International Women’s Day has been celebrated for well over a century, with roots in the early 1900’s as women organized and campaigned for the right to vote. As the years went on, women’s advocacy efforts expanded to labor relations, healthcare, and more. And although there is still much work to be done in this space, the inclusion of all women, regardless of race, in the fight for gender equality came years later still.

Today, we celebrate women across the country and across the world who continue to challenge the status quo, chip away at the glass ceiling, and assert their place in boardrooms and in the front of the rehearsal room.

In honor of  International Women’s Day on March 8, we take a look at where seven former ABT dancers are now – at the top of their fields, exercising excellence, grace and humility, continuing to be prime examples of female empowerment.

Cynthia Harvey

Currently serving as the Artistic Director of the American Ballet Theatre Jacqueline Kennedy Onassis School, Cynthia Harvey began her career with ABT in 1974, was promoted to Soloist in 1987, and became a Principal Dancer in 1982. After a brief stint as a principal dancer at The Royal Ballet, Harvey rejoined ABT in 1988 before retiring from the stage in 1996.

For Harvey, being Artistic Director at the ABT JKO School, means “being a small cog in the wheel” of nurturing the best and brightest dancers of years to come. Harvey’s work and influence, however, cuts far beyond ABT; she is a sought-after teacher, jury member, board member, and founder of “En Avant Foundation,” a non-profit foundation for mentoring and coaching ballet for prodigious young dancers.

Julie Kent

Holding the title of longest-serving ballerina at American Ballet Theatre, Julie Kent joined the ranks of ABT as an apprentice in 1985, making her way to Principal Dancer in 1993. Over the course of her performing career, Kent amassed a repertoire of over 100 ballets and helped define and refine the image of the American ballerina.

Now, as the Artistic Director of The Washington Ballet, Kent focuses on creativity, expression, and championing her artists, choreographers, and the art form of ballet itself through various arts education programs throughout the Washington D.C. area.

Maria Riccetto

Maria Riccetto grew up studying ballet at the National Ballet School in Montevideo, Uruguay. In 1999 she was offered a position as a corps de ballet dancer with American Ballet Theatre. Riccetto was an ABT Soloist for 10 years before returning to her hometown of Montevideo to continue and progress her ballet career.

In her current position as Artistic Director of Ballet Nacional de Sodre in Uruguay, Riccetto aims to expand the repertoire of Ballet Nacional de Sodre, tour when it is safe to do so, and collaborate with the dancers to create new works. Riccetto is admired in Uruguay as a “national treasure.”

Michele Wiles

Michele Wiles joined American Ballet Theatre Studio Company in 1997, was promoted to Soloist in 2000, and to the role of Principal Dancer in 2005. During her time with ABT, Wiles was a Princess Grace Foundation-USA Dance Fellowship recipient and won the Erik Bruhn Prize.

Wiles left ABT in 2011 to start BalletNext, a dance organization that pairs classically trained dancers with live musicians, emphasizing collaboration, risk taking, and the process of creating. With Wiles at the head, BalletNext’s NextGeneration program offers young dancers the opportunity to learn ballet technique and blended styles alike, as well as receive professional development in the form of personal branding, networking, and application tips.

Paloma Herrera

Hailing from Buenos Aires, Argentina, Paloma Herrera made history as the youngest Principal Dancer at American Ballet Theatre at the age of 19. Throughout her tenure with ABT, Herrera traveled the globe, appeared as a guest artist with various companies, and originated leading roles choreographed just for her.

After leaving ABT in May 2015, Herrera was appointed Artistic Director of the Ballet Estable del Teatro Colón in Buenos Aires, Argentina. She additionally has served as a member of the Artist Committee for The Kennedy Center Honorees, was chosen as one of “the top 10 dancers of the century” by Dance Magazine, and was given the Bicentennial Medal by the City of Buenos Aires.

