The panel discusses the lasting influence of Russian emigre George Balanchine, who brought his own style of ballet to the world.Merrill Ashley has danced throughout the world. In 1967, George Balanchine invited her to join the corps de ballet of the New York City Ballet, where she soon appeared in both corps and soloist roles; and in 1977, she became a principal dancer. Balanchine choreographed both Ballo della Regina and Ballade for her. Her repertory included roles in four other Balanchine ballets, as well as ballets by Jerome Robbins and Peter Martin. Her final performance was in 1997.
Jacques d'Amboise is recognized as one of the finest classical dancers of our time. Mr d'Amboise now leads a model program that introduces dance to thousands of school children each year. In 1976, while still a principal dancer of the New York City Ballet, Mr. D'Amboise founded the not-for-profit National Dance Institute. He has served as a professor at both SUNY, Purchase, and the College of Creative Studies at UC, Santa Barbara.
Peter Martins has spent more than 30 years with the New York City Ballet as a dancer, choreographer, and Ballet Master. Mr. Martins' association with the New York City Ballet began in 1967, when he was asked to dance the title role in George Balanchine's Apollo. He joined the company as a principal dancer in 1970. In 1981, Mr. Martins was named Ballet Master for the New York City Ballet. He retired from dancing in 1983.
Arthur Mitchell, co-founder of Dance Theater of Harlem, began his career in dance in 1951. He made his debut in the fourth movement of Western Symphony, choreographed by George Balanchine. He originated numerous roles for the company, in Balanchine's Don Quixote and Requiem Candles, among others.
Anna Kisselgoff is chief dance critic of The New York Times.
This TimesTalks event was recorded on January 10, 2004.
