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October 31st: Genesis 2022 Choreographic Competition, November 1st: ArtFields 2022, December 1st: New York City Dance Rehearsal Space Subsidy Program

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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery

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Review: At Vail, female choreographers feed the mighty river of dance

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Author: Alastair Macaulay

“Is the sociology of the dance world changing? The last two years have brought many more commissions for female choreographers.

English National Ballet made a splash in 2016 with an entire program of new choreography by women. And this year’s “NOW: Premieres” program at the Vail Dance Festival here was subtitled “Celebrating Women Choreographers.” Does this sound like mere tokenism? It’s worth pointing out that all four of these female dance-makers — Michelle Dorrance (this year’s artist in residence), Lauren Lovette, Claudia Schreier and Pam Tanowitz — have worked at the festival before.”

Read the complete review here

NY Times: Of women, men and ballet in the 21st Century

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Author: Alastair Macaulay

“Can ballet express a modern view of the sexes? In the Western contemporary world, women and men often hold equal status at work, as leaders, as voters, as breadwinners. This kind of equality, however, is precisely what ballet cannot show.

Instead, it creates an either-or dualism from the difference between man and woman. He does most of the partnering (traditionally, all of it). She rises onto point. When he does the same (seldom), the effect is comic. The foot is a relatively tiny part of the body; yet its significance becomes colossal.

The meanings that flow from ballet are not only about gender. Yet the use of pointwork places the woman on a different level of being.”

Read the complete article here