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      Mikhail Baryshnikov on Leaving Everything Behind

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      Fifty years ago, Baryshnikov defected from the Soviet Union. He discusses that day, the war in Ukraine and the challenges facing Russian artists today.On the night of June 29, 1974, after a performance with a touring Bolshoi Ballet troupe in downtown Toronto, Mikhail Baryshnikov made his way out a stage door, past a throng of fans and began to run.Baryshnikov, then 26 and already one of ballet’s brightest stars, had made the momentous decision to defect from the Soviet Union and build a career in the West. On that rainy night, he had to evade K.G.B. agents — and audience members seeking autographs — as he rushed to meet a group of Canadian and American friends waiting in a car a few blocks away.“That car took me to the free world,” Baryshnikov, 76, recalled in a recent interview. “It was the start of a new life.”His cloak-and-dagger escape helped to make him a cultural celebrity. “Soviet Dancer in Canada Defects on Bolshoi Tour,” The New York Times declared on its front page.But the focus on his decision to leave the Soviet Union has sometimes made Baryshnikov uneasy. He said he does not like how the term “defector” sounds in English, conjuring an image of a traitor who has committed high treason.“I’m not a defector — I’m a selector,” he said. “That was my choice. I selected this life.”Baryshnikov was born in the Soviet city of Riga, now part of Latvia, and moved to Leningrad, now St. Petersburg, in 1964, when he was 16, to study with the renowned teacher Alexander Pushkin. When he was 19, he joined the Kirov Ballet, now known as the Mariinsky, and quickly became a star on the Russian ballet scene.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At the Royal Ballet, Taking the Measure of Ashton’s Genius

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      Many remarkable performances fueled the Royal’s mini-festival of ballets by Frederick Ashton, the company’s founding choreographer.Dance, people like to say, is a universal language. But ballet isn’t. Rather, it’s a language with many sharply contrasting dialects. Tradition, training and temperament all shape distinctive styles, and the English style of classical dance, embodied by the Royal Ballet, was largely shaped by Frederick Ashton (1904-1988), the company’s founding choreographer.Ashton’s work is still regularly performed at the Royal Ballet and vital to its identity. British critics may grumble both about which ballets are performed and about a loss of nuance in their execution. But it would be hard to grouse much during the past two weeks of Ashton Celebrated, a mini-festival of work, running through Saturday at the Royal Opera House, which put the choreographer’s genius — and the English classical dance style — on abundant display in often remarkable performances. (Ashton Celebrated also included performances by the Sarasota Ballet of small-scale Ashton rarities at the smaller Linbury Theater.)Like his contemporary George Balanchine, who shaped a very different aesthetic at New York City Ballet, Ashton developed his Neo-Classicism from the 19th-century heritage of Marius Petipa and Lev Ivanov, the choreographers of “Swan Lake,” among other things. But unlike Balanchine’s pared-back, direct physicality, Ashton cultivated a pliant lyricism paired with intricate footwork and a complex use of épaulement — the contrasting angles of the head, shoulders and hips. Well-mannered and witty, the best of his ballets are also full of emotional subtlety and vitality.Monica Mason, a former director of the Royal Ballet, said one of the principal challenges of performing Ashton now is capturing the flavor of the work. “Fred wanted expression through your whole movement, how you offer your hand, how he puts his arm around your waist,” she said. “The tiny, subtle things are the challenge.”Those nuances were wonderfully evident in “Les Rendezvous,” Ashton’s first substantial classical piece, created in 1933 and back after a 19-year absence from the Royal’s repertory.Set to irresistibly melodic music from Auber’s opera “L’Enfant Prodigue,” the ballet, which opened the first program, evokes a bygone world of long-elbowed gloves, cream teas and chivalrous escorts. It’s a rush of heady delight, full of unobtrusive virtuosity and filigree nuance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      With the Help of Whales, a Choreographer Falls Into an Abyss