Stella Abrera

Stella Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996 before being appointed a Soloist in 2001, and Principal Dancer in 2015. Abrera frequently works with non-profits including starting Steps Forward for the Philippines, cofounding Artists for Aveni, and participating in a series of galas held in Manila, which resulted in the building of the Stella Abrera Dance and Music Hall in Batangas.

Abrera is currently the Artistic Director of Kaatsbaan Cultural Park, where she has hosted numerous ballet companies for performances and residencies, bringing the best of the arts and culture to the Hudson Valley.

Susan Jaffe

In her current appointment as Artistic Director of Pittsburgh Ballet Theatre, Susan Jaffe is only the second woman to hold her position. Jaffe began her dance career with ABT at the age of 16, joined the corps de ballet two years later in 1980, and was promoted to Principal Dancer in 1983.

Years later, Jaffe became the Dean of Dance at North Carolina School of the Arts, a position she served in for eight years until July 2020 when she became Artistic Director of Pittsburgh Ballet Theatre.  

Now, in addition to her more traditional duties as an Artistic Director, Jaffe focuses on giving her dancers a wide breadth of physical and mental health resources, including Pilates, Gyrotonics, cardio, and meditation. Her work with Pittsburgh Ballet Theatre compliments her independent, newly established series of positive mindset workshops that provide live and online wellness workshops and audio meditations.

The writer, Samantha Aaronson, is the ABT Press Intern for Spring 2021.

Last year, more so than ever before, ballet’s hard shell around its humanness cracked and revealed the other side to its elusive beauty. Whimsy became relatable, excellence became humble, and one-by-one, our performances were dismantled by a global pandemic. Most importantly, ballet had a wake-up call. Racial injustice hit a national breaking point and became something we could no longer ignore as people or as an art form.

We are coming to the end of Black History Month where we have celebrated and highlighted the Company’s beautiful, powerful Black artists of the past, present, and future. ABT is making strides internally to foster an environment of diversity, equity, and inclusion. The organization is identifying changes that need to be made and is actively committing to eradicating the long-standing racial oppression that has always permeated classical ballet.

However, we cannot look forward without looking at our past, and I was asked to delve deeper into ABT’s = history. Remembering, seeking answers: this is how we make sense of who we are and inform who we want to be. I realized that I was entering into a negotiation with ABT’s past—recognizing achievements and triumphs, whilst acknowledging what went wrong.

So, I went back to the very beginning, to the infancy of Ballet Theatre, to understand how the organization played a part in perpetuating the marginalization and oppression of Black artists. I sought the untold stories of our failures – not to foster shame, not to damage ABT, but because it was the very least I could do.

Lawaune Kennard, Lavinia Williams, Ann Jones, Dorothy Williams, Elizabeth Thompson, Evelyn Pilcher, Edith Ross, Valerie Black, Leonore Cox, Edith Hurd, Mabel Hart, Moudelle Bass, Clementine Collinwood, Carroll Ash, Bernice Willis, and Muriel Cook. 

These are the names of the sixteen Black female dancers who starred in the Ballet Theatre Negro Unit’s only ballet, Black Ritual (Obeah). If you have never heard of the Ballet Theatre Negro Unit, you are not alone.

On the tail end of the Great Depression and the precipice of World War II, President Franklin Delano Roosevelt created the Federal Theatre Project (FTP), a component of his New Deal to subsidize the creation of live art across the United States. Its purpose was not necessarily an attempt to save the suffering arts, but to provide economic relief and jobs to artists and theatre workers. The result produced The Negro Theatre Project, also known as a series of Negro Units, in 32 cities across the United States, including New York City, at a blossoming new company called Ballet Theatre.

At the inception of the company, Agnes de Mille was recruited by Richard Pleasant to choreograph for Ballet Theatre, but only under the condition that she could not perform in any of her ballets. De Mille agreed to climb on board, but she was not happy with the constraint. This inspired what would become the only ballet produced under the Negro Unit of Ballet Theatre: “Since I was not permitted to perform myself, I avoided comedy altogether in an impulse of stubborn negation and sought to do something as uncharacteristic and surprising as possible—an exotic work for Negroes.”

