NYCB's Olivia Boisson on What It's Really Like Being a Ballet Dancer of Color
via @nycballet on Instagram
Though ballet has come a long way from its early days, New York City Ballet corps member, Olivia Boisson—one of the handful of black dancers in the industry—says there's still plenty more that can be done to promote diversity within the art form. Boisson got real about her experience in an article for Women's Health, which discusses everything from Boisson's early training to her work with NYCB.
When Boisson first started studying ballet at Dance Theatre of Harlem, she was surrounded by other black ballet dancers. But when she enrolled at the School of American Ballet—the feeder school for NYCB—she was the only dancer of color in her classes. Boisson praises the contributions of the black dancers who went before her, like dance legend Arthur Miller, but also admits that as a student, she was hungry for a role model. That's why setting an example for today's young black ballet students is so important to Boisson. She's even begun wearing her hair natural for performances, so that other aspiring ballet dancers of color can see themselves in her.
(From left) Darriel Johnakin, Diego Pasillas, and Emma Sutherland (all photos by Erin Baiano)
Dance Spirit's 2019 Cover Model Search finalists: Darriel Johnakin, Diego Pasillas, and Emma Sutherland! One of them will win a spot on Dance Spirit's Fall 2019 cover. Learn more about the dancers by clicking on their names here:
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When it comes to injury-prone body parts, knees reign supreme for dancers. But a little strengthening can go a long way in preventing painful outcomes. We turned to Dirk Hartog, a physical therapist with Westside Dance Physical Therapy in NYC, for three exercises that'll support and stabilize your knees.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.