“Through the early decades of modern dance in this country, The 92nd Street Y became a safe haven for many artists who were not being presented anywhere else in New York City,” says Alison Manning, co-executive director of the Harkness Dance Center and director of the Harkness School of Dance at 92NY. Dance legends like Erick Hawkins, José Limón, Sophie Maslow, Pearl Primus, Ruth St. Denis, and Ted Shawn all performed on 92NY’s stage. Although the organization also had classes and concerts in other dance styles, it was a hotspot for modern dance in particular just as the genre was beginning to take off in the U.S.

This year, as 92NY celebrates its 150th anniversary, honoring those dance roots is at the top of the list of priorities. The organization is installing a major exhibit called “Dance to Belong: A History of Dance at 92NY,” from March 12 to October 31, in 92NY’s Weill Art Gallery. It kicks off with a one-night-only performance on March 12 meant to connect the venue’s illustrious past to the promise of what’s ahead. The Limón Dance Company will perform José Limón’s beloved There is a Time, paired with Omar Román De Jesús’ Like Those Playground Kids at Midnight. The Martha Graham Dance Company will perform Appalachian Spring Suite, paired with an excerpt from Jamar Roberts’ We The People. And Ailey II will perform a series of excerpts from Ailey classics, including The Lark Ascending, Streams, and Blues Suite, plus a premiere by Hope Boykin.

“We are highlighting that, in the moment when modern dance was wrestling into relevance in this country, The 92nd Street Y played a pretty critical role in opening doors for artists who needed space and support,” says Manning.

The programming for the upcoming performance began with Limón’s There Is a Time, she says. “The piece represents such an important message about our own 92NY history. There have been ups, there have been downs,” she explains. “And we as an institution have weathered both times of great challenge and of joy, but that we were at the forefront for many overlooked artists, during this important period in modern dance history, in providing support, time for joy, time for grief, whatever they needed to make their work.” 

The one brand-new work on the bill is a premiere by Boykin, who says it’s an expression of her gratitude to the legends who paved the path before her. Creating it for this concert was a “no-brainer” she says, since 92NY not only gave some of those legends a platform, but offered her one too: Her first full-evening show of her own took place there in 2021. “This work is a thank-you,” says Boykin. “A thank-you for the lessons, and paths made clear. This work will be a celebration of who I have become as a result of the work so many did before me.”

Putting together the March 12 program has brought home for Manning just how pivotal a role 92NY has played in the story of modern dance, and her role in stewarding that forward for the next generation. “My vision centers around trying to make sure that artists who need a platform and haven’t had an opportunity have it,” she says, “and artists who already have substantial support and known work can lift up these younger, less established artists simply by sharing the space and being presented on these same stages.”

Román De Jesús points out that this is precisely what this particular program is doing for him. The emerging choreographer has recently been racking up fellowships and awards, like the Dance Magazine Harkness Promise Award, yet he still struggles to find resources and venues to showcase his work. “To me, standing on the same stage as legendary companies and alongside fellow emerging artists symbolizes representation, inclusivity, and hope,” he says.

92NY’s long tradition of inclusivity is ongoing, and it will continue to be a place where dance history is made for many more decades to come.

The post 92NY Celebrates Its Rich Dance History as a Birthplace of Modern Dance appeared first on Dance Magazine.

A Profoundly Ukrainian Giselle

WASHINGTON, DC  The Giselle arriving at the Kennedy Center for the Performing Arts this month promises to be a particularly emotional one. It will mark the U.S. debut of the nascent United Ukrainian Ballet, the Netherlands-based company of refugee ballet dancers who fled the invasion of Ukraine last year. Alexei Ratmansky (himself a citizen of Ukraine) specially crafted the production for the company. American Ballet Theatre principal Christine Shevchenko, also Ukrainian, is slated to guest during the engagement. Feb. 1–5. kennedy-center.org. —Courtney Escoyne

Seeding Revival

NEW YORK CITY  For the third edition of Revival, Johnnie Cruise Mercer offers to those who have seed in the ground. Inspired by William McDowell’s album Sounds of Revival, the Feb. 2 event brings together two generations of artists to move through “meta-physical practices rooted in Black spiritual tradition” in pursuit of a collective inner will. A recording of the performance will be available digitally for 72 hours, starting Feb. 3. 92ny.org. —CE

Brought to a Boil

ALAMEDA, CA  Percussive dance company MoToR/dance is set to debut its first evening-length work this month. For Water in the Kettle, artistic director Evie Ladin brings together an all-female, multigenerational ensemble to illuminate the recurrent struggles faced by women in the U.S. across generations, turning Rhythmix Cultural Works into a sort of contemporary village square filled with communal story and song. Feb. 3–4. rhythmix.org. —CE

Spirits of Nashville’s Past

NASHVILLE  Nashville Ballet’s Attitude: Anthology employs a graveyard setting to introduce audiences to lesser-known stories of important individuals in the city’s history. “The stories that make it into the history books aren’t the only stories of why we live the lives we do,” says artistic director Paul Vasterling, who conceived the new production in the mold of the company’s nationally acclaimed Lucy Negro Redux. Choreographed by Vasterling with contributions from Sidra Bell, Windship Boyd, Mollie Sansone and Shabaz Ujima, the multimedia work is set to original music composed and performed live by local alternative/indie singer morgxn. Feb. 10–12. nashvilleballet.com. —Steve Sucato

Hamburg Ballet in the Windy City

CHICAGO  Before he was artistic director of Hamburg Ballet, John Neumeier grew up in Milwaukee and spent his early dance career in Chicago. It seems only fitting, then, that the company should tour to the Windy City in the midst of its 50th (and penultimate) season under his direction. On tap is Neumeier’s The Glass Menagerie, with international ballet star Alina Cojocaru, for whom the principal role was made, joining the company for the Harris Theater engagement. Feb. 23–25. harristheaterchicago.org. —CE

Glass Slippers

Two new productions of Cinderella debut.

Oklahoma City Ballet

OKLAHOMA CITY  Ryan Jolicoeur-Nye choreographs the evening-length fairy tale, his second since being appointed­ artistic director of Okla­homa City Ballet in October. Feb. 10–12. okcballet.org. —CE

Tulsa Ballet

TULSA  Following two shorter works for Tulsa Ballet—2021’s What If? and last spring’s Celestial Bodies—British choreographer Andrew McNicol returns to tackle his first full-length. Feb. 9–12. tulsaballet.org. —CE

The post 7 Shows Worth Penciling in This February appeared first on Dance Magazine.