Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638 Ilanagoldman.Org

Total Page:16

File Type:pdf, Size:1020Kb

Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 Ilanagoldman99@Gmail.Com 510-366-5638 Ilanagoldman.Org Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638 ilanagoldman.org Professional Preparation 2013 MFA, University of Washington. Major: Dance 1999 BFA, The Juilliard School. Major: Dance Professional Experience 2013–present Assistant Professor, Dance, Florida State University 2011–2013 Dancer, Chamber Dance Company Founded in 1990, this Seattle-based company comprised of MFA candidates at the University of Washington is renowned for presenting and archiving important works from the modern dance canon. 2011–2013 Graduate Teaching Assistant, Dance Program, University of Washington Instructor of Record for 14 courses and TA for 2. 2009–2011 Dancer, Trey McIntyre Project Founded in 2005, Trey McIntyre Project is a highly acclaimed national and international touring contemporary ballet company. 2005–2009 Principal Dancer, Sacramento Ballet Founded in 1954, Sacramento Ballet has gained a reputation for its productions of full-length classics, Balanchine ballets, and world premieres by significant contemporary choreographers. The company performs locally in California, as well as internationally. 2005 Guest Artist, Alonzo King LINES Ballet Founded in 1982, LINES Ballet tours nationally and internationally and is lauded as one of the finest contemporary ballet companies in the world. 2001–2003, 2005 Principal Dancer, Oakland Ballet Founded in 1965, Oakland Ballet has gained recognition for its revivals of ballets by Ballets Russes choreographers and the iconic works of Eugene Loring, Agnes de Mille, Kurt Jooss, and Antony Tudor. 2004 Dancer, Cedar Lake Contemporary Ballet Founded in 2003, Cedar Lake is known for its exceptional dancers and commissioning world-class choreographers. 1999 Dancer, Mia Michaels R.A.W. R.A.W. was Mia Michaels' New York-based concert dance company. Emmy award winner Mia Michaels is known for her work on So You Think You Can Dance as a judge and choreographer, and has choreographed for Madonna, Celine Dion, Ricky Martin, Gloria Estefan, and Prince, in addition to the Radio City Music Hall Rockettes, Broadway's Finding Neverland, and numerous televisions engagements. Honors, Awards, and Prizes University Undergraduate Teaching Award Nominee, Florida State University (2018) Ineligible for the award because nomination came within five years of previous teaching award University Undergraduate Teaching Award Nominee, Florida State University (2017) Ineligible for the award because nomination came within five years of previous teaching award University Undergraduate Teaching Award, Florida State University (2016) Recognized for excellence in teaching University Transformation Through Teaching Award, Florida State University (2016) One of 14 professors, university-wide, recognized for a transformative influence in the life of a student in and out of the classroom. Nominated by a graduate student. University Excellence in Teaching Award Nominee, Florida State University (2015) Ineligible because I had been at FSU fewer than two full years Full Scholarship/Tuition Waiver, University of Washington (2011) The award was applied to my MFA degree John Erskine Prize for Artistic and Academic Excellence, The Juilliard School (1999) Given to one member of Juilliard's graduating class Current Membership in Professional Organizations Dance Films Association National Dance Education Organization World Dance Alliance Teaching Florida State University Ballet I (DAA3208) Ballet II (DAA3209) Ballet III (DAA4210) Graduate Ballet (DAA5218) Pointe Technique and Variations (DAA3224) Graduate Pointe (DAA5228) Methods and Materials in Dance Education (DAE3384) Introduction to the Dance Profession (DAN4935) Honors Study in Dance (DAN4900) Intermediate Ballet-Nonmajors (DAA2203) DIS: Community Engagement (DAN5905) MA Capstone Project (DAN5905) DIS: Ballet Studies (DAN5905) University of Washington Beginning Ballet (DAN103A) Intermediate Ballet (DAN204A) Advanced Ballet (DAN402B) Beginning Modern Dance (106B) Intermediate Modern Dance (DAN204A) Introduction to Dance (DAN101B) Dance and Community (DAN490C) Understanding Dance – Online Course – Teaching Assistant (DAN100) New Course Development Dance and Community, University of Washington (2013) Curriculum Development BFA/MA Combined Degree Program, developed as part of the Curriculum Committee (2015) Doctoral Committee Member Duncan, R. (2014) Maurice Béjart's Third Space: Revision of Gender Through Dance. Master's Committee Chair Opiel, J. (in process) Reconnecting a Ballerina to her Body. Boni, H. (2017) Extensions of Us. Krumel, R. (2016) Beauty Unveiled. Range, V. (2015) The Way We're Made: Restoration of the Whole Self in a Compartmentalized Culture. Escher, L. (2014) Itinerant Italians: Making New Homes for Ballet in France and Russia. Master's Committee Member Li, Y. (in process) Choreographing Performer-Audience Relationships Through The Study Of Behavior And Attention. Booker, J. (in process) OWN: Investigating The Mere Ownership Effect in Object-Based Attachment and Detachment. Barcelona, A. (2016) Ballet: Classical, Neoclassical, Contemporary & Beyond Delineating the Path of Ballet Choreography from its Romantic, Ethereal Beginnings to the Contemporary, Abstract Realism of Today. Garcia, I. (2016) Embodying the Psychic and the Soul: A Journey of Exploration Through Darkness and Liberation. Caruso, N. (2014) The 610 Stompers of New Orleans: Mustachioed Men Making a Difference Through Dance. Stokes, C. (2017) Bridging the Gap: An Examination of my Dance Histories and Experiences in Bedford-Stuyvesant. Bachelor's Committee Chair Ewing, A. K. (2016) Ballet After School: Designing a Curriculum for an After-School Ballet Program in Public Schools. [Honors in the Major] Monahan, S. (2015) American Standards in Ballet Education. [Honors in the Major] Bachelor's Committee Member Velazquez, A. (2017) Transferring Improved Pelvic Alignment Into Ballet Technique Class. Master's Comprehensive Exam Committee Boni, H. (2017) MFA. Chair Lee, A. (2017) MFA Ross, D. (2017) MFA Stokes, C. (2017) MFA Barcelona, A. (2016) MFA Hand, E. (2016) MFA Krumel, R. (2016) MFA. Chair Range, V. (2015) MFA. Chair Ahn, J.E. (2014) MFA Supervision of Student Research Not Related to Thesis or Dissertation Ayo, A. & Fernandez, J. (Florida State University, 2018, BFA) Choreographic mentor for Days of Dance Concert. Opiel, J. (Florida State University, 2018, MFA) Choreographic mentor for Days of Dance Concert. Helman, M. (Florida State University, 2016, MA) Choreographic mentor for Days of Dance Concert. Parker, S. (Florida State University, 2016, BFA) Choreographic mentor for "Ladies Day" for Days of Dance Concert. Love, K. (Florida State University, 2015, BFA) Choreographic mentor for "To Stand Out" for Days of Dance Concert. Patsfall, A. (Florida State University, 2015, MFA) Choreographic mentor for "Bound" for Days of Dance Concert. Goos, A., (Florida State University, 2014, MFA) Choreographic mentor for Days of Dance Concert. Erickson, M., (U. of Washington, 2013, BA) Choreographic mentor for Dance Major's Concert - University of Washington. Additional Teaching not in Higher Education (2014, 2016, 2017) Ballet Technique Classes. Perry-Mansfield Performing Arts School and Camp (summers only) (2015) Ballet Technique Classes. Regional Dance America, National Choreographers Intensive (2009–2011) Company Classes. Trey McIntyre Project I taught ballet technique classes for the company's dancers. (2006–2009) Contemporary Ballet and Modern Technique Classes. School of the Sacramento Ballet (2004) Ballet, Pointe, and Variations Classes. Berkeley City Ballet (2001–2005) Company Classes. Oakland Ballet I taught ballet technique classes for the company's dancers. (2000) Ballet Technique Classes and served as Rehearsal Director for Juilliard students Appalachian Arts Festival I was appointed by Juilliard Director of Dance, Benjamin Harkarvy, to serve in this position for a three week residency of choreographer Adam Hougland, composer Justine Chen, and Juilliard students at this festival in Boone, NC. Research and Original Creative Work Publications Refereed Journal Articles Goldman, I. (2013). Performance Matters in Community Dance. Journal of Emerging Dance Scholarship, 1, 1–27. Retrieved from http://www.jedsonline.net/wp- content/uploads/2013/07/PERFORMANCE-MATTERS-IN-COMMUNITY- DANCE.pdf Presentations Invited Papers at Symposia (Presented 2012) "Performance Matters in Community Dance". In Graduate Research Symposium. Symposium conducted at University of Washington. (National) Refereed Papers at Conferences (Presented 2017, November) Community Arts Initiative: A Model for Community Engagement Within Dance Education. Paper presented at Annual Conference, National Dance Education Organization, San Antonio, TX. (National) (Presented 2017, July) Grassroots in Academia? Paper