The all-male ballet troupe puts men en pointe to pirouette their hearts out. These dancers are highly skilled,very knowledgeable, and wonderfully funny — never taking themselves too seriously as they parody the highs and lows of classical ballet and modern dance.

A short list of goals Allegra Lillard, artistic director of NDI New Mexico’s Dance Barns, has for each of the hundreds of children taking after-school dance classes this year at the studios on Alto Street includes compassion, tolerance, perseverance, moving out of your comfort zone, and loving an art form.

A national trend to reimagine Columbus Day gained steam in New Mexico when on Sept. 26, Santa Fe County unanimously approved a proclamation declaring the second Monday in October “Indigenous Peoples Day.” The city of Santa Fe passed a similar resolution in 2016. Other New Mexico cities that avow the day include Albuquerque, Gallup, Grants, and Farmington.

The contemporary ballet works chosen by Aspen Santa Fe Ballet push the boundaries of the form. Dream Play by Brazilian choreographer Fernando Melo had audiences at the Lensic oohing and aahing at its world premiere in July, but not because of the dancing. 

Yjastros, the resident flamenco repertory company at UNM, has always been a showcase for the choreographic talent and directing abilities of Joaquin Encinias, who is on the faculty there (along with his sister and mother). His direction was evident in the cohesion, attack, and artistry of the dancers at The Lodge.

The troupe — whose members include principal and soloist dancers with New York City Ballet and American Ballet Theatre — will be performing a mixed repertoire that includes a pas de deux from George Balanchine’s Diamonds, and Marius Petipa’s 19th-century Le Corsaire.

What the Day Owes to the Night features 12 men from Algeria and Burkina Faso, and a score ranging from Bach to traditional Sufi music. The choreography is a mix of acrobatics, B-boying, modern dance, and ballet. 

During the performance of Dream Play, audience members won’t necessarily be looking at the dancers — not in the typical sense. Melo’s piece presents an inventive way of seeing dance. The performers will be on the floor, and their movements filmed and projected onto a screen in real time. 

Founder Antonio Granjero, from Jerez de la Frontera in Spain, and his wife, company co-director Estefania Ramirez, created their own cabaret-style performing space and flamenco academy last summer. Flamenco shows will be held at 7:30 p.m. nightly, except Tuesdays, at El Flamenco de Santa Fe Performance Venue from Thursday, June 29, through Sept. 3. 

Flamenco audiences in Santa Fe have witnessed firsthand the changing fortunes of dancer and choreographer Juan Siddi for the last 15 years. Siddi, who won the Mayor’s Award in 2011, was first recruited by María Benítez in 2002 to perform with her company on tour and in Santa Fe.

As Emmaly Wiederholt writes in the introduction to her book Beauty Is Experience: Dancing 50 and Beyond, “Dance is not an acrobatic sport to be discarded when the body begins to lose agility. Dance is much deeper.” Wiederholt, a New Mexico native who danced professionally in San Francisco, worked with photographer Gregory Bartning to collect the stories and images of 54 dancers, male and female, between the ages of fifty and ninety-five.

The first program of Siddi’s Arte Flamenco Society features “Fuego Lento,” an intense soleá created as a solo in 2016 and here reconfigured as a duet. Direct from Spain are three new company members: guitarist and musical director Jose Luis de la Paz, from Huelva; Morenito de Jerez, a singer from Jerez; and Manuela Montoya, a singer who hails from Algeciras. 

Georgia O’Keeffe created a series of paintings featuring the view from her window in Abiquiú. In 1963’s Winter Road I, painted when the artist was in her mid-seventies, all that is left of the landscape is a long black calligraphic squiggle on a field of white. This “road” will be recreated with a roll of tape at the Lensic Performing Arts Center, an appropriately stripped-down scenic element in Jessica Lang’s 2017 Her Road. Jessica Lang Dance will perform the piece on Tuesday, May 23, in a program of mixed repertoire.

