P.S. # 36: Is Contemporary Ballet Too Safe?

Though the recent BalletX performance focused on love and intimacy, all of the relationships represented were heterosexual. Is contemporary ballet actually keeping up with the contemporary world?

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Green-toned book cover featuring the silhouette of a forest and leaping figure with the title “Ways to Move: Black Insurgent Grammars by Jonathan González” on the right, and poetic text on the left reading: “i want to be with you in the ways with you of vertigo seas,” “i want to be with you in the ways with you of smashing monuments,” and “i want to be with you in the ways with you of these lonely trees.”
Photo: Courtesy of Jonathan González and Ugly Duckling Presse
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Thirty-three writers shape Contact Improvisation’s next chapter.

A flat image of the front cover of "Resistance and Support: CI @ 50" appears centered on a dark maroon background. From top to bottom, the cover descends through sunset – muted burnt orange, carrot, creamsicle, golden rod, pale yellow, into a black and white photo of two dancers partnering in the ocean. One dancer is on his ass in the water. The other stands, both knees bent, reaching out for her comrade in the waves. They hold hands at the wrists, arms fully extended. The title “Resistance and Support,” each word on its own line, spans the top third of the cover page in a burgundy, serif font. Below, the subtitle “CI @ 50” slants in smaller white italics. The text “EDITED BY: Ann Cooper Albright,” back to the burgundy with no italics, sits about one thumbs width above the dancers in the ocean.
Photo: Courtesy of Ann Cooper Albright, includes photo by Lasse Lychnell