I live in Mexico and had only been able to see the apprentices in their summer showings at their Chelsea gallery quarters a couple of summers. Booked a flight and secured tickets for performances of both programs as soon as I found about about their farewell at BAM in June. No regrets. It was amazing.

Prerona Roy well... it's contemporary ballet - it leans towards more ballet than pure contemporary even though the movement is not so structured in the classical way

+The Fibonacci I agree, the company is called contemporary ballet because that is probably mostly what they do, this particular piece is just contemporary, it doesn't have enough ballet in it to be called contemporary ballet. Contemporary- the category- is a blend of modern, jazz, ballet and hiphop, but for another genre to be specified like Contemporary jazz or Contemporary ballet, there should be MORE of that genre in the choreo.

Contemporary ballet is a genre of dance that incorporates elements of classical ballet andmodern dance.[1] It employs classical ballet technique and in many cases classical pointe technique as well, but allows greater range of movement of the upper body and is not constrained to the rigorously defined body lines and forms found in traditional, classical ballet. Many of its attributes come from the ideas and innovations of 20th century modern dance, including floor work and turn-in of the legs. George Balanchine is often considered to have been the first pioneer of contemporary ballet. The style of dance he developed, which lies between classical ballet and today's contemporary ballet, is known as neoclassical ballet. He used flexed hands (and occasionally feet), turned-in legs, off-centered positions and non-traditional costumes, such as leotards, tunics and powder puff tutus[2]instead of pancakes tutus, to distance his work from the classical and romantic ballet traditions. Balanchine invited modern dance performers such as Paul Taylor in to dance with his company, the New York City Ballet, and he worked with modern dance choreographer Martha Graham,[3] which expanded his exposure to modern techniques and ideas.[1] During this period, other choreographers such as John Butler and Glen Tetley began to consciously combine ballet and modern techniques in experimentation. One dancer who trained with Balanchine and absorbed much of this neo-classical style was Mikhail Baryshnikov. Following Baryshnikov's appointment as artistic director of the American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp.[4] Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976;[5] in 1986 she created In The Upper Room for her own company. Both of these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers-for their use of "contemporary ballet". Tharp also worked with The Joffrey Ballet, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.[6] Today there are many contemporary ballet companies and choreographers, and many traditionally "classical" companies also regularly perform contemporary works.

There is a tutu ha ha. Yes I agree actually. There is some ballet vocabulary but more contemporary than ballet.

The Fibonacci it’s cont. ballet

sorry can't help u with the song.it's probably made for the choreography and it's not out on the market

it's at the beginning of the dance.

yea but you can't find it on the internet

laurence creevey i can't find it

anita3088 What an ignorant thing to say. You obviously don't know anything about dance or what it takes to have stellar technique like that.

003dancer ^^^^ Dude chill maybe he is only interested in classical ballet