Ballet Hispánico celebrates Instituto Coreográfico, with choreographer Phil Chan, with a studio showing on April 17, 2025 at 6:30pm at 167 W. 89th Street, NYC. Instituto Coreográfico is a space for choreographers to experiment, reflect, and push the art forward. Over the past decade, Instituto Coreográfico has emerged as a beacon of artistic exploration, empowering choreographers to break through traditional boundaries and redefine the language of dance. In an environment that fosters collaboration and experimentation, these visionaries receive the freedom to delve into their creative processes, weaving personal narratives with bold artistic expression. Save the date for a unique evening of creativity and conversation. The new work-in-progress by Phil Chan will be followed by a discussion with Eduardo Vilaro. To RSVP visit https://fs18.formsite.com/BalletHispanico/0t46qpf1r7/index or contact Jessica Ventura at events@ballethispanico.org.

 

This year is a testament to Ballet Hispánico’s commitment to cultivating artistic excellence and encouraging fearless innovation. Embracing other perspectives, the program advances the art form, contributing to a broader cultural conversation highlighting the beauty of creative exchange and transformation.

 

Instituto Coreográfico: Over 10 Years of Innovation

https://www.youtube.com/watch?v=bjUOMORBVMk&t=2s

 

Previous Instituto choreographers include: Matthew Neenan, Daniela Urías, Mark Travis Rivera, Michelle Manzanales, Omar Román de Jesús, Marielis Garcia, Ramón Oller, Maria Barrios, Bennyroyce Royon, Gustavo Ramírez Sasano, Carlos Pons Guerra, Stephanie Martinez, Fernando Melo, Miguel Mancillas, and Rosie Herrera.

 

“Our Instituto Coreográfico is an answer to fill a gap of the ability for choreographers to have a space to develop their crafts,” said Eduardo Vilaro, Artistic Director & CEO, Ballet Hispánico. “We are committed to providing the resources to allow artists to explore their creativity in our space, experimenting with styles and work on our company of dancers.”

 

About Phil Chan

Phil Chan is co-founder of Final Bow for Yellowface and the President of the Gold Standard Arts Foundation. He is a graduate of Carleton College and an alumnus of the Ailey School. He has held fellowships with Dance/USA, Drexel University, Jacob’s Pillow, Harvard University, the Manhattan School of Music, New York Public Library for the Performing Arts, NYU, and the Institut National d’Histoire de l’Art in Paris. As a writer, he is the author of Final Bow for Yellowface: Dancing between Intention and Impact and Banishing Orientalism, and has served as the Executive Editor for FLATT Magazine and contributed to Dance Europe Magazine, Dance Magazine, Dance Australia, and the Huffington Post, and currently serves on the Advisory Board of Dance Magazine. He served multiple years on the National Endowment for the Arts dance panel and the Jadin Wong Award panel presented by the Asian American Arts Alliance. He was a Benedict Distinguished Visiting Professor of Dance at Carleton College and was named a Next 50 Arts Leader by the Kennedy Center. His recent projects include directing “Madama Butterfly” for Boston Lyric Opera (garnering “Best of 2023” in The Washington Post, Boston Globe, and Broadway World), and staging a newly reimagined “La Bayadere” for Indiana University. His dances are currently in the repertory at Ballet West and Oakland Ballet, where he serves as Resident Choreographer. He is currently a CBA fellow at NYU and visiting faculty at Harvard University.

 

Ballet Hispánico: A Legacy of Artistic Excellence

Ballet Hispánico is the nation’s leading Hispanic/Latine dance company and the largest cultural institution of its kind in the United States. For over five decades, it has been a beacon of artistic excellence, celebrated for its bold repertory and exceptional training programs. The Company has commissioned over 100 original works, performed on the world’s most prestigious stages, and inspired generations through performances, education, and community engagement. Recognized as one of America’s Cultural Treasures by the Ford Foundation, Ballet Hispánico continues to redefine what it means to be an American dance company.

 

At the helm is Artistic Director & CEO Eduardo Vilaro, a former Ballet Hispánico dancer and acclaimed choreographer who assumed leadership in 2009. Under his dynamic guidance, the Company has entered a new era—broadening its artistic scope, deepening its repertory, and elevating its distinctive movement language. Vilaro carries forward the founding vision of Tina Ramirez, who launched Ballet Hispánico in 1970 to celebrate the beauty of Latino cultures through dance. The Company has garnered widespread acclaim, with The New York Times noting, “Many companies pay lip service to nurturing talent, but Ballet Hispánico has devoted significant resources and care to cultivating emerging artists.” Today, Ballet Hispánico stands not only as a cultural institution, but as a movement—pushing the boundaries of performance while honoring the traditions that shaped its legacy.

 

About Instituto Coreográfico

In 2010, Ballet Hispánico’s Artistic Director & CEO Eduardo Vilaro created the Instituto Coreográfico, a choreographic institute for Latine artists to create work in a nurturing learning laboratory of dance. Now in its eleventh year, Instituto Coreográfico invites dance patrons to respond, reflect, and enter a dialogue with the artists about dance and culture in a safe, critical environment at a work-in-progress showing during the choreographer’s residency. With this invaluable platform, Ballet Hispánico continues to give a voice to choreographers and opens access to the dance-making process for all audiences. Catalytic funding and partnership for Ballet Hispánico’s Latinx Dance Institute, including the Instituto Coreográfico,is provided by The Andrew W. Mellon Foundation, who shares Ballet Hispánico’s deep commitment to elevating the voices of Latinx leadership. Major sponsorship for the Instituto Coreográfico is provided by the Rockefeller Brothers Fund and the Mertz Gilmore Foundation. This project is supported in part by an award from the National Endowment for the Arts.