Subtitled The Bollywood Musical, we would most likely think of it as a music-and-dance revue more insistent on high-energy spectacle than on narrative. There is a plotline involving an aspiring composer who creates songs for a pair of leading stars (a tough street kid and an elegant actress) to perform in a musical, but that’s not why you’re going.

It wasn’t until Pilobolus was commissioned over a decade ago to create a silhouette outline of a Hyundai Santa Fe for a car commercial that they began exploring bodies in shadow. At the Academy Awards in 2007, the troupe was featured morphing behind a screen into images that suggested many of the previous year’s films. The troupe's upcoming evening-length dance and theater work at the Lensic includes dancing both in and out of shadow.

Glimpse, an improvisational dance performance by Zaporah, is conceived of in the moment, with each movement an embodiment of presence in space. Using humor, pathos, and the range of emotive possibilities in between, she creates a dreamlike environment that engages all of the senses.

On Saturday, Jan. 28, Modas Dance and SFUAD present an evening of diverse dance performance at 7 p.m. at the Greer Garson Theatre at SFUAD. Admission is free.

The young dancers at New Mexico School for the Arts show off their talents with four world premieres at Winter Dances 2017: An Evening of Mixed Repertoire, opening at the James A. Little Theater at New Mexico School for the Deaf.

Anna Gerberich joined ASFB after serving a number of years as principal dancer with the Charlotte Ballet in North Carolina and, most recently, as a member of the Joffrey Ballet company in Chicago. When she performs in Santa Fe, her part will be exactly the same as it was in Chicago, because both companies have based it on the choreography created by Marius Petipa for the 1892 premiere of the ballet.

Samantha Klanac Campanile got a funny send-off on Saturday night at the Lensic Performing Arts Center. It was her last performance in Santa Fe after 15 seasons with Aspen Santa Fe Ballet. There were speeches, tears, applause, flowers, and hugs at the beginning and end of the program. In between, we barely got a chance to see her dance.

For 35 years, Baile Español has been performing traditional Spanish and folklórico dance all around Northern New Mexico, including in Los Alamos during a visit by President Bill Clinton, as well as in Texas and Colorado. Angie Miller, the leader of Baile Español, was trained by the late Lily Baca. Baile Español performs on the Santa Fe Plaza bandstand on Saturday, Aug. 13.

In George Balanchine’s 1929 ballet Prodigal Son, a dancer depicts the impetuousness of youth, debauchery, sex, utter failure, and a heartbreaking return to his father. The lineage of dancers in the role includes Serge Lifar, Jerome Robbins, Peter Boal, Damian Woetzel, and Mikhail Baryshnikov. When Daniel Ulbricht, a principal dancer with New York City Ballet, was asked to learn the part in 2008, he said he thought he had died and gone to heaven.

Dedicated to continuing the legacy of the legendary New York City Ballet dancer Maria Tallchief, who was a member of the Osage tribe, Osage Ballet presents Wahzhazhe at the Lensic Performing Arts Center on Saturday, Aug. 6.

Dance traditions from Persia, Ireland, Africa, the United States, and more take over the Santa Fe Plaza Bandstand on Saturday, July 23, when the New Mexico Dance Coalition, a nonprofit group that supports local dance schools and organizations, presents the 21st annual festival.

The New York-based choreographer, who is spending time in Santa Fe working on a new piece about circadian rhythms, presents a concert at the Railyard Performance Center, on Sunday, July 17.

Aspen Santa Fe Ballet has acquired a new piece, Little Mortal Jump, originally choreographed by Alejandro Cerrudo in 2012 for Hubbard Street Dance Chicago. A musical collage, including pieces by Philip Glass, Tom Waits, and the alternative rock band Beirut, helps create a dreamy atmosphere — dancers continually come into and out of the piece, appearing, like ghosts, and then fading away.

