It’s been a whirlwind year for American Ballet Theatre soloist Misty Copeland. In addition to publishing her book, starring in a viral Under Amour ad campaign and being appointed a member of the President’s Council on Fitness, Sports and Nutrition (oh, and gracing our June/July cover), she can now add television star and executive producer to the list. Last week, Oxygen Media announced that a new reality series, “The Misty Copeland Project,” is in the works.
American Ballet Theatre and the Segerstrom Center--which have long worked together to present ABT, including some of the company's world premieres--are partnering to start a ballet school at Segerstrom's Costa Mesa campus. This news comes as part of the dance education windfall that L.A.
The arts are desperately underfunded in this country, and programs big and small rely on philanthropy to stay afloat. Ballet companies rarely earn enough income to break even, so philanthropy is essential to their continuation. While this is a less-than-ideal way to scrape by, we (readers and staff) all probably agree that it's worth the fundraising hustle in order to keep seeing and presenting great art. In the meantime we can work to change the way art is funded in the U.S.
Think of dancing in front of the love of your life. Suddenly, the thousands of hours you’ve spent rehearsing leave you stunned as excitement and bashfulness consume every move. Dance presents a new hurdle once it becomes an open expression of love—a gesture Lise offers Colas in Sir Frederick Ashton's La Fille mal gardée. In this Act I variation, Lise seemingly performs to the audience, but each step expresses the joy she feels for Colas as he watches her from stage right.
You already know that cooking at home makes it easier to control what goes into your meals, allowing you to choose healthy and fresh ingredients to fuel your dancer's body. And a new study published in Public Health Nutrition is ready to back that up, finding that people who frequently cook at home tend to have more nutritious diets overall.
It’s difficult to classify the movement in Vaslav Nijinsky's Le Sacre du Printemps as ballet; today, we would denote such vocabulary as modern dance. But Sergei Diaghilev’s Ballet Russes, which premiered the ballet in Paris in 1913, embraced France's emerging avant-garde culture at the time. They premiered works by new choreographers whose names we now recognize (Michel Fokine, Bronislava Nijinska and George Balanchine, to name a few).