The ballet, Black Ritual, was choreographed on 16 new Black dancers who had professional and educational experience in dance, despite later claims that they were “unschooled” and “untrained.” De Mille’s frustration that she could not perform in her own ballet turned a choreographic project into something slightly more sinister in her objectification of the dancers and the ominous plot of the ballet, creating a division that formed the “other.”

The plot of Black Ritual was centered around a group of “primitive” women who had congregated to put to death one of the women amongst them, who would carry their collective sorrows and troubles to Hell. In the ballet, they dance to the hills where they have their private ceremony. There the sacrificial girl dances herself into a frenzy in the midst of her executioners, who finally take her down before they rush back into their dark and mysterious forest.

The ballet’s subtitle (Obeah) refers to a type of Afro-Caribbean religious practice, but in presenting the ballet to the public, the company did not go further into specific cultural detail. The evening’s program, which did not name any of the Negro Unit’s dancers, read:

“Every primitive religion contains the ritual of blood sacrifice, such as the killing of the god, or the sanctified victim in proxy for the god. This annual destruction and rebirth compasses the regeneration of Man and Earth…This ritual scene makes no claim to authenticity. Set vaguely somewhere in the West Indies, it attempts only to project the psychological atmosphere of a primitive community during the performance of austere and vital ceremonies.”

Usually, and most evident in this case, the word “primitive” is not assumed to indicate a distance in time between the performance and the audience. The concept is not considered to mean “ancient” or “original”. In this context it defines the cultural “other” through the audience’s understanding that what they were meant to see was something barbaric and crude.

First performed one week into Ballet Theatre’s inaugural season on January 22, 1940, it was the first time Black dancers had appeared in a large-scale production from what was a typically all-white ballet company. Though some may have seen that as a bold move for a new, very different kind of ballet company, it did not stray from what Ballet Theatre was all about. In a letter to the World-Telegram of New York, publicists for Ballet Theatre singled out Black Ritual as an example of Ballet Theatre’s emerging identity: “This is a far cry from some of the traditional ballets being presented in the Ballet Theatre repertoire. But this was how the Ballet Theatre was meant to be—a combination of tradition and ultra-modernity.”

Unsurprisingly, the ballet was received with a wide variety of reviews. Black critics felt it was a meaningful accomplishment, but white critics were more inclined to see it as a novel anomaly in the ballet world, viewing it through the marginalizing lens that classical ballet was not appropriate for “the Negro.” Nevertheless, first-hand accounts, such as one featured in the Chicago Defender, spoke of a triumphant evening:

“When the Ballet Theatre opened its doors for the first time at Rockefeller Center last Monday evening, little did it realize its occupants would behold one of the greatest performances in the history of the ballet—little did it realize that they would really know what it meant to be spell-bound—little did it realize the curtains of its theatre would rise and fall once, twice, ten or even more times, amid shouts of “bravo” and deafening sounds of handclaps while a group of Race girls stood to receive the applause – but that is just what happened.”

Black Ritual was performed only three times over the course of the season, and when the curtain closed on Ballet Theatre’s three-week run at Radio City, the Negro Unit was disbanded. Some say that the Unit lacked a singular artistic vision that would carry it forward. Others say it was to save money.

True, a ballet company in its infancy would always face financial struggles as it wobbled onto its feet, but the dancers in the Negro Unit were paid only a fraction of what their white corps de ballet counterparts were paid—a mere $10 to the latter’s $40. The only certainty of the Negro Unit’s disbandment, however, is that it has disappeared into the forgotten corners of the company’s history with a glaring truth: there was a limit to how progressive and inclusive the company was willing to be.

A confidential, unsigned letter at Ballet Theatre from October 1940 revealed evidence that there were plans to redo Black Ritual with an all-white cast. Although the correspondence petered out six months later with nothing coming to fruition, the messages passed back and forth showed no sign of concern about this casting switch. De Mille was adamant that the ballet should remain in the company’s repertory despite the injudicious changes that would dismantle the ballet’s core.

