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Features the fascinating performances of professional dancers on stage in New York City. Realization of the dance choreography on stage; Concept of the dance "Dances at a Gathering," staged by Susan Hendl; Improvements of the performance of the dancers.

The author reflects on the processes she has engaged in her choreography, and the relationships between and discrepancies among them. She relates that changing her country of residence from Israel to the U.S. has had a huge influence on her understanding of herself, her culture and her perception of identity. She mentions that Tisch School of the Arts at New York University and Movement Research are among the institutions that have greatly influenced her development as a dancer and choreographer.

The article presents information on a choreography workshop at the Ballet Academy East in Manhattan, New York. The workshop offers the school's advanced dancers the chance to choreograph. The methods used by Francis Patrelle, choreographer in residence and artistic director of choreographic development at Ballet Academy, in training the students are discussed. The young choreographers must choose their dancers and come up with a rehearsal schedule to prepare for a dance performance.

The article discusses the approach by several dance studios with regards to choreography. Joe Lanteri, executive director of New York City Dance Alliance, says he sees a greater emphasis on inventive concepts and criss-crossing genres. Great choreography can be made from the simplest steps and vocabulary, says Lanteri. Danelle DalBesio Schultz, owner of Dance Arts Center in Milwaukee, Wisconsin, has choreographed successful routines that fuse jazz and lyrical. INSET: Bold and Barefoot.

Discusses the revival of George Balanchine's "Liebeslider Walzer" by the New York City Ballet and the reactions to the issue of change and the future of the City Ballet as an institution. "Allegro Brillante"; "Jewels"; Revival of "Bugaku"; Achievements of Balanchine; Music accompanying the dance; Notable performances.

This article states that the June 1985 issue of The Drama Review focuses on the creative process of younger dancer or choreographers performing in New York. Most of the papers were written by the choreographers themselves. They were asked to document their creative process, to explain the choices they make and why they make them, to give examples of their procedure in developing pieces. While the performances themselves are documented in this process of explanation, this issue can be considered a practical issue, one that contains specific how-to-do-it information about the creation of theatre. Since the journal is concerned with the entire range of performance and has promoted cross-disciplinary thought, readers who specialize in drama and other non-dance forms will also be able to apply the ideas they find here to their own work.

Profiles dance choreographer Paul Taylor in New York City in 1988. Description of Taylor's choreographic style; Dance credits; Predilections.

Talks about the revival of the play `Chicago,' choreographed by Bob Fosse with main star Ann Reinking at Broadway in New York City, New York. Description of Fosse's choreography; Foolproof showstopper; Other stars of the dance; Plot of the production.

The article focuses on the strategies for creating award-winning competition choreography by dance professional Kelly Burke for her dance studio Westchester Dance Academy in Mt. Kisco, New York. It states that Burke focuses on paying attention to the trends in the competition circuit while staying ahead with her creative ideals. It mentions the importance of choosing the right piece of music, emphasizing her students' strengths, and accepting feedback to create a work that showcases the dancers.

The article discusses the highlights of the Fall for Dance Festival held in New York in September 2007. The festival presented several dance companies and featured a vast array of choreography and dance styles. Foreign and U.S. dance companies were presented including Kirov Ballet, American Ballet Theater, Lyon Opera Ballet and the Juilliard School. Performers included Ekaterina Kondaurova, Shantala Shivalingappa and Michael Trusnovec.

The article profiles Jon Lehrer, who is a former Giordano Jazz Dance Chicago (GJDC) dancer and teacher. Lehrer has taken his first dance class at age 19 while studying at University at Buffalo in New York. Lehrer has won a scholarship to the summer program at Jacob's Pillow in 1994, where he began experimenting with choreography. Lehrer has joined the GJDC in 1997 after he received a phone call from its artistic director Nan Giordano, and has become rehearsal director in 2000.

The article presents information on a dance performance by Francisco Ballet dance company in New York. The opening night was a generous two and one half hours with fourteen short dance pieces. It was a fine entertainment and an occasion to see bits of choreography from artistic director Helgi Tomasson.

Presents information on the New York International Ballet Competition held at Alice Tully Hall at Lincoln Center in New York from June 22 to June 26, 2005. Requirements to dancers prior to the competition; Choreography prepared for the contestants; Awards received by dancer Christine Rocas of the Philippines; Winner of the gold medal in the men's category; Performance by dancer Isabella Boylston and Joseph Gatti of the U.S.