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      Whales, Black bodies, the ocean, climate change, protest movements — over the past few years, they have all made their way into work by Mayfield Brooks, a choreographer, dancer and vocalist.The latest setting for Brooks’s ever-evolving dance project is a majestic one: the Tall Ship Wavertree, the last iron-hulled, three-masted cargo ship in the world. Built in 1885 and docked at Pier 16, the Wavertree extends about the length of a football field.This week, as part of the River to River Festival, Brooks (who uses they/them pronouns) finishes their whale journey with two works: “Whale Fall Abyss,” a dance performance on the ship, which is part of the South Street Seaport Museum; and “Whale Fall Reckoning,” a companion installation at a gallery — a former munitions room storage space — on Governors Island.In “Abyss,” Brooks, wearing white, performs a compass dance — named for its circular choreography — on one end of the ship while Camilo Restrepo, in a long, swirling mint skirt that trails to the deck, is poised on a high platform, his torso undulating in what Brooks calls a spine dance. Under an American flag rippling in the breeze, Restrepo looks a little like the Statue of Liberty. Eventually Brooks, now in the same skirt, makes their way to him and they conjoin for an extended spine duet. Slowly they mesh into each other, one cradling the other in grief. It’s like their bodies are melting.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Overlooked No More: Lorenza Böttner, Transgender Artist Who Found Beauty in Disability

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      Böttner, whose specialty was self-portraiture, celebrated her armless body in paintings she created with her mouth and feet while dancing in public.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.It was the weekend of the gay pride parade in New York City in 1984 when Denise Katz heard her doorbell ring. Surprised, she opened her door and was greeted by Lorenza Böttner, a transgender artist, who was wearing a wedding gown that she had customized to fit her armless body.“I’m here for the party!” Böttner said in her hybrid German-Chilean accent. Though Böttner had buzzed the wrong apartment, Katz invited her in anyway. “From that moment on, we didn’t part,” she said.That Katz worked in an art supply store and Böttner was a prolific artist was pure coincidence.Böttner in 1983. After she lost her arms in a childhood accident, her mother encouraged her to create art with her mouth and her feet.via Leslie-Lohman Museum of ArtThroughout her lifetime, Böttner created a multidisciplinary body of work with her feet and mouth that included painting, drawing, photography, dance and performance art. She made hundreds of paintings in Europe and America, dancing in public across large canvases while creating impressionistic brushstrokes with her footprints. In New York, she performed in front of St. Mark’s Church in-the-Bowery, and Katz, who would become her roommate, provided her with large pieces of paper and other supplies.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In Paris, Using Dance to Uncover Hidden History

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      Benjamin Millepied, an organizer of La Ville Dansée — a daylong event in Paris and its environs — wants “to tell the invisible stories of the city.”Benjamin Millepied thinks big.La Ville Dansée, a free festival of outdoor dance on Saturday, is the first large-scale initiative from Millepied’s Paris Dance Project. Starting at 11 in the morning and ending after midnight, it involves 12 choreographers and seven commissions; 10 neighborhoods in Paris and its outlying suburbs; podcasts, screenings and live streams. The Paris Dance Project, which Millepied formed last year with Solenne du Haÿs Mascré, is not a dance company, but an organization that creates educational programs and accessible performances. La Ville Dansée (“the dancing city”), part of the Cultural Olympiad — a program of arts events around the Olympics — is its biggest splash yet, intended to show Paris and its environs not just as gorgeous settings for performance, but as places with hidden or forgotten histories.Millepied returned to live in Paris last year after a decade spent mostly in Los Angeles. His last Parisian sojourn, 2014-2016, included a brief, contentious, term as the director of the Paris Opera Ballet, which he said provided some seeds for the idea of La Ville Dansée.“I was running the best-funded institution in France, but only a fraction of society felt invited,” Millepied said in an interview in Paris in May. “It made me think about how much segregation there is, how people can have a very different experience in the same place. I decided we would commission works to tell the invisible stories of the city to gather people together who would never go to the theater, to build empathy and community.”Millepied and du Haÿs Mascré gathered a small core team that included, unusually, a political theorist, Françoise Vergès, and a sociologist, Fabien Truong, as well as the dramaturg Christian Longchamp. Over months of weekly meetings, they discussed and identified sites for dance — some famous, like the Eiffel Tower and the Jardin du Luxembourg; others little known, like an abandoned supermarket in the town of Grigny and Saint-Bernard de la Chapelle, a church that was the site of a notable police raid on migrants in 1996.Millepied researched and chose the diverse group of choreographers. Then came the logistics of raising money, getting permissions and coordinating technical teams across the city.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Mira Nadon, a Once-in-a-Generation Dancer at City Ballet