Antonio Granjero, Estefania Ramirez, and their company, Entreflamenco, present classical flamenco all summer at the María Benítez Cabaret Theatre, in The Lodge at Santa Fe. The show will run at 8 p.m. Wednesdays through Mondays (no show on Tuesdays) until Aug. 28, featuring an all-new production and new costumes.

Siddi recently created a group version of one of the most intense and passionate solo forms in flamenco, the siguiriyas. Between the new black fringed skirts, tight footwork for the group, great music, and fire from Siddi and guest performer Carola Zertuche, the new piece brings a shot of risk and determination to the company’s repertoire.

Created by the local group Ground Space Collective, the 50-minute piece is described as “a group dream and reflection on the living, suffering earth around us.” A cast of eight contemporary dancers will lead audiences through the exhibition space at the Muñoz Waxman Gallery, dancing, creating music, speaking, and responding to exhibits and to the audience members who share the space.

The local flamenco dancer Emmy Grimm, known as “La Emi,” brings international cachet to her upcoming performances. She’ll be joined onstage by the Argentine dancer Jorge Robledo and Cuban guitarist Andres Vadin, in addition to singer Vicente Griego, dancer Elena Osuna, and a batch of young flamenco students.

It was a little “viva Santa Fe” in Western Massachusetts during the 84th-season opening of Jacob’s Pillow Dance Festival, from June 22 to June 26. ASFB presented the same program Santa Fe saw in April. It was an opportunity to take another stab at figuring out the enigmatic Re:play, the new Fernando Melo piece.

Before Sanbusco Market Center becomes a charter school, it will be a Bollywood club for one night, from 6:30 p.m. to midnight on Saturday, April 30. The family-friendly event features live performances by Jaymin Patel, Whitney Jones, and Myra Krien, along with the Mosaic Dance Company’s Pomegranate Dancers.

When it comes to contemporary choreography, Fernando Melo is a busy and sought-after man of the hour. From cinema to abstract choreography, from work in music theater to master classes, Melo is on the move. Melo’s Re:play comes to the Lensic Performing Arts Center on Friday, April 1, in a program kicking off Aspen Santa Fe Ballet’s 20th-anniversary season.

The 29th annual Choreographers’ Showcase may not be advertising itself as a dance marathon, but with 20 pieces on the bill, according to Jasmine Quinsier, the Dance Coalition’s producer for the event, it promises to be a multihour event.

The unusual choreography is electric and dramatic, and the men’s bodies give new shape to a medium that, rightly or wrongly, is often considered dainty. 

A student at New Mexico School for the Arts, Hugo is auditioning for the School of American Ballet summer program in New York, and focused on a career in ballet.

When Laura Garrett was six, she was the wildest of the “Wild Things.” As one of Maurice Sendak’s unruly creatures in an NDI New Mexico end-of-year performance, she rolled her eyes, head, and body with the abandon of a movie alcoholic on a bender. It was hard to resist her zip. By then she was a show-biz — and National Dance Institute — veteran.

Acclaimed flamenco artists Nino de los Reyes and Triana Maciel dance in four performances at Skylight Santa Fe for the winter season of EmiArte Flamenco, every evening at 8 p.m. from Sunday, Dec. 27, through Wednesday, Dec. 30. 

The holidays can be scary for some people, what with the elusive social requirement to exhibit goodwill toward men and wish for peace on Earth at the darkest, coldest time of year.

Collaboration at the essential craft level is the thrust of Blessed Unrest, a showcase of works in progress created by Theater Grottesco of Santa Fe; the Bandelion ensemble of the Dandelion Dancetheater in Oakland, California; and choreographer Randee Paufve, also from Oakland.

Seattle-born dancer and choreographer Mark Morris earned his bona fides in the late 1970s performing with the dance companies of such luminaries as Lar Lubovitch, Hannah Kahn, Laura Dean, and Eliot Feld, as well as the Koleda Balkan Dance Ensemble. In 1980, he formed his own troupe, the Mark Morris Dance Group (MMDG)