presented at World Dance Alliance Global Summit, World Dance Alliance, St. John's, Newfoundland, Canada. (International) (Presented 2015, July) Bridging and Bonding Through Place: An Investigation of Trey McIntyre Project's Use of Alternative Spaces and Common Place in its Engagement with Communities. Paper presented at the meeting of World Dance Alliance - Americas, Honolulu, Hawaii. (International) (Presented 2013, January) Performance Matters in Community Dance. Paper presented at the annual meeting, Hawaii International Conference of Arts and Humanities, Honolulu, Hawaii. (International) Invited Lectures and Readings of Original Work (2016) Meet the Artists. Delivered at Cincinnati Ballet, Cincinnati
Recommended publications
  • Dance Theater of Harlem and a Large-Scale Recycling of Rhythms
    dance theater of harlem and a large-scale recycling of rhythms. Moreover, the Stolzoff, Norman C. Wake the Town and Tell the People: Dance- philosophical and political ideals featured in many roots hall Culture in Jamaica. Durham, N.C.: Duke University reggae lyrics were initially replaced by “slackness” themes Press, 2000. that highlighted sex rather than spirituality. The lyrical mike alleyne (2005) shift also coincided with a change in Jamaica’s drug cul- ture from marijuana to cocaine, arguably resulting in the harsher sonic nature of dancehall, which was also referred to as ragga (an abbreviation of ragamuffin), in the mid- Dance Theater of 1980s. The centrality of sexuality in dancehall foregrounded arlem ❚❚❚ H lyrical sentiments widely regarded as being violently ho- mophobic, as evidenced by the controversies surrounding The Dance Theater of Harlem (DTH), a classical dance Buju Banton’s 1992 hit, “Boom Bye Bye.” Alternatively, company, was founded on August 15, 1969, by Arthur some academics argue that these viewpoints are articulat- Mitchell and Karel Shook as the world’s first permanent, ed only in specific Jamaican contexts, and therefore should professional, academy-rooted, predominantly black ballet not receive the reactionary condemnation that dancehall troupe. Mitchell created DTH to address a threefold mis- often appears to impose on homosexuals. While dance- sion of social, educational, and artistic opportunity for the hall’s sexual politics have usually been discussed from a people of Harlem, and to prove that “there are black danc- male perspective, the performances of X-rated female DJs, ers with the physique, temperament and stamina, and ev- such as Lady Saw and Patra, have helped redress the gen- erything else it takes to produce what we call the ‘born’ der balance.
    [Show full text]
  • Too Hot to Handel Cincinnati Ballet's the Nutcracker Les Ballets
    Too Hot to Handel November 29, 30 2003 Cincinnati Ballet's The Nutcracker December 5-14 2003 Les Ballets Africains February 27 2003 Dance Theatre of Harlem March 4-7, 2003 DETROIT Home of Michigan Opera Theatre David DiChiera, General Director DAIMLERCHRYSLER DaimlerChrysler Corporation Fund Copyright 2010,2003-04 Michigan Dance Series Opera Theatre No one can guarantee success. But knowing how to rehearse for it certainly helps. With over 250 relationship managers dedicated to one-on -one service, a full array of the latest financial products, and an emphasis on helping local businesses succeed, the Standard Federal Commercial Banking team makes sure your needs are always front and center. For more information, call 1-248-822-5402 or visit standardfede ralbank.c om . True Possibility. Standard Federal Bank ABN AMRO standardfederalbank.com ©2003 Standard Federal BankNA Copyright 2010, Michigan Opera Theatre Sur ender to Love DETROIT OPERA HOUSE . HOME OF MICHIGAN OPERA THEATRE ]B~VO 2003-2004 The Official Magazine of the Detroit Opera House BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Winer CONTRIBUTORS Dr. David DiChiera, General Director Matthew S. Birman, Editor Laura Wyss cason Michigan Opera Theatre Staff PUBLISHER ON STAGE Live Publishing Company TOO HOT TO HANDEL. .4 Frank Cucciarre, Design and Art Direction Program ............ .5 Blink Concept &: Design, Inc. Production Artist Profiles .................. ... ...... .6 Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales Rackham Symphony Choir ..... .. .............. .7 Marygrove College Chorale and Soulful Expressions Ensemble 7 Physicians' service provided by Henry Ford Medical Center. Too Hot to Handel Orchestra ... .... .... ........ 7 THE NUTCRACKER .9 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House.
