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New York City Ballet opened its fall season on Tuesday with its first full-scale performance since the pandemic began. It felt like a rainbow.
He used to say he would be remembered more for his teaching than his ballets. The film “In Balanchine’s Classroom” provides a glimpse of that.
Ayodele Casel and Torya Beard have organized a festival that celebrates percussive dance and artists of all ages.
Gwen Verdon gets her due at the Fall for Dance Festival with “Sweet Gwen Suite,” a reimagining of three works made for TV in the late 1960s.
Madeline Hollander’s “Review” at Performa, in which performers will mark dances that have been canceled or postponed, seems an apt response to our moment.
In Pablo Larraín’s unsettling film, Mariana Di Girolamo stars as a dancer who finds freedom through reggaeton dance.
For the dancer, choreographer and director Francesca Harper, an “Ailey baby,” this new role is also a homecoming.
This season Beach Sessions has just one dance: “Repose,” a meditative, durational work by Moriah Evans.
During the pandemic Clara Miller stretched beyond dance to find another artistic voice.
A selection of New Yorkers reflecting on their pandemic experiences became part of this piece, conceived and choreographed by Andrea Miller.
Jamila Wignot explores the life of Alvin Ailey in a new documentary that brings a choreographer to life through movement and words.
This creative performance experiment presents a roving adventure through space with Aunts Goes Public!
Georgina Pazcoguin, a New York City Ballet soloist, has written a page-turner of a memoir.
What does it mean to watch and move through space, in dance and in life? As we emerge from the pandemic, we still have a moment to hold on to all that’s slow.
The movie’s choreographic team, led by Christopher Scott, gets raw and real with dancers — so many! — who give in to thrilling perpetual motion.
Katy Pyle’s company, Ballez, performs “Giselle of Loneliness,” a queer reimagining of the classic at the Joyce Theater.
Kyle Marshall’s new works, at the Baryshnikov Arts Center and the Shed, are about “creating something that actually feels joyful.”
In her evolving exploration of identity, Leslie Cuyjet is breaking out as a choreographer, making work that is both conceptual and personal.
Molly Lieber and Eleanor Smith present their latest work, a fierce, feminist look at objectification at Abrons Arts Center’s outdoor Amphitheater.
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.
For Gavin Larsen, the author of “Being a Ballerina,” the drama of a life spent in dance is the dancing. Period.
Stephen Petronio’s virtual program, presented by the Joyce Theater, explores isolation, longing and legacy, but doesn’t take those issues to a deeper place.
Since March, the Brooklynettes have performed live at Barclays Center to crowds that are smaller than usual — but huge for dance.
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.
As part of a digital program presented by the Joyce, the Trisha Brown Dance Company focuses on early movement invention.
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.
In a haunting new digital work, “Whale Fall,” Mayfield Brooks mourns Black bodies.
Casel’s joyful and generous spirit is as vivid as ever in a new virtual presentation by the Joyce Theater.
The Brooklyn Academy of Music presented its first live performance in more than a year: Le Patin Libre, a contemporary skating company.