Hanayagi Sukekatsumi (Michiko Kurata) has been performing traditional Japanese dance for 30 years. She studied “kabuki buyo,” a popular dance form derived from kabuki, under several masters of traditional Japanese dance in Japan. “Kabuki buyo" originated in Japan more than 400 years ago among the female street performers in Edo (modern day Tokyo) and has spread throughout all social classes since. Ms. Kurata has performed at numerous cultural shows and has been giving lectures at local colleges on traditional Japanese dance.

Juan Tamad is a lazy character from Filipino Folk tale. Tikling Birds in the rice fields are one of the inspirations of the Filipino Folk Dance, the Tinikling. This animated short explores the possibility that Juan Tamad and his lazy encounter with the Tikling Birds witnessed the origin of the Tinikling Folk dance!

Characters from all walks of life come together in a new collection of vignettes by Judith Jamison examining the joys and complications of human relationships. Original jazz compositions by the musical iconoclast Eric Lewis and costumes by the award-winning designer Paul Tazewell are inspired by a series of drawings by Jamison that depict these characters ordinary and sometimes extraordinary lives.

Judith Jamison’s stunning, Emmy Award-winning 1993 tribute to Alvin Ailey uses explosive, full company dances and quiet solos to illuminate Ailey’s humanity and the dancers’ unique qualities. Narrative recollections from dancers are arranged by the multi-talented actor/playwright Anna Deavere Smith.

In 1984, Judith Jamison created Divining, on a major company for the first time at the request of her mentor, Alvin Ailey. Jamison wrote in her autobiography, Dancing Spirit, "Divining is mysterious, its title suggesting a search or quest." The ritualized ballet is set to a score that incorporates North African, Central African and Latin rhythms.
"The African-inspired rhythms are also Ms. Jamison’s springboard. Divining suggests an abstraction of African dance here refracted into reductive modern-dance treatment. Ms. Jamison’s perspective comes from the avant-garde, her images are streamlined, clean and striking! Ms. Jamison knows how to make movement flow through the entire body."
-Anna Kisselgoff, The New York Times
-Performed by Ailey II.

In this video, a cast member of the Lost Colony outdoor drama in North Carolina gives historical background information for the show. The video also includes images from backstage and during the performance.

This part contains the following movements of the piece:
1st movement: Very slowly. Introduction of the characters, one by one, in a suffused light.
2nd movement: Fast. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
3rd movement: Moderate. Duo for the Bride and her Intended scene of tenderness and passion.

The lesson begins with focus on mobility of the back, isolating the different levels, coordinating center and periphery of the body.Students will work on alignment and posture, combining the shifting of the weight on the supporting leg with the use of the principles of fall and recovery, suspension and control in various parts of the body.
In particular, students will focus on the use of arms with different dynamics and quality, connecting with the levels of mobility in the back, using different energies and qualities in the relation periphery-center .
In this work the upper body is constantly connected to legs and feet, both in place and in gradual shifting into space, using different timings, keeping the back as focus point to explore the possibilities of turning, throwing, working on the lines.

This video features Moon Water, choreographed by Taiwanese choreographer Lin Hwai-min and danced by his company, Cloud Gate Dance Theatre.

In this video, two soloist from the New York City Ballet discuss what it's like to prepare for and dance the role of Odette/Odile.

This video takes a look at the traditional staging used in Noh performances.

Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers. As Artistic Director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography. Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.

Set to three keyboard works by Bach as richly orchestrated by Stokowski, Promethean Fire examines a kaleidoscope of emotional colors in the human condition. All 16 Taylor dancers, costumed in black, weave in and out of intricate patterns that mirror the way varied emotions weave themselves through life. A central duet depicts conflict and resolution following a cataclysmic event. But if destruction has been at the root of this dance, renewal of the spirit is its overriding message.

In this video, Robert Battle discusses his inspiration and concept for Strange Humors. This piece is part of the repertory for the Alvin Ailey American Dance Theatre.

The complex, tightly woven rhythms of Indian Kathak dance are deconstructed and abstracted in this percussive, fast-paced work. Clear shapes and propulsive jumps mimic the vocalized rhythmic syllables of Sheila Chandra's jazzy score.

Artistic Director Robert Battle’s athletic work for six men reveals the predatory side of human nature and the primitive thrill of the hunt. A thundering percussion soundtrack by Les Tambours du Bronx drives the explosive movement that runs the gamut from modern sports to the rituals of the gladiators.

The charming duet We, by Alvin Ailey American Dance Theater Artistic Director Robert Battle, depicts a seasoned relationship between a couple. Capturing the spirit of familiarity and vulnerability that is as endearing as reaching for a hand and knowing the other’s will always be there, Battle sets this work to composer Sean Jones’ tender “Love’s Lullaby.”

This video contains Stars of the Russian Ballet in its entirety. This performance features some of the biggest names in contemporaty Russian ballet. It contains exerpts from ballet standards like La Fille Mal Gardee, Romeo and Juliet, Sleeping Beauty, Le Corsaire, Giselle, Swam Lake and Don Quixote.

Ohad Naharin’s choreography is noted for its movement quality and technical difficulty. Tabula Rasa, meaning “clean slate,” is a striking blend of powerful expression and serenity. In working with Naharin, Hubbard Street dancers developed a bond with the choreographer that allowed for a seemingly effortless rehearsal process. “Tabula has a sense of chaos, mixed with a minimal simplicity and the beauty is in the dichotomy of these two extremes.”