Focuses on two dance productions "Ylimimangaliso the Mysteries" and "Ibali Lootsotsi the Beggar's Opera," separately performed by Dimpho Di Kopane at Synod House of the Cathedral of Saint John in Divine in New York in November 2004. Conceptualization of the good and the evil as portrayed in "The Mysteries"; Characteristics of the productions' dance costume and choreography; Information on "The Beggar's Opera."

Focuses on the dance productions "The Art of Improvisation" and "Paradise Review," both choreographed by Merián Soto and performed by the Merián Soto Dance and Performance at the Dance Theater Workshop in New York in October 2004. Concept of the productions' stage setting and design; Characteristics of Soto's choreography; Description of the dancers' costumes.

Deals with the influences on the dancing styles of Jacqulyn Buglisi and Donlin Foreman in New York. Remarks from Buglisi on her choreography; Development of the Buglisi/Foreman Dance company; Features of the dance "Blue Cathedral."

For the first time in many seasons New York seems to have become genuinely excited about a ballet troupe or at least by a troupe whose dancing resembles ballet more closely than it does anything else. The Jooss Ballet, which comes to from Germany, is entering its fourth week at the Forrest Theater. Judging from this fact and from the popular type of advertisement that it has been running in the journals, it is making an appeal, which, as some of the critics have put it, is not confined, to connoisseurs of dancing. It is all very strange and unexpected for New York, which has hitherto limited its interest in choreography to the musical-comedy stage.

Relates the author's experiences as a choreographer in New York. Role of the author in facilitating "Survey of Styles"; Challenge encountered with choreography; Process by which truncated initiations was done in "Artbusiness."

Describes the author's choreography for "Adrift" in New York. Working elements shared by pedestrians in "Adrift"; Introduction of the performers to the audience's view; Importance of Clifford Arnell in framing the performance.

Features the ballet performance "Abdallah," by the Ballet West in New York City. Plot; Description of stage design; Evaluation of choreography.

The article provides tips on teaching choreography to children. According to Diane Jacobowitz of Dancewave in New York City, choreography is a way for students to find out who they are through exploratory exercises and challenges. Choreography frees them express their feelings and delight in the knowledge that they have created something important and meaningful.

Presents the schedule of several dance recitals in New York City, from October 11-23, 2005. "Raise the Red Lantern" ballet adaptation choreography by Wang Xinpeng and Wang Yuanyuan; "On a Train Heading South," to be performed by the veteran modern-dance company ODC/San Francisco; "Landing/Place," by Bebe Miller Company.

The article comments on the various musical events in New York City. It reflects on the choreography of the play "Romeo and Juliet". It argues on the different dances presented in the "Symphonic Variations". It offers information on the Philharmonic concert in Philharmonic Hall.

The article provides information on various musical events held in New York. It cites the quality of performance showed by Istvan Kertesz, conductor of the London Symphony Orchestra, at the Carnegie Hall. Most of the audience who attended the recital of Mezzo-soprano singer Marilyn Horne showed admiration to her singing. One of the amusing parts in the "Midsummer Night's Dream" evening ballet performance is the gentleness of its choreography.

The article offers information on the dance company, Netherlands Dance Theater. The director and choreographer of the company is Jiri Kylian. The troupe offered six Kylian works at the Metropolitan Opera House in New York City in June 1981. As mentioned, Kylian's work is often frankly emotional and the choreography is a harmonious combination of motion and music. Each member of the Netherlands troupe has at least one solo performance in the repertoire.

The article discusses the highlights of the dance on camera festival workshop and film screening, hosted by the Beacon High School in New York City on January 26, 2011. The documentary films "Destino" and "Confinement," both directed by Caswell Coggins were presented at the workshop. The participating students learned about creating choreography and capturing this process on film. Coggins also spoke about his filmmaking career.

Interviews Phyllis Lamhut, a freelance choreographer and choreography and improvisation teacher at the New York University Tisch School of the Arts, regarding his career and training methods. Description of his dance classes with choreographer Alwin Nikolais; Way of teaching composition; Influence of Nikolais' philosophy of the creative development on his teaching.

