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Forbes
12-06-2025
- Entertainment
- Forbes
Ballet Tech Forms The Future Through Dance
Ballet Tech students performing Dionne Figgins and Curtis Holland 's 1956 in Kids Dance There are dance schools and then there is Ballet Tech. This unique New York City public school contains a conservatory-style dance program for fourth to eighth grade students. It's a place where movement meets mission. Where young people get a robust academic education combined with rigorous dance training all in one building just north of Union Square in Manhattan. And it's all tuition free. 'There are not many schools of its kind,' says Ballet Tech artistic director Dionne Figgins. 'I always say here at Ballet Tech, dance is the lens through which we view the world. And I'm a firm believer in the transformative power of dance. Through this unique educational experience, I have watched children become more confident, more resilient, and seen them develop discipline and integrity that transcends the dance studio.' Figgins, who also has a thriving performing career and recently starred as Louis Armstrong's wife Daisy Parker in A Wonderful World on Broadway, first learned about Ballet Tech when she was dancing with Dance Theatre of Harlem. One of her colleagues was a Ballet Tech alumna. Dionne Figgins 'I fell in love with the mission of increasing access to high-quality dance training,' says Figgins, whose credits also include the original Broadway companies of Memphis, Motown the Musical and the hit show Smokey Joe's Cafe. And with her versatile experience as a dance artist, she could provide the torch to lead the organization in new and innovative ways when she became artistic director in 2021. Ballet Tech is the brainchild of choreographer/performer/educator Eliot Feld and legendary arts administrator, Cora Cahan. Feld, who danced on Broadway in West Side Story and choreographed works for American Ballet Theatre, the Joffrey Ballet, the Juilliard School, New York City Ballet, the New York City Opera, Mikhail Baryshnikov, and his own Feld ballet, passionately believed that all children should have access to dance training, regardless of a family's income. Ballet Tech students perform Eliot Feld's KYDZNY during Kids Dance In 1978, Feld established the training program and, with the blessing of the New York City Department of Education, began auditioning kids in public schools throughout the city to participate in his dance program. Then in 1995, Ballet Tech was birthed as an independent public school. 'Eliot Feld had the vision to see that New York City is brimming with talented young people who may lack the access to opportunities to cultivate that talent,' says Figgins. "As a choreographer, Eliot Feld created 149 ballets. In addition to ensuring that his work continues to be performed by our students and alumni, I also want to continue his legacy of creating new works for young dancers.' She also views Ballet Tech, with its vast and state-of-the-art studios and facilities, as the perfect incubator for new works by budding choreographers, including those who are Ballet Tech alumni. To that end, Ballet Tech students will be performing a-wide ranging program at the Joyce Theater from June 12 to June 15. Called Kids Dance, the show includes a mosaic of genres including ballet, tap, and jazz. Alumnus Edgar Peterson will choreograph a premiere for Ballet Tech alumni. Plus, the 1956 dance battle returns, expanded to include new sections to the musical stylings of Ella Fitzgerald and Louis Armstrong. In addition to classical ballet with selections from Paquita, there's also KYDZNY, the urban folk dance choreographed by Feld. Figgins adores her Ballet Tech students and feels a deep sense of joy when she sees them embracing and excelling in their studies. 'I get so excited for their futures and the future of art and dance,' she says. And Figgins is grateful that she is able to connect with them about the reality of being a working artist. 'This allows my students to go on the ride with me, and experience firsthand the ups and downs of this profession,' she says. 'I can't think of any more impactful pathway than to be a teacher and a mentor. And by educating my students, I am also re-educating myself.' Like Feld, she is devoted to ensuring that dance endures by training the next generation and preparing them for their futures. Figgins hopes to create a space where training to be a dancer is safe and nurturing but also requires discipline and rigor necessary to cultivate students' talents. 'I want to leave a legacy of joy, generosity, confidence and professionalism—one that inspires others to embrace the values of integrity, creativity, community, diversity, and humanity,' she says. 