Along with the rest of the world, each and every one of us shoulder the responsibility of the past—the responsibility to not just recognize and verbalize our history, but the responsibility to do something with the knowledge we gain through self-examination. While learning this story, I sought honesty. I sought the mistakes Ballet Theatre made many years ago. My hope is that ABT will try to rebuild the oppressive structures of those that came before us into something new, something better.

I could never give these dancers and their story the level of justice they deserve. I learned how Ballet Theatre failed the talented, valuable dancers in the Negro Unit. From being left out of the performance’s program to being grossly underpaid, to disbarring the Negro Unit and not giving any of the dancers company contracts, Ballet Theatre failed. It should not have been that way. I can only give these women today, this moment in history, a space to be heard, to be seen, and to be celebrated, but there is more to be done. There is more space to be given, more voices to amplify, more reckoning to grapple with.

We must all remember that change is not finite. It is a journey, a process. Black History Month may only be a small portion of the year, but this is just the beginning.

The writer, Bethany Beacham, joined ABT as Marketing Coordinator in January 2020.

Christmas of 2008, when I was nine years old, my school in Madrid organized a competition for students to submit Christmas cards with original holiday-themed drawings on them. On a whim, I decided to give it a go. Being a Disney fanatic, I submitted a drawing of Tinker Bell donning a custom Santa outfit. The school loved my work and chose it as the winner.

With a newly discovered talent and a spark of motivation, I began drawing and doodling more often and even started entering other art competitions. However, upon deciding to become more serious about ballet as a career, my passion for drawing was put on the back-burner.

Fast forward to 2019: I am living in New York City, on my own, with a job as a corps de ballet member with American Ballet Theatre. During a visit with one of my old friends from Madrid, who was working as an apprentice with Pennsylvania Ballet, I met another PA Ballet dancer, Jack, who would soon become my boyfriend. During our first week getting to know each other, we decided it might be fun to use a spare canvas and create a painting together.

I showed him some of the drawings I had made, and he encouraged me to continue honing a skill I had almost forgotten I loved so much. I started working with different media and studying new techniques in an attempt to develop a personal style that I liked.

Fast forward another year and we find ourselves in a global pandemic with lots and LOTS of time on our hands. Now motivated by boredom, I decided to purchase a new iPad and iPencil to try my hand at creating drawings and illustrations virtually. Since ballet is my first passion, and I am lucky enough to have a job where I am surrounded by constant inspiration, I decided to start drawing my dancing peers. I even created a separate Instagram account to show all my art to friends, co-workers, and potential buyers.

My goal for the future is to continue to perfect a unique style that sets me apart and create works that everyone can enjoy. I am so grateful for all the positive feedback I have been getting, and I am excited to see where this new adventure takes me.

Posting on social media can feel kind of daunting sometimes, especially if it is something so personal. Sometimes this leads me to undervalue my work and experience lower self-esteem. Since deciding to be more open and to share with the world a new part of myself, my confidence has grown, and I have become a happier and more fulfilled person.

Javier has been a member of the corps de ballet since 2018.

In August, ABT Studio Company had the opportunity to create a virtual ballet with choreographer Amy Hall Garner, set to music composed by musicians from The Collective Conservatory. This virtual choreographic process was an eye-opening experience and something new to all of us.

During this unusual time, we are extremely fortunate to keep up our ballet training through Zoom technique classes, but it was vastly rewarding to be able to create a piece together again. Participating in a virtual piece is something we never could have imagined pre-pandemic, but we were so grateful for the opportunity.

Most of us in ABT Studio Company have previously worked with choreographer Amy Hall Garner. In the beginning of our 2019-2020 season, she created the ballet Escapades on us during our residency at Kaatsbaan Cultural Park, in upstate New York.