    [Show full text]
  • Dance Theatre of Harlem
    Dance Theatre of Harlem Fundadors: Arthur Mitchell, Karel Shook Director artistic: Arthur Mitchell Director musical: Milton Rosenstock Programa I (dies 10, 11 i 14*) Serenade Piotr I. Txaikovski / George Balanchine Dialogues Alberto Ginastera / Glen Tetley Ginastera Alberto Ginastera / Billy Wilson Programa II (dies 12, 13 i 14**) Concerto in F George Gershwin / Billy Wilson Dialogues Alberto Ginastera / Glen Tetley John Henry Milton Rosenstock / Arthur Mitchell * A les 22 h. - "A les 17 h. Música enregistrada excepte en l'obra John Henry Tyrone Brooks, Karen Brown, Lorraine Graves, Yvonne Hall, Charmaine Hunter, Christina Johnson, Virginia Johnson, Hugues Magen, Ronald Perry, Cassandra Phifer, Keith Saunders, Eddie J. Shellman, Lowell Smith, Judy Tyrus, Augustus van Heerden, Donald Williams Dean Anderson, Elena Domínguez, Robert Garland, Endalyn Taylor-Shellman, Judith Rotardier, Lisa Attles, Fabian Barnes, Rodolphe Cassand, Tai Jiménez, Keith Thomas, Richard Witter Vince Collins, Felicity de Jager, Luis Domínguez, Kellye Gordon, Tassia Hooks, Adam James, Patrick Johnson, Andre Levitt, Valencia Yearwood Simone Cardoso, Lawrence de Maeyer, Ivonne Labrada, Andrea Bergquist, Sophia Cannonier, Theresa Howard, Marjorie Oron, Cynthia Shipley, Ramona Smith, Cedric Rouse, Ana Consuelo Rotardier, Ineke Rush és el patrocinador mundial del Dance Theatre of Harlem IBERIA és la companyia aèria oficial de la gira a Barcelona del Dance Theatre of Harlem f.II) TYRONE BROOKS Nascut a Newport News, Virginia. Va incorporar-se al DTH l'any 1979. Ha parti¬ cipat en els ballets següents: Troy Game, Equus, Othello, Billy the Kid, The Greatest, Concerto in F, Mirage, Fête Noire, Dougla, Banda, Bugaku, Firebird, Tocatta F Due Canzoni, John Henry, Stars and Stripes, Ginastera, Footprints Dressed in Red, Fancy Free, Greening, A Street Car Named Desire i Giselle.
    [Show full text]
  • Leon Levy BAM Digital Archive
    Brooklyn Academy of Music P R O G R AM C DANCE THEATRE 4/1-61Afr51 IIMIKINgrIrTr,7r477, BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Opera House DANCE THEATRE OF HARLEM Founders ARTHUR MITCHELL KAREL SHOOK Artistic Director ARTHUR MITCHELL Executive Director ROBERT J. TAYLOR Music Director MILTON ROSENSTOCK Dance Artists TYRONE BROOKS KAREN BROWN LORRAINE GRAVES YVONNE HALL CHARMAINE HUNTER CHRISTINA JOHNSON VIRGINIA JOHNSON HUGUES MAGEN RONAL D PERRY CASSANDRA PHIFER KEITH SAUNDERS EDDIE J. SHELLMAN LOWELL SMITH JUDY TYRUS AUGUSTUS VAN HEERDEN DONALD WILLIAMS Lisa Attles Dean Anderson Elena Dominguez Fabian Barnes Rodolphe Cassand Robert Garland Gregory Jackson Tai Jimenez Endalyn Taylor-Shellman Judith Rotardier Richard Witter Vince Collins Felicity de Jager Luis Dominguez Kellye Gordon Tassia Hooks Adam James Patrick Johnson Andre Levitt Rena Robinson Valencia Yearwood Andrea Bergquist Simone Cardoso Sophia Cannonier Lawrence de Maeyer Ivonne Labrada Calvin Shawn Landers Cedric Rouse Marjorie Oron Ramona Smith Connie Rotardier Ineke Rush American Express Travel Related Services Co., Inc. is proud to be the worldwide sponsor of Dance Theatre of Harlem. Dance Theatre of Harlem gratefully acknowledges the assistance of the New York State Council on the Arts, the National Endowment for the Arts, and the New York City Department of Cultural Affairs. All contributions are tax deductible. Major institutional support provided by the LILA WALLACE-READER'S DIGEST FUND. Funding for the orchestra for the New
    [Show full text]
  • Black-Ballerina-Discussion-Guide.Pdf
