When “Shuffle Along or the Making of the Musical Sensation of 1921 and All That Followed” opens this month at the Music Box Theatre, it won’t be tap dancer Savion Glover’s first time on Broadway.
Misty Copeland and Virginia Johnson took center stage seats before a standing-room-only audience at Dance/NYC’s recent symposium on diversity and inclusion in dance.
As the talented members of Dance Theatre of Harlem pirouette, jeté, leap, run or just walk on stage during its New York City Center season (April 6-9 ) dazzling and delighting audiences, they will also be celebrating the company’s 45-year tradition of helping to, among other things, shatter one of America’s most enduring artistic glass ceilings.
Diversity and inclusion in dance is a hot topic that has reached critical mass, bubbling over from the insular dance world into mainstream media.
“Love, Forever Dudley,” the recent tribute to Alvin Ailey American Dance Theater soloist Dudley Williams, had all the warmth of a loving family reunion.
On Jan. 5, the Alvin Ailey American Dance Theater celebrated what would have been the 85th birthday of the man who founded the world-renowned company in 1958 and changed the face of American dance forever.
On New Year’s Eve, the Alvin Ailey American Dance Theater will celebrate with a 50th anniversary tribute to Artistic Director Emerita Judith Jamison.
Dec. 2, the Alvin Ailey American Dance Theater swept on stage at New York’s City Center exuding warmth, radiating brilliance and lighting up the night. If this opening night of its five-week winter season is any indication, audiences are in for a real treat.
Arthur Mitchell, the pioneering ballet dancer, artistic director and choreographer who, in the 1950s, became the first African-American principal dancer with the New York City Ballet, was celebrated at Columbia University Oct. 27 and 28.
When Donald Byrd’s “The Minstrel Show Revisited” is presented at NYU’s Skirball Center for the Performing Arts Wednesday, Oct. 28 through Friday, Oct. 30, it will be a perfect example, not of art imitating life, but of art illuminating life.