Amy is a very detail-oriented choreographer who always strives to make us better artists. Personally, working with Amy has been very beneficial because she pushes me out of my comfort zone. It was amazing to reunite with her.

In addition to working with an outstanding choreographer, we had the opportunity to collaborate with talented young musicians from The Collective Conservatory, who composed original music to complement our virtual ballet. This was my first time dancing to music that was commissioned specifically to accompany our choreography.

The final cut of music was unique and paired well with the movement. It was fascinating to hear the progression of drafts from first to final cut.

We began the virtual piece in August and created the choreography in a span of two weeks. We had rehearsal during the week Monday through Friday for three hours each day. Amy then split these three-hour blocks into rehearsals for small groups and individuals before reconvening us all back together again. This process was similar to how we normally rehearse.

The recording process was new to me, although since the beginning of the pandemic, I have gained more experience filming myself. Because I do not have a mirror in my makeshift home studio, filming has been crucial for me to be able to self-correct. For the filming process, we were given the option to record inside of a studio and/or outdoors. I recorded my sections both in my home studio and outside.

My mom helped me with the recording in my house. It was especially tricky finding ways to film in a smaller area. For the second part of my filming, I filmed outside.

I was on a road trip in Colorado with two of my best friends, so I had plenty of gorgeous spaces to film in. One of the places where I filmed was Garden of the Gods in Colorado Springs.

There were many people throughout the nature park, so it was challenging finding moments to film without others in the shot.

The experience of working on this virtual ballet was one of the silver linings to an uncertain time.

Aleisha Walker joined ABT Studio Company in 2019.

ABT Studio Company formed a ballet bubble in East Haddam, Connecticut to rehearse existing repertoire and create new works to be filmed at Kaatsbaan Cultural Park in Tivoli, New York. Highlights from ABT Studio Company’s ballet bubble can be seen in ABT Today: The Future Starts Now on YouTube. Stay tuned for a full virtual program of filmed performances from the ABT Studio Company ballet bubble in 2021!

SideBarre asked ABT Studio Company member Teresa D’Ortone to tell us about her bubble experience.

Remember the feeling the first time you were away from home, leaving your loved ones and all that was familiar? Then finally returning home, and feeling as if you had never left? This was exactly how it felt when ABT Studio Company finally had the opportunity to reunite at Goodspeed Musicals in East Haddam, Connecticut this September.

The chance to spend seven weeks together was something none of us could have imagined possible a few months back. Arriving at the residency was the beginning of something new. We were so grateful for the opportunity to dance together once again.

Spending the remainder of our spring season at home, though tough at times, helped push a different kind of motivation to the surface.

I soon realized just how much of a privilege it is to dance in a studio every day. Preparing to get back into the studio was a challenge most dancers in our group were quick to accept. We worked virtually with choreographers and learned from all sorts of influential artists. Although we were in different places and different countries, each with our own challenges, our time in virtual class felt like home.

Upon arriving in East Haddam, we followed a strict protocol and quarantined for two weeks. We continued virtual classes, including technique, strength, and Pilates, all from our individual bedrooms. We had no contact with anyone outside of our Studio Company “bubble.”

The hardest part of the quarantine process was knowing that we were so close to our group, all in the same place and doing the same things, but unable to do those things together.

Those two weeks went by very quickly, and we were so fortunate to begin classes and rehearsals in the studio as a group once again. The very first step in the studio was an absolute relief! After imagining what that first day back would look like for so long, it is hard now to put those feelings into words.

It felt surreal to finally be back working with everyone in the same room, doing what we love.

The adjustment from dancing in our bedrooms to the studio came naturally for all of us. Of course, we were all a bit nervous the first few days, but we were quick to ease into our daily routine.

We had a variety of repertoire from last season that we were happy to begin working on again, as well as some new works we have yet to perform. The repertoire is a mix between classical and neo-classical/contemporary – taking on such diverse movement is one of the things I missed most while away.