'So that dance becomes a practice where people can express themselves freely and fearlessly.' Jeryl Brunner: In addition to the New York City public school program, Ballet Tech also goes to public elementary schools to offer free dance classes to students through the Ballet Tech Across New York (BTANY) program. Why is that important? Dionne Figgins: Through our BTANY program, we expose thousands of children a year to the beauty, joy, and integrity of dance. We send teams of teaching artists into New York City public elementary schools throughout the city and teach dance enrichment classes to second and third grade students. Students who demonstrate an appetite and aptitude for dance are then invited once a week for a six-week school-time release program called the Introduction to Ballet Program, where select students are able to take class in our studios with our teaching artists. From within that program, we further identify students who we believe will thrive in our full-time program. And we invite them to audition in hopes of enrolling them in the fall. Brunner: Not only are you a guiding light at Ballet Tech, you also have an incredible career as a dancer, choreographer, and actor. How does the performing piece enrich your life? Figgins: I feel most like myself onstage. It is there where I can bring to life all the emotions buried deep inside, particularly those more challenging emotions that are not so socially acceptable to express. Performing allows me to harness all my life experiences into something beautiful and then enrich the lives of others through my performance. It is a space of collaboration, where I get to be in community with other people, all brought together to bring a story or dance to life. It is a space of great creativity, where I can let my imagination run free without the restraints that society places on people under the guise of respectability and political correctness. It is a place where being 'too much' is not only acceptable but appreciated. Brunner: How did you first discover dance? Figgins: Dance provided discipline and structure, in addition to giving me a space for expression and creativity. I fell in love with dance while a student at the Jones-Haywood School of Ballet. As a student, we attended performances at the Kennedy Center, which later became one of my home theaters, and often my instructors were performing, with companies like Dance Theatre of Harlem and Alvin Ailey. Being in the tutelage of professional dancers allowed me to envision myself as a professional because there was evidence that one could make a career out of dance. Once I determined it was what I wanted to do, there was no other option. Brunner: What was it like to perform at Dance Theater of Harlem? Figgins: Performing with Dance Theater of Harlem, (DTH), has been one of my proudest and most rewarding experiences. Growing up, many of my mentors and teachers danced with DTH, so being able to follow in their footsteps has been incredible. Working with Mr.[Arthur] Mitchell changed my life and my work ethic. I have never worked so hard in my life as I did as a dancer with Dance Theatre of Harlem, and that early experience has shaped how I approach my work and my artistry. Brunner: Why did you branch out to Broadway and not solely remain in the ballet world? Figgins: I have always wanted to be a triple threat, someone who acts, sings, and dances. Growing up on movie musicals, and eventually Broadway shows, I found the most fulfillment in watching people utilize all their talents. When I was 18, I understudied Debbie Allen in a production of Brothers of the Knight at the Kennedy Center. Ms. Allen was even so kind as to let me perform the role. And once I had that experience, I knew that that was exactly what I wanted to do with my talent. I also realized that I wanted to experience more of dance than the ballet world was going to be able to offer, and wanted to become as versatile as a dancer as I could so I could leverage that versatility into more diverse opportunities. By branching out, I have performed in multiple genres of dance across multiple performance mediums. Brunner: What inspired you to establish Broadway Serves, the nonprofit dedicated to creating community service opportunities for theater professionals? Figgins: In April 2012, me and Broadway professionals, Dana Marie Ingraham and Kimberly Marable, recognized there was a need for a platform for theater professionals to take an active role in social issues and current events. Following an earlier meeting of minds at the Million Hoodie March, responding to the murder of Trayvon Martin, we quickly realized that we could create a real opportunity for change. Moreover, to 'be the change beyond the stage' by partnering with service organizations in order to provide volunteer opportunities to our theatrical peers. Since the beginning, the aim has of Broadway Serves has been to engage theater professionals in the art of giving back. Through our programming, our volunteers— theater-makers from all over New York City and the country—have engaged in acts of service under our banner. Like many organizations working with vulnerable communities, we continue to reflect on how we engage in the community as a team and as individuals in hopes of providing impactful and meaningful support where needed. Rehearsing for Kids Dance, Spring 2023 A scene from KYDZNY
Yahoo
14-04-2025
- Entertainment
- Yahoo
What song did Katy Perry sing on her Blue Origin space flight?
