Celebrated for her strong technique and natural grandeur, she was a star soloist with the Bolshoi Ballet before finding a new audience in London.
Ballet’s strict gender norms put pressure on women to conform. But dancers who don’t are finding they’re not alone.
“We were scared, but the people and the love from the public was our gasoline to go up there and confront the police,” said one.
In her evolving exploration of identity, Leslie Cuyjet is breaking out as a choreographer, making work that is both conceptual and personal.
A major figure in 20th-century dance, she was acclaimed for her directness and emotional naturalness onstage, especially in the title role of “Giselle.”
As a dancer and choreographer, she sought to represent a broad range of ethnic groups, but audiences often sexualized and exoticized her by focusing on her mixed race.
The festival features a film that shows the light and empowerment of vodou, a tradition of danced communication and communion with ancestors and spirits.
Ten years after his death, Petit is still considered an important figure in France, though his works haven’t been performed with great regularity.
One of the few places where performances continued steadily for much of the pandemic has had to shut down theaters just as they are reopening elsewhere.
It’s a Black anthem and the song of every summer.
In a new production for the vast Drill Hall at the Armory, the idea is to let the trauma of a strange and unsettling year sink in: for better or worse.
The Royal Ballet’s program, “21st Century Choreographers,” featured a new work by Kyle Abraham.
For Gavin Larsen, the author of “Being a Ballerina,” the drama of a life spent in dance is the dancing. Period.
To watch LaTasha Barnes dance is to watch historical distance collapse.
Since February, the Brooklynettes have performed live at Barclays Center to crowds that are smaller than usual — but huge for dance.
In 1941 she studied at George Balanchine’s fledgling dance academy. She was not destined to be a ballerina, but she dedicated her life to Balanchine’s legacy.
Russell Janzen of City Ballet misses the physical and emotional closeness forged onstage, which are lost on video and in socially distanced dancing.
The former official, Sophia Kim, was a comptroller of the Kirov Academy of Ballet, a school founded in 1990 by the Rev. Sun Myung Moon.
Her film for City Ballet’s virtual spring gala, featuring a new solo by Justin Peck, explores the nooks and crannies of the company’s theater.
The New York City Ballet legend, who went on to form National Dance Institute, lived to the fullest — and danced with that same spirit.
Coppola and Justin Peck talk about how they approached making a film for New York City Ballet’s digital spring gala.
The Times’s Culture editor has questions. Our critic has answers.
A product of Washington Heights, he embodied an all-American style, combining the nonchalance of Fred Astaire with the nobility of a classic male dancer. Hollywood came calling, too.
In Liverpool, people danced together at a warehouse party as part of a scientific trial of how and if social distancing can safely end.
To calm Mexico City’s elderly, who were arriving “really scared” at vaccination sites, officials cued up the bands and masked wrestlers.
As part of GrahamFest95, the choreographer’s dance company celebrates its 95th anniversary with four films pairing dances with works by Hauser & Wirth artists.
Many dancers have taken advantage of a byproduct of the pandemic — time away from performing — to try out a new role: motherhood.
Our recommendations for dance to stream online, whether from your couch or your yoga mat.
He rose to fame in the dance world with remarkable speed. His subsequent downfall, amid allegations of sexual misconduct, happened just as abruptly.
At times, the experience of “SOCIAL! the social distance dance club” felt no more freeing than dancing by myself in my cramped living room, our critic says.
The celebrated choreographer created roles for her. The critics hailed her. Yet her death a year ago went unnoticed in the dance world.
In a haunting new digital work, “Whale Fall,” Mayfield Brooks mourns Black bodies.
The Edinburgh International Festival, canceled last year, said it would proceed in August thanks to three specially built pavilions.
Alexis Feacher, 21, built a following by creating freestyle dance routines emulating a specific era of pop culture.
A new project is producing sign language covers of 10 seminal musical works recorded by Black female artists.
Casel’s joyful and generous spirit is as vivid as ever in a new virtual presentation by the Joyce Theater.
The intimate venues known as tablaos have mostly remained shuttered even as pandemic restrictions ease. That puts at risk a formative element of many flamenco performers’ careers.
For “When We Fell,” a filmed dance, the choreographer took cues from a snowy bubble residency — and from Prince’s “Under the Cherry Moon.”
More than a year after the pandemic abruptly shuttered theaters and concert halls across the city, limited audiences were welcomed back inside.
Breathe in some culture and the great outdoors — just from behind a mask.
“Limitations and boundaries have always focused me,” Pam Tanowitz says from Australia. “I like rules, but also like to break them — and quarantine is a rule I can’t break.”
The singers, dancers and musicians played on, serenading their phones, pirouetting in masks and performing, faceless, on the radio.
I kept telling myself not to believe in him. And yet, believe I did.
Kevin McKenzie, the company’s artistic director, will leave his job after the 2022 season.
Devynn Emory’s “deadbird” — a duet for Emory and a mannequin — deals with grief, envisioning “an ideal care team for a body who’s passing.”
Alexei Ratmansky returns to the stage with a playful Bernstein ballet, while Netta Yerushalmy revives a darker moment in time.
At a tentative moment in the city’s reopening, Caleb Teicher & Co. inaugurated the in-person return of Works & Process at the Guggenheim Museum.
The Park Avenue Armory is postponing “Afterwardsness” after three members of the Bill T. Jones/Arnie Zane dance company tested positive for the coronavirus.
Hugo Marchand talks about his memoir, “Danser,” about the intensity of the company and about dancing with Anselm Kiefer paintings.
A composer of famously thorny music had two failed forays into ballet, given fresh reconsideration on a new album.