky Festival of the New York City Ballet by Nancy Goldner

"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."

Damian Woetzel is a former principal dancer at the New York City Ballet and the current president of the world’s most prestigious performing arts conservatory, The Juilliard School. After an illustrious career as one of the world’s foremost male dancers, Woetzel went on to earn a degree from Harvard, serve on Barack Obama’s Committee on the Arts and Humanities, and direct a series of major arts programmes, including at The Aspen Institute. As president of Juilliard since 2018, he hopes to one day make the school tuition-free. Woetzel spoke with Monocle’s Emma Nelson about discovering his passion young, his jeté-like rise in ballet and the role of art as a public good.See omnystudio.com/listener for privacy information.

Damian Woetzel’s rise to the top of the ballet world seems straightforward. From his childhood in Boston he demonstrated an aptitude for ballet; by his late teens, he was touring nationally as part of the Los Angeles Ballet; and in the mid-1980s, at 18, he eschewed college to pursue a career as a dancer in New York City. Over the following two decades, Woetzel climbed the New York City Ballet’s ranks, first becoming a principal dancer, then a household name. In his mid-30s, with the prospect of retirement looming, Woetzel decided to exit the ballet orbit and head up to Cambridge, Massachusetts, where he graduated from Harvard’s Kennedy School of Government in 2007 with an M.P.A., a distinction that, a decade later, led to him becoming The Juilliard School’s seventh president. On this episode of Table for Two, Woetzel joins host Bruce Bozzi to discuss his early years in New York, former U.S. Representative Gabrielle Gifford’s role in motivating him to return to school, and his plan for leading an arts conservatory into the modern age.See omnystudio.com/listener for privacy information.

City Ballet The Podcast returns with a new Hear the Dance episode exploring George Balanchine's Concerto Barocco. Host Silas Farley is joined by three former NYCB dancers whose engagement with this foundational ballet continues today: SAB Senior Faculty Chair Suki Schorer, Balanchine Repetiteur Victoria Simon, and SAB Faculty Member Meagan Mann. Together they trace the highlights and unique demands of Barocco's four distinct movements, describing how the apparent simplicity of the ballet demands plenty of hard work and helps build community amongst the dancers. (1:00:28) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto in D minor for Two Violins, B.W.V. 1043 by Johann Sebastian Bach Performed by the New York City Ballet Orchestra Kurt Nikkanen and Arturo Delmoni, Violin Soloists Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Performed by Susan Walters, Pianist Reading List:  1. Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein 2. Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein 3. Balanchine and Kirstein's American Enterprise by James Steichen 4. Suki Schorer on Balanchine Technique by Suki Schorer and Russell Lee 5. Balanchine Pointework by Suki Schorer 6. Balanchine Then and Now Edited by Ann Hogan 7. Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy with Sharon DeLano 8. Balanchine the Teacher: Fundamentals That Shaped the First Generation of New York City Ballet Dancers by Barbara Walczak and Una Kai 9. Balanchine Variations by Nancy Goldner 10. Bach: Music in the Castle of Heaven by John Eliot Gardiner

As a standout New York City Ballet dancer from the 1980s through the early 2000s, Damian Woetzel featured in acclaimed productions ranging from Jerome Robbins’s "West Side Story Suite" to George Balanchine’s "Swan Lake." But which ballet was his favorite? Find out on this week’s bonus episode of Table for Two, in which the current Juilliard School president joins host Bruce Bozzi to discuss his biggest pet peeve, the best advice he’s ever received, and his favorite New York City activity.See omnystudio.com/listener for privacy information.

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."

Lauren Caris Cohan is a filmmaker and the chief creative officer of the chic and sustainable womenswear brand Reformation. Lauren got her start as a styling assistant at Free People in Philadelphia in the late 2000s, eventually working her way up to the title of artistic director. While looking to pursue a newfound interest in screenwriting, she was given carte blanche to create a series of narrative short films for the brand. In 2017, she left the company to look for new opportunities to explore filmmaking. She consistently worked on her projects, creating short films, writing scripts, and co-founding a creative services agency called Lolly Would. In 2017, she co-founded the industry-disrupting lingerie brand Cuup, again bringing her distinctive creative flair to craft the storytelling around the start-up. In 2020, she was brought in by Reformation to consult on projects, and in 2022, she was appointed the role of chief creative officer. In her time as CCO, she's guided Reformation through some truly amazing collaborations—from the New York City Ballet to Monica Lewinsky.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.