Flying into space already seems like a pretty cool thing, but imagine flying into space and getting a quasi-Katy Perry concert. Even if you're not a huge fan, that has to sound like a pretty wild experience. That's the experience that the Blue Origin flight crew got today on their brief voyage into space. Blue Origin, an aerospace company headed by billionaire Jeff Bezos, launched the first all-female space voyage in 60 years on Monday in the company's NS-31 rocket. The flight included journalist Gayle King, Bezos' fiance Lauren Sanchez, former NASA rocket scientist Aisha Bowe, bioastronautics scientist Amanda Nguyen, film producer Kerianne Flynn and, yes, pop star Katy Perry. How'd the voyage go? Well, we actually got a glimpse of it on video here. But that's not all. Perry serenaded the crew a bit while in space. Gayle King confirmed that the pop star sang "A Wonderful World" by Louis Armstrong while they were floating around. That's got to be a pretty cool experience. This article originally appeared on For The Win: What song did Katy Perry sing on her Blue Origin space flight?
USA Today
14-04-2025
- Entertainment
- USA Today
What song did Katy Perry sing on her Blue Origin space flight?
What song did Katy Perry sing on her Blue Origin space flight? Flying into space already seems like a pretty cool thing, but imagine flying into space and getting a quasi-Katy Perry concert. Even if you're not a huge fan, that has to sound like a pretty wild experience. That's the experience that the Blue Origin flight crew got today on their brief voyage into space. Blue Origin, an aerospace company headed by billionaire Jeff Bezos, launched the first all-female space voyage in 60 years on Monday in the company's NS-31 rocket. The flight included journalist Gayle King, Bezos' fiance Lauren Sanchez, former NASA rocket scientist Aisha Bowe, bioastronautics scientist Amanda Nguyen, film producer Kerianne Flynn and, yes, pop star Katy Perry. How'd the voyage go? Well, we actually got a glimpse of it on video here. But that's not all. Perry serenaded the crew a bit while in space. Gayle King confirmed that the pop star sang "A Wonderful World" by Louis Armstrong while they were floating around. That's got to be a pretty cool experience.
Arab News
08-03-2025
- General
- Arab News
Iraqi artist Afifa Aleiby unveils new painting of historical women from Islamic civilization
SHARJAH: What do Wallada Al-Mustakfi, Rufaida Al-Aslamia, Dayfa Khatun, and Aminatu have in common? They are all distinguished women in Islamic history that you more than likely have never heard of before. That is about to change thanks to a new painting by the acclaimed Iraqi artist Afifa Aleiby, whose colorful 'A Wonderful World,' pays tribute to 16 noteworthy Muslim women whose names have faded away over time. For the latest updates, follow us on Instagram @ Commissioned by the Barjeel Art Foundation in Sharjah, the painting will be on public display at the House of Wisdom in Sharjah until the end of Ramadan and will later be transferred to the Sharjah Museum of Islamic Civilization. Aleiby's work is a companion piece to a 1988 painting titled 'Islamic Scientists,' by the late Syrian artist Mahmoud Hammad and currently in the collection of Barjeel Art Foundation. In his composition, Hammad highlighted 16 influential male scholars and physicians, including Ibn Sina and Ibn Rushd. 'Exhibited together for the first time, these artworks stand as a powerful reminder of the transformative impact of these intellectuals, both men and women, on the history of Islamic civilization," reads a wall text. The recent unveiling event opened with a panel talk, where Aleiby and Hammad's daughter, Lubna Hammad, discussed the displayed artworks. Aleiby noted some of the difficulties in taking on this open-call commission, including a lack of resources, literary and visual. 'Some of these women have only two or three lines written about their history and role,' she said. In her detailed piece, dotted with symbolic elements (such as the proud peacock and a library of books) and set against a serene landscape, Aleiby depicted notable women of medicine, astronomy, poetry, science, education and military leadership who lived between the 7th and 17th centuries in Africa, Andalusia, India, and the Arab world. One of these figures is Razia Sultana, who was born in the 13th century and went on to become the first and only female ruler of the Delhi Sultanate in India. From the 11th century, there is also a depiction of Safiyya bint Abdullah Al-Riyy, who was a skilled calligrapher and poet in Andalusia. Another Andalusian woman of poetry is the rebellious and liberal Wallada Al-Mustakfi, who formed a literary salon that was a meeting point for male and female voices.