Focuses on the dance production "Amaramalia Abandono," choreographed by Vasco Wellenkamp and performed in honor of vocalist Amalia Rodrigues by the Companhia Portuguesa de Bailado Contemporaneo at the Joyce Theatre in New York in October 2004. Conceptualization of Rodrigues' music and poetry as expressed in the dance; Characteristics of the production's choreography; Performance of the dancers.

Several photographs are presented that show different dance performances on several wedding ceremonies in New York including an Irish dance, a dance version of singer Michael Jackson's hit song "Thriller," and a jazz dance with Monica's "Love All Over Me."

Focuses on the dance choreography of the musical 'Bat Boy The Musical' in New York, New York. Dance interpretation convincing doctor Parker to spare the life of Bat Boy; Humor in dancing on some part of the show; Dancing background of the lead actor of the show Deven May.

Discusses the memorable works of Jerome Robbins in the theater. Robbins as a ballet dancer from New York; How the premiere of Fancy Free made Robbins a star overnight who received 25 curtain calls; Why Robbins's name is often linked with his contemporary American composer Leonard Bernstein; The birth of Jerome Rabinowitz as the director of West Side Story; Robbins's appearance in the ballet theater.

This article describes the dances choreographed by Mark Morris for the Brooklyn Academy of Music's Next Wave Festival in New York. For the Morris dance concert, the depth of space is accentuated by placing the seating on risers at one end and light strands in rows along each side wall. The program's first composition, Gloria, is organized into a prolog and eight sections. It is choreographed for 10 dancers. After a few moments of darkness, two figures appear in shafts of fuchsia-tinted light, isolated in an area with indeterminate boundaries. The man, Keith Sabado, is on his stomach. His head is lifted so that he looks straight ahead. His elbows are pointed up toward the ceiling and held in close to his body. In this position, he inches himself forward reptile-like, with his palms. The woman, Penny Hutchinson, her right hand over the left side of her abdomen and her feet spread awkwardly, jerks forward, as though it is her first attempt to walk, or to walk on two feet. The man rises to his feet, and as lights go out, suddenly twists and falls as though he has been cut down. There is a long silence in complete darkness, which sets off the prolog from the eight sections of the dance.

Relates views that the New York City ballet season has slipped into somnolence. Insights on whether classical ballet survive the contradictions of stasis and stale imitation; Staging of the season; Brief profiles of New York dance companies.

The article presents information on ballet programs being conducted in various part of New York City as of December 1983. "Love Songs," is presented by the Joffrey Ballet. It is a suite of solos and duets that focus on women and women's anger. The ballet is choreographed by William Forsythe and involves three female solos and a single male solo among others. The article also gives a brief history of Forsythe. Carolyn Carlson debuted at the Brooklyn Academy of Music dancing a piece called "Underwood," which is constructed out of two incompatible systems of movement.

The article comments on the revival of "The Four Temperaments" at the New York City Ballet. "The Four Temperaments" was created in 1946 and marks one of choreographer George Balanchine's several beginnings. The New York City Ballet revival was performed by Bart Cook, Merrill Ashley, Jean-Pierre Bonnefous and Colleen Neary.

The article presents a perspective on choreographer Jerome Robbins' uses of Johann Sebastian Bach's music "Aria," and "Goldberg Variations," on his ballet choreography for New York City Ballet in New York City, New York. Robbins has described the "Goldberg Variations," as a little like the "Hamlet."

The article profiles the ballet instructor George Balanchine. Balanchine conducts class for his New York City Ballet company. It is Balanchine's practice to concentrate on some particular aspect of the large part. Balanchine's expectations for his dancers are much higher. He is very much conscious about his weight.

The article discusses dance at the Metropolitan Opera company under the direction of Peter Gelb. The contributions of choreographers Alexei Ratmansky and Christopher Wheeldon are explored. Particular focus is given to the choreography for productions of the operas "Aida," "Carmen," and "The Tales of Hoffmann."

The article presents a list of dance and choreography events scheduled to take place in New York City during the week of May 16-22, 2007. Among a number of appearances listed are classical ballet performances by the New York City Ballet and the American Ballet Theater plus modern dance from a number of dance companies.

The article comments on the outcome of a press conference which was conducted to announce the welcome award granted by the Irene Diamond Fund to the New York Choreographic Institute. The event was held in Manhattan, New York City in October 2005. It criticizes the discussion regarding creativity and the art of choreography.