New York City Ballet announced today its plans to raise more than $50 million, the largest capital fundraising effort in the history of dance. The campaign, which is the first formal endowment campaign in the Company’s history, will ensure that NYCB’s legacy of signature works by George Balanchine and Jerome Robbins will remain vibrant for the next generation of ballet fans, as well as making possible certain other special initiatives.

The Campaign for New York City Ballet will effectively double the Company’s endowment, which will grow to more than $80 million by the campaign’s completion, projected for 2004. Speaking at a press conference on the promenade of the New York State Theater at Lincoln Center, NYCB’s Peter Martins described the campaign as critical to maintaining the Company’s renowned artistic standards, creating fresh work, and building new audiences for ballet through media, touring, and expanded arts education efforts.

"Balanchine, Kirstein and Robbins all shared an uncompromising commitment to excellence that remains at our Company’s heart," said Mr. Martins. "If we are to honor their vision, we must make certain that New York City Ballet will have the necessary resources for the future."

A total of $30 million has already been given or pledged during the quiet phase of the endeavor, according to Paul A. Allaire, who along with Gillian Attfield and Barry S. Friedberg are chairing the campaign. The lead gift, totaling $5.5 million, has been pledged by The Irene Diamond Fund, and will be used to establish a new enterprise, the New York Choreographic Institute. The institute, which will operate within the administrative umbrella of New York City Ballet, will offer choreographers from around the world a chance to experiment, while also providing a symposia for the study and analyses of ballet.

The campaign will also enable other important new initiatives, including an archive of important historical materials, an endowment to encourage a more aggressive program of national and international touring, and the creation of an Artist-in-Residence program.

At present New York City Ballet earns more than half of its annual operating expenses from ticket sales and performance fees. To meet expenses during the next ten years, the Company projects that income from endowed funds must double. The $51.5 million in permanent and working capital funds is over and above NYCB’s annual fundraising efforts, which this year will amount to more than $16.5 million. The Campaign for New York City Ballet will support the following needs:

• Maintaining the highest level of artistry by building general endowment
• Preserving the George Balanchine and Jerome Robbins repertory through endowment
• Providing an endowment for the creation of new work
• Providing an endowment to build new audiences through media, touring and education
• Providing working capital and endowment for a New York City Ballet archive
• Creating a venture capital fund for new projects and initiatives

The creation of the New York Choreographic Institute is a major new initiative made possible by The Campaign for New York City Ballet.

Founded by Peter Martins and Irene Diamond, with leadership support from The Irene Diamond Fund, and other gifts raised through The Campaign for New York City Ballet, the institute will provide both nascent and experienced choreographers an opportunity to work with New York City Ballet dancers. Mr. Martins will also serve as the institute’s Artistic Director.

“I believe that you cannot teach choreography,” said Mr. Martins. “What we can do is give choreographers a supportive place to work, free from the pressures associated with commissions. We will also be able to develop seminars for the broader public that will emphasize analysis and appreciation of different approaches to classical choreography.”

An Artistic Committee will include established choreographers and artistic directors from around the world. The committee will provide counsel and recommendations for applicants to the institute, encouraging international participation in its programs.

An Advisory Council will also be formed, which will provide advocacy and support for the institute in the world of the arts.

“Choreography is to dance as composition is to musicians, or playwriting to actors,” said Irene Diamond. “It is the creative essence of dance and must be nurtured. We think this can be achieved by creating this choreographic institute.”

In this, its first year, the institute will explore a number of approaches to its mission, including seminars and at least one two-week session where choreographers will work intensively at New York City Ballet’s Lincoln Center studios. The workshop will take place from September 18 through 30, and will employ dancers from New York City Ballet.

In ensuing years, as many as ten choreographers may be invited to participate in the fall workshop. Mr. Martins envisions that these individuals will fall into three groups: a professional division for those who have already received commissions from professional dance companies; a pre-professional division for those who have had some experience with choreography and have made works on professional dancers or students in workshops or other settings; and an introductory or apprentice division for professional dancers or other qualified applicants, who are interested in trying their hand at choreography but have little or no experience.

One of the most important aspects of the institute is its relationship to one of the world’s largest ballet companies, an environment where working choreographers can meet and discuss their work with one another.

“Our hope is that, over time, the institute will grow in its mission,” said Mr. Martins. “Wouldn’t it be wonderful to see new ballets by institute alumni cropping up at other ballet companies around the world?”

Other New Initiatives

Other initiatives that will be made possible by The Campaign for New York City Ballet include the creation of an Artist in Residence program at New York City Ballet.

Each year the Company will select at least one artist, who will work with New York City Ballet to create new work. The program will incorporate choreographers, composers, visual artists, and designers interested in developing work for the Company.

Choreographer Christopher Wheeldon has been selected as New York City Ballet’s first Artist in Residence. Currently a soloist with NYCB, he will retire from dancing this spring. As Artist in Residence, he will work with the Company during the 2000/2001 season, creating two new ballets.

Mr. Wheeldon, who trained at The Royal Ballet School in England, was a member of The Royal Ballet before joining New York City Ballet in 1993. Since joining the Company, he has danced in many works in the repertory. In addition to his dancing career, Mr. Wheeldon has established an international reputation as a choreographer creating works for Boston Ballet, The Royal Ballet and San Francisco Ballet, among others.

For New York City Ballet, Mr. Wheeldon created Slavonic Dances for the 1997 Diamond Project and Scènes de Ballet for the Company’s 50th Anniversary Season. Mr. Wheeldon is currently creating a ballet for the 2000 Diamond Project, which will premiere on Friday, April 28.

The Campaign for New York City Ballet will also make possible the creation of a New York City Ballet archive, which will house important artifacts from the Company’s past. The archive will serve as a repository for historic documents, letters, choreographic notations, photographs, costumes and other ephemera that tell the story of one of the world’s most important cultural achievements.

Currently many of the riches of the Company’s history are scattered, and some have been lost altogether. The campaign will make the collection and preservation of these treasures possible. In the future these materials will be available for scholarly research, for exhibition, and to be otherwise enjoyed for generations to come.

Founded in 1948 by George Balanchine and Lincoln Kirstein, New York City Ballet is one of the foremost dance companies in the world, and has been instrumental in shaping the history of 20th century dance. Today with a Company of 91 dancers, under the direction of Ballet Master in Chief Peter Martins, New York City Ballet is America’s largest classical ballet company. Its repertory consists of more than 150 ballets, most of which were choreographed by George Balanchine, Jerome Robbins and Peter Martins for NYCB.

The Company performs for 23 weeks each year at the New York State Theater at Lincoln Center, which was designed for New York City Ballet by Philip Johnson to George Balanchine’s specifications. The Company also performs for three weeks each July at its summer home at the Saratoga Performing Arts Center.

New York City Ballet’s 2000 Spring Season opens on Tuesday, April 25 and continues through June 25 at the New York State Theater.

For more information on The Campaign for New York City Ballet, contact NYCB at (212) 870-5682, or by e-mail at campaign@nycballet.com.