The National
23-02-2025
- Science
- The National
Queens, warriors and thinkers – painting honours Islamic history's greatest women
The painting Islamic Scientists was one of the last that Syrian artist Mahmoud Hammad produced before his death in 1988. It is also perhaps his most ambitious. The work tackles a vast timeline, condensing centuries of Islamic history into a 120cm x 180cm canvas. Yet, the painting has a marked blind spot. The canvas is populated entirely by men – with no reference to the achievements of the female thinkers and intellectuals of the Islamic Golden Age. A new companion piece, A Wonderful World, by Iraqi artist Afifa Aleiby aims to address this oversight. Commissioned by the Barjeel Art Foundation, it will be officially unveiled during a ceremony at Sharjah's House of Wisdom on Sunday. A Wonderful World will be displayed beside Hammad's Islamic Scientists, which is also part of the foundation's collection and has been displayed at the Sharjah Museum of Islamic Civilisation since 2014. Hammad's Islamic Scientists brings together 16 influential thinkers and scientists from the Islamic Golden Age, which is generally dated between the eighth and 13th centuries. Besides its artistic virtues, the painting is a formidable reference point for those wishing to learn more about the intellectual achievements of the medieval Islamic world. Ibn Rushd is in the centre of the canvas with a copy of his book The Incoherence of the Incoherence in hand. The Andalusian polymath is huddled beside Al Farabi and Ibn Sina, the latter who holds his influential work, The Book of Healing. Jabir, meanwhile, holds his The Secrets of Chemistry as he watches the group from afar, alongside the Persian polymath Razi. There is also, of course, Ibn Khaldun with his book Muqaddimah. Al Kindi, famously regarded as the Philosopher of the Arabs, holds a scroll as he looks towards the distance. Al Biruni beside him holds an astrolabe. In the upper left corner, meanwhile, Abbas Ibn Firnas takes to the sky with wings strapped to his shoulders. Besides being a poet, physician and inventor, the Berber-Andalusian polymath is regarded as the first person to have attempted flight. The painting also has other clues about the achievements of the time. A horoscope wheel touches on the astrological studies by medieval Arab scholars. In the upper right corner, the Umayyad Mosque in Damascus, built in the early eighth century, reflects on architectural contributions. Suheyla Takesh, director of the Barjeel Art Foundation, says Islamic Scientists was evidently an ambitious undertaking by Hammad. 'There was quite a detailed and meticulous study period that led up to this large-scale piece,' she tells The National. Yet, Islamic Scientists represents only a part of the achievements of thinkers during the Islamic Golden Age, and the foundation wanted to highlight the prominent female thinkers of the time, launching an open call in 2023. 'The open call laid the framework for the painting,' Takesh says. 'It had to be the same size, and it had to have 16 figures. It was up to the artists to find who they would like to represent, research them and then come up with a piece.' The initiative was part of the foundation's ongoing efforts to expand its collection of works by women artists from the region. 'We also started reflecting on the fact that the Sharjah Museum of Islamic Civilisation receives a lot of school groups who come and look at Islamic Scientists,' Takesh says. 'Young women come and look at this painting, and we really wanted them to have a more comprehensive picture of our collective history. To have role models that were not only men but also learned women." Though the open call yielded several 'wonderful proposals', Takesh says: 'None fully aligned with our vision for the project at that time.' Finally, in March last year, the foundation reached out to Aleiby. 'We already had a few of her works in the collection,' Takesh says. 'She has an incredible technique and very unique painting style. She is an established artist and has already achieved maturity in her approach and style. She seemed like the perfect fit for this project.' However, Aleiby was initially hesitant to accept the proposal. 'I initially saw the open call on social media,' she tells The National. 