We are putting together all of these pieces to film over the next two weeks while at Kaatsbaan Cultural Park in upstate New York. More than anything, I am excited for the opportunity to get back in a theater and perform, even without a live audience.

One of our pieces, choreographed by Lauren Lovette, was completed on the very last day before we were all sent home for COVID-19 lockdown in March. Working on this ballet now is particularly special and represents all the hard work that went into the last couple of months. Seeing everyone with newfound levels of motivation and energy has been well worth the wait, and I am trying to take in as much of this experience as possible. I know that looking to the future of ABT will continue to motivate us all!

Teresa D’Ortone joined ABT Studio Company in Fall of 2018.

In February 2020, Richard Toda, Artistic Manager of Engagement at American Ballet Theatre, emailed asking if I could teach the Afro Caribbean classes for ABT RISE Weekend Workshop. Overjoyed and completely stoked about teaching for a prestigious organization, I accepted the invitation. As I prepared my lesson, I knew exactly what I wanted to teach the young second and third grade students who would be participating in the ABT RISE weekend.

Fast forward ahead through a time where our world has been completely flipped upside down by COVID-19, police brutality, BLM protest, California wildfires, closing the city, re-opening the city, #endsars, war in the Congo – and the most chaotic presidential election cycle in recent U.S. history to top it all off – I’m delighted to say that I recently taught my third workshop for the ABT RISE program on October 24 and 25. It was a breath of fresh air and the silver lining in the midst of global pandemonium.

It is truly an honor to be a Teaching Artist with ABT RISE. I love the mission of the program, which is to provide students from traditionally underrepresented populations access to ballet and all forms of dance.

It is so pivotal to the development of the whole child. By participating in programs such as this, it enables students to better understand themselves and the world in which they live. It also allows room for children to be expressive and communicate their own ideas while being creative, learning new things, meeting new friends, and having fun.

While ballet is the central point, ABT RISE also offers classes in other forms of dance, including jazz, modern, hip hop, and Afro Caribbean. In my Afro Caribbean dance class, I give students the freedom to make their own choices, and I encourage them to reach beyond what naturally comes easy to them. I motivate them to take risks by stepping outside of what’s comfortable or familiar, to test their own boundaries, and to use their imagination.

ABT RISE students have learned dances from Haiti, Cuba, and Dominican Republic, as well as free movement styles found throughout the Caribbean Islands. I teach students the history of the folklore and to recognize the contribution of these cultures to the fabric of our society. This increases their understanding and appreciation of the diversity and value of all people.

Dance, as we already know, is amazingly beneficial for children. It builds a sense of community, and brings joy and happiness to participants.

In the midst of a pandemic where social distancing and masks are mandatory to save lives, we are all on edge and feeling the negative emotional impacts of isolation and being apart from one another. Now more than ever, dance class seems even more magical.

While children may not be able to dance in the physical dance studio and be physically close to their friends and teachers right now, the beauty of technology has allowed the ABT RISE program to continue to bring dance to the lives of children and to enable them to feel connected once again.

As I observed the children expressing themselves through movement during the workshop, I couldn’t help but notice that their smiles had become contagious. The presence of community was there and it felt so organic.

Watching everyone dancing together on the screen in their little boxes restored a new sense of togetherness, no matter how far apart we were. The magic was back in the same way it was before social distancing became our new normal.

Allowing children to unmute themselves so their voices can be heard was an added bonus and a special treat for me, as one student gleefully shared how she loves dancing and that my class was the “best ever” out of the entire weekend. This made my heart smile!

Iris Wilson was an original featured cast member of the three-time Tony Award®-winning Broadway musical Fela! and toured with the show nationally and internationally. She is currently a dance educator at P.S. 9 and a Teaching Artist for ABT RISE.

As I write this, 48 hours ago we brought our virtual RISE weekend to a close. While the glow of the weekend remains, let me share about the program, my role, and some of the wonderful educators who shared their expertise.