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      Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.Mira Nadon was 5 when she took her first ballet class. It was pre-ballet, which meant running around the studio, maybe getting a shot at fluttering like a butterfly. This was not for her.When she found out that students began proper training at 6, Nadon laid it on the line: “I told my mom, ‘This isn’t serious,’” she said. “‘I’m just going to wait till I’m 6.’”Even then Nadon was levelheaded and unflappable. Now, at just 23, she is a principal dancer with New York City Ballet, approaching the close of a momentous season at Lincoln Center, where her versatility, artistry and jaw-dropping abandon have made her seem like a ballerina superhero. This week, she returns to the role of Helena, the rejected young woman determined to win her lover back in George Balanchine’s “A Midsummer Night’s Dream.” An affinity for drama is in her bones, but something else makes Nadon a rarity: humor.Nadon, the first Asian American female principal dancer at City Ballet, is a special, once-in-a-generation kind of dancer. Nadon can flip among many sides of herself — secretive, seductive, funny, serene. And she lives on the edge, with rapid shifts from romantic elegance to ferocious force. A principal since 2023, Nadon still has raw moments, but so much is starting to click: Her feet are more precise, her partnering more secure.Nadon in Pam Tanowitz’s “Gustave Le Gray No. 1.” “She doesn’t dance at you, she draws the audience in, and that’s her power,” Tanowitz said. “It’s almost like she’s letting us in on this intimate part of herself.”Erin Baiano“To watch her grow — and it’s not been very long — has been tremendous,” Wendy Whelan, the company’s associate artistic director, said. “It’s fast and big and just blossoming.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At DanceAfrica, the Enduring Power of Love

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      A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.Not every love story has a third character, but in the case of N’Goma and Normadien Woolbright, there was one, and he was a force of nature: Chuck Davis, who brought African dance traditions to the United States and founded the DanceAfrica festival. It was his idea that the couple — his friends and colleagues — would marry on the stage of the Brooklyn Academy of Music at the annual festival in 1983.“Life is love,” Davis says in a video shot at the wedding, crossing his arms across his chest before reaching them broadly to either side. “Love is all.”The wedding was a lavish occasion, but it was more than a theatrical staging of a ritual. DanceAfrica, the vibrant festival now in its 47th year, is as much about building and honoring a community as it is about showcasing artistic forms. Personal moments like the Woolbrights’ marriage ceremony are part of its texture.Davis brought the couple — N’Goma, 80, is a drummer and Normadien, 71, a dancer — together by bringing them into his world. They have been involved with the festival since its inaugural presentation, first as performers and now as fixtures behind the scenes. At DanceAfrica, N’Goma is a stage manager; Normadien is assistant stage manager.N’Goma first met Davis while working for the New York Transit Authority. Davis’s musical director worked there too, N’Goma said, and he “wanted me to come down to a dance class with him because I told him I played the drums. I went down to play and Chuck said, ‘Welcome aboard.’”A DanceAfrica wedding: In 1983, N’Goma, middle, and Normadien, right, got married onstage at the Brooklyn Academy of Music.BAM Hamm ArchivesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Master of ‘Subtle Dazzle’ and a Quiet Force in Downtown Dance

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      Carol Mullins, who has been lighting boundary-pushing shows at Danspace Project since the 1970s, will be honored at its 50th anniversary.Carol Mullins knows the secrets of St. Mark’s Church in-the-Bowery. She knows that it’s strangely colder by the crypt of Peter Stuyvesant, who had the first chapel built on the site, now in the East Village, in 1660. She knows which architectural features predate the fire that destroyed much of the late-18th-century building in 1978. She knows the location of the hidden trapdoor that leads to the rafters of the arch above the nave.“It’s a wonderland of wood,” she said recently. “It looks like an upturned boat in there.”Mullins, 85, knows all this because just before that fire, she started designing lighting for Danspace Project, which has been presenting performances in the church since 1974. In 1982, she became the resident lighting designer, a position she still holds.At Danspace’s 50th anniversary gala on Tuesday, Mullins will be among the honorees. It’s an acknowledgment of one of the under-sung troopers essential to dance in New York, especially the underfunded, boundary-pushing “downtown” kind that Danspace has fostered.When people ask her why she has stayed there so long, she replies that she’s still learning, “and there’s a new set of problems every couple weeks.”After so many years, St. Mark’s Church is a palimpsest of memories for Mullins. An early one involves the choreographer Ishmael Houston-Jones, whose work “Relatives” Mullins lit in 1982. For the end of the dance, during which Houston-Jones jumped as the lights faded, he told her to keep the lights up “as long as you like it.”“I thought it looked fabulous,” Mullins recalled. “So he’s dying out there, jumping and jumping. Since then, he occasionally jokes about my sense of timing.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More