Never-before-seen artifacts from the legendary career of Arthur Mitchell, African-American principal dancer with New York City Ballet and founder of the Dance Theatre of Harlem, are now on public display.

How does a body repeatedly collide with the ground, yet maintain its resilience? What does it mean for a ballet, an inherently light genre of dance, to be grounded? Where do dancers find the stamina to ceaselessly bound across the stage for a nearly 10-minute-long routine?

Choreographer Claudia Schreier is pushing boundaries in ballet. She is one of the first full-time freelance ballet choreographers in the art form, as well as an exceptionally innovative artistic voice.

In the wake of her death, colleagues and students remember former Chair of the Barnard Department of Dance Mary Cochran for her adamant belief in students’ capability of artistic growth and greatness.

In celebration of renowned dancer, choreographer, and artistic director Arthur Mitchell’s life-long contributions to racial diversity in dance, “An Informal Performance on the Art of Dance” was presented at Miller Theatre on Monday night.

The Columbia University Asian American Alliance aimed to combat racial stereotypes on Thursday by spotlighting Asian-American students’ artistic talent at its annual cultureSHOCK event.

For the CU Bellydance troupe, shimmies are a way to shake off American misconceptions about Middle Eastern dance.

From a feud between fairies and minions to five cats dancing for a prince and princess, inventive fairytale-like episodes abounded in Columbia University Ballet Ensemble’s performance of “The Sleeping Beauty.”

“It’s about more than just dancing,” Gabri Christa, choreographer and Assistant Professor of Professional Practice at Barnard, said about her creation for “Barnard/Columbia Dances at Miller Theatre,” the Barnard Department of Dance’s annual spring concert. “It’s about strength.”

Student-run organization Columbia Ballet Collaborative celebrated a decade since its inception this weekend at its “Spring Performances,” funded in part by alumni contributions, featuring alumni performers and restagings of works previously choreographed for CBC.