The ABT Engagement team welcomed second and third grade New York City public school students to participate in a free series of dance classes and activities over the weekend of October 24-25 via Zoom. As Artistic Manager of ABT Engagement, my role is to design and host the program and bring together a faculty to inspire our NYC kids.

Everyone has different learning styles. I’m a visual learner, so in designing our RISE Programs, I visualize the flow of the weekend and how that will support our student outcomes.

The ABT RISE Weekend Workshop is an intensive two days offering almost three hours of dance instruction each day. Rest times are woven into the schedule, with snack time where we show dance video clips and breaks between class offerings. Our days start and end with community building sessions.

During the morning session, expectations are shared, including how to meet our teachers, more complex ideas of what success looks like today, and reminders such as, “Those steps I know, those steps can grow.”

The morning session is an important icebreaker to set everyone up to be ready and successful, especially over Zoom. It has also been important to offer students a variety of entry points to further their interest in dance.

ABT RISE Weekend schedules include a daily ballet class, followed by a pairing of either Afro Caribbean and Modern classes, or Contemporary and Hip-Hop classes for our second and third hours of the day.

We enlisted ballet faculty from our own Jacqueline Kennedy Onassis School Children’s Division, Breana Reed and Alexis Andrews, along with ABT Teaching Artists Mariana Ranz, Carrie Demos, and Kelby Brown, to provide consistency with ABT’s National Training Curriculum. Students also experienced Hip-Hop guest teachers Shaahida Samuels and William Rhem and Contemporary classes with Justin Dominic.

As a former student in Newark Arts High School years ago, Justin Dominic had participated in ABT’s Make a Ballet program. He then danced professionally with Carolyn Dorfman Dance, among other artists and companies. What a joy it was to watch Justin lead and demonstrate Contemporary movement vocabulary with such rich detail for ABT RISE students.

Another admired dance educator who has taught at our previous ABT RISE workshops is Iris Wilson. Iris danced in the Broadway company of Fela! and is now a New York City public school dance teacher. She will share her perspective on the virtual RISE Weekend here on SideBarre later this week.

Part of our network is Harlem School of the Arts (HSA), an ABT-certified school. HSA’s Chief Officer of Education and Creative Programs, Aubrey Lynch, and Dance Chair, Leyland Simmons, lead a conservatory dance program for HSA students on Saint Nicholas Avenue and 145^th Street. Leyland taught ballet class to our oldest RISE workshop students on Saturday, and Aubrey and Leyland together introduced students to the possibilities for next steps in their dance education at HSA on Sunday.

Our NYC youth are resilient, and like all dancers, they search out and find community. We’ve now had students who joined us in person at our 890 Broadway studios for our first RISE Workshop, attended our RISE Camp in August, and returned this fall for the RISE Weekend.

I’m so glad these students have found ABT RISE to be a source of community and fun learning experiences that deepened their love of dance. A few of the comments shared during our final reflections show their progress and passion: “I listened,” “I focused better today,” “I had so much fun,” and “I had a great time at all the classes.”

Richard Toda leads educational programs throughout New York City as Artistic Manager, ABT Engagement.

The incredible pod group made the experience so special! Of course, all of us dancers knew each other before the project, but living together for five weeks bonded us all in so many ways. Carlos Lopez, the Director of Repertoire, taught classes for us, organized events for us, rehearsed us, took care of all of our safety protocols, and motivated us every day!

It was inspiring to watch ballets together and have open conversations about our artistic aspirations in a setting outside of the studio. Our choreographer, Darrell Grand Moultrie, also stayed in the same house and got to know each one of us! I think the living situation added a human aspect to the piece. Darrell became acquainted with our personalities and urged us to remain true to ourselves in our dancing.

What was it like working with Darrell Grand Moultrie for the first time?

Working with Darrell was incredible! From the get-go, he had a great eye and was able to assess each dancer’s strengths and weaknesses. He was passionate about not only creating an awesome piece, but also ensuring that the process was transformative and impactful. What I learned during these weeks helped me grow as an artist and will stick with me for the rest of my career!