'I thought it was a great idea and I hoped it would materialise, but I didn't see myself taking on the project. I don't usually take on commissions.' However, Aleiby couldn't ignore the gravity and necessity of a companion piece to Islamic Scientists and she, too, wanted to highlight the efforts of female intellectuals and figures in the medieval Islamic world. 'It was not an easy decision,' she says. 'The subject matter was difficult. Its proper execution was difficult.' Yet, within a few months after taking on the project, and after strenuous research aided by the foundation, Aleiby completed A Wonderful World. The sprawling painting, much like the work that inspired it, brings together a group who come from various parts of the world and with disparate intellectual interests and contributions. In the upper left portion of the canvas is Fatima Al Fihriya, the ninth-century Arab figure renowned for establishing Al Qarawiyyin Mosque in Fes, Morocco. The mosque eventually became a university, which has been regarded by Unesco as the world's oldest continuously operating educational institution. Al Fihriya's sister, Mariam, is depicted beside her. She is celebrated for founding Al Andalus Mosque, which was a centre of education and learning. Queen Amina is also portrayed in the painting. The Hausa warrior queen sits almost at the centre of the canvas, a shield is propped up beside her. Ruler of the city-state Zazzau in modern-day Nigeria, Queen Amina was renowned for her military campaigns and for fortifying her cities with lofty walls, many of which survive today. Facing Queen Amina is Dayfa Khatun, a former princess of Aleppo. The Ayyubid royalty was the regent of Aleppo from 1236 to 1242. She is famous for having protected Aleppo's autonomy during a period of marked political and regional turmoil. She was also a patron of architecture, having commissioned several notable structures, including Al Firdaws Madrasa and the Khanqah Al Farafra. Zubaydah bint Jaʼfar Al Mansur has a starring role on the canvas, standing in the centre of the throng with her palms upwards. On her left, a mosque looms, symbolising Baghdad, whereas the Kaaba is depicted on her right palm. The Abbasid princess, who was the wife of Caliph Harun Al Rashid, was celebrated for her philanthropy as well as her intellectual pursuits. Among her most famous acts was commissioning a series of wells, reservoirs and pools along the pilgrimage route from Baghdad to Makkah and Madinah to provide water for pilgrims. Razia Sultana, meanwhile, is depicted in the upper left portion of the painting. She was the first and only female ruler of the Delhi Sultanate in India, having ascended to the throne following her father's death in 1236. The sultana's rule was marked by significant improvements to Delhi's infrastructure. She was also known for her efforts in promoting trade and education. Two figures in the painting even precede the Islamic Golden Age and lived in the time of the Prophet Mohammed. These include Rufaida Al Aslamia, the first female Muslim nurse and surgeon, and Al Shifaʼa bint Abdullah, who was a distinguished companion of the Prophet Mohammed and whose medical expertise earned her the title of "The Healer". While viewing the painting, it is clear the 16 figures hail from different parts of the world and different eras. Aleiby says she wanted to represent these nuances through their clothing. Andalusian figures, such as Lubna of Cordoba and Fatima de Madrid, are dressed in garbs that are European. Khatun's headdress and vest, meanwhile, bring to mind medieval Syrian styles and are notably distinct from Razia Sultana's. However, there were notable gaps in the research, meaning Aleiby had to take some liberties with her depictions, she says. Her figures of Rufaida Al Aslamia and Al Shifaʼa bint Abdullah, for instance, are based on documentaries she watched. A Wonderful World, Aleiby says, stands out from the rest of her oeuvre. It is not an expressive work, she says, but one that aims to document and communicate history. 'I want to show how these women played a role in our lives and in the creation and development of our culture,' she says. 'That they were not just staying at home, but that they were building infrastructure, going to wars and writing poetry.' A Wonderful World will be displayed at the House of Wisdom alongside Islamic Scientists until the end of Ramadan. The two will then hang next to one another at the Sharjah Museum of Islamic Civilisation. "We would very much love for the pair to remain together," Takesh says.