Darrell chose Duke Ellington music for his new work, which will premiere at ABT’s virtual gala on November 23. How was it dancing to jazz music rather than classical piano or orchestra?

I loved dancing to Duke Ellington! It felt great to dance to familiar music while still maintaining a classical base. In this case, the music really dictated the movement. The piece came together seamlessly because the choreography fit the phrasing of the music so well.

Any other reflections from lockdown or the bubble?

I found that working in this bubble after months of not performing with ABT was extremely fulfilling and inspiring. I cannot wait to see the final result at ABT’s virtual gala on November 23!

Anabel Katsnelson is a member of the corps de ballet. She joined ABT in 2016. Follow her on Instagram @anabel_katsnelson.

In my many years with ABT, I have been blessed to have many mentors – people who not only believed in me, but quietly guided me towards my 40+ years as a member of ABT’s Artistic Staff.

As a dancer, choreographer Agnes DeMille chose me to dance The Cowgirl in Rodeo, against director Lucia Chase’s preference for a soloist dancer. Of course, Agnes won that “battle.” Her belief in me brought out my inner voice as an artist while teaching me stagecraft: timing, the importance of stillness, and honesty in one’s intent.

Twyla Tharp was next. I was still in the cast of Push Comes to Shove when she chose me to maintain the ballet. ABT’s management picked up on that, and within a year I became an assistant ballet master. The path was clear.

Misha Baryshnikov made it clearer when he became Artistic Director of ABT. His guidance became my mantra during tough times: “It comes with the job.” His assistant, Charles France, mentored in a different way. He taught me to stand up passionately for my point of view and beliefs.

And last, but certainly not least, Natasha Makarova’s trust in me has helped me to raise the bar and keep it aloft. I’ve learned so much from her – about technique, artistry and the marriage between the two.

All of these remarkable people have left their mark on me and how I work. They established the standards that I adhere to, and they are with me when I enter the studio. Lessons of a lifetime.

Susan Jones serves as Regisseur at ABT. January 2021 will mark 50 years since she joined ABT.

We are two mature men who still write with pens and pencils, type with two fingers, and go into a panic when dealing with computers and the internet. So, for us, it was a scary thought to teach the ABT National Training Curriculum (NTC) Teacher Training Intensives via Zoom.

But the NTC Team, Molly Schnyder, Sonia Jones and Sayako Harada made it happen. It has been an adventure and we are all gaining confidence with every learning curve that comes our way. The NTC Team, from the ABT Education and Training Department, has proven that the “ABT Miracle” does not only apply to performances on stage but also to the work done behind the scenes by the entire organization.

Our first experiment teaching the NTC via Zoom were courses reserved for ABT Company cancers. It went surprisingly well. And what a joy to work with the dancers and with ABT’s Regisseur, Susan Jones. Every time there was a cyber challenge, it was fixed with a great spirit of collaboration from the NTC team and the dancers, just like the ABT family always does.

Speaking of the ABT family, it touched us deeply that so many of our ABT Jacqueline Kennedy Onassis School graduates now dancing with the main Company took the course.

It is impossible to describe the happiness we felt seeing their faces and how hard they worked.

We must say that all the ABT dancers’ commitment to learn the NTC was uplifting, especially now with COVID-19. An added plus has been that we were able to visit them all at their homes – virtually of course!

After seeing that the courses were successful for the dancers, the ABT NTC Teacher Training Intensives are being offered to all teachers wishing to participate.

It is mind boggling that we have teachers attending the courses from the entire world, with those in Australia and Asia getting up in the middle of the night to follow the lectures.

We are truly blessed, and we are humbled and honored to be given the opportunity to work with teachers from around the world in this new way online. Still, we look forward to the day we can all meet again at ABT’s historic New York City studios at 890 Broadway.

Franco De Vita and Raymond Lukens designed and codified the ABT National Training Curriculum, which was introduced in 2007. They are now ABT National Training Curriculum Associates Emeriti.