    1 WHAT’S MISSING? A STUDY AND DISCUSSION GUIDE FOR BLACK BALLERINA What’s Missing? The documentary film BLACK BALLERINA tells the story of several black women from different generations who fell in love with ballet. Six decades ago, Joan Myers Brown, Delores Browne, and Raven Wilkinson faced racism in their pursuit of careers in classical ballet. Today, young dancers of color continue to face formidable challenges breaking into the overwhelmingly white world of ballet. Moving back and forth in time, this lyrical, character-driven film presents a fresh discussion about race, inclusion, and opportunity across all sectors of American society. ___________________ WHAT IS CLASSICAL BALLET? What is known today as classical ballet began in the “...When a disgruntled military attempted at royal courts of France and developed through the noble houses one point to install a monarchy with George of the Italian Renaissance. In the 15th century, noblemen and Washington as king, he fiercely resisted.” women attended lavish dinners, especially wedding celebrations, Wilf Hey, “George Washington: The Man where dancing and music created elaborate spectacles. Dancing Who Would Not Be King,” 2000 masters taught the steps to the nobility and the court participated in the performances. In the 16th century, Catherine de Medici— an Italian noblewoman, wife of King Henry II of France, and a great patron of the arts—began to fund ballet in the French court. A century later, King Louis XIV helped to popularize and standardize the new art form. A devoted dancer, he performed many roles. His love of ballet led to its development from a party activity for members of the court to becoming a practice requiring disciplined professional training.
    [Show full text]
  • The SAA Performing Arts Roundtable Encourages the Exchange of Information on Historical and Contemporary Documentation of Music
    Performance! The SAA Performing Arts Roundtable encourages the exchange of information on historical and contemporary SUMMER 2016 NEWSLETTER OF THE SA A PERFORMING ARTS ROUNDTABLE documentation of music, dance, theatre, motion pictures, and other performance media. INSIDE THIS ISSUE: Message Page 3 from the Co-Chairs American Page 4 Dance Machine of the 21st Century: A “Living Archive” Ruth Page Page 14 and the Newberry Library’s Midwest Dance Collection Arthur Page 18 Mitchell Archive Comes to Columbia Denver Page 24 Civic Ballet Rises Again News Page 28 P A G E 2 Roundtable Leadership 2015-2016 Co-Chairs Steering Committee Newsletter Editors Katherine Crowe Karla Irwin Helice Koffler University of Denver University of Nevada, Las Vegas The Shubert Archive Denver, Colorado Las Vegas, Nevada New York, New York [email protected] [email protected] [email protected] Scott Schwartz Elizabeth Surles Maureen Cech University of Illinois Rutgers University University of Delaware Champaign, Illinois Newark, New Jersey Newark, Delaware [email protected] [email protected] [email protected] Image Credits ADM21 by Christopher Duggan, courtesy of The American Dance Machine of the 21st Century; excerpts from “Beale Street Blues” coaching session filmed by Nel Shelby available on Vimeo (p. 11); “Beale Street Blues” available on YouTube (p. 10); photo of Nikki Feirt Atkins by Dan Demetriad; photo of Georgina Pazcoguin by Matt Murphy Pages 14-17: Digitized video of film, F.2011-05- 0022b, available on the Chicago Film Archives;
    [Show full text]
  • Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638
    Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638 www.ilanagoldman.org Professional Preparation 2013 MFA, University of Washington. Major: Dance 1999 BFA, The Juilliard School. Major: Dance Professional Experience 2013–present Assistant Professor, Dance, Florida State University 2011–2013 Dancer, Chamber Dance Company Founded in 1990, this Seattle-based company comprised of MFA candidates at the University of Washington is renowned for presenting and archiving important works from the modern dance canon. 2011–2013 Graduate Teaching Assistant, Dance Program, University of Washington Instructor of Record for 14 courses and TA for 2. 2009–2011 Dancer, Trey McIntyre Project Founded in 2005, Trey McIntyre Project is a highly acclaimed national and international touring contemporary ballet company. 2005–2009 Principal Dancer, Sacramento Ballet Founded in 1954, Sacramento Ballet has gained a reputation for its productions of full- length classics, Balanchine ballets, and world premieres by significant contemporary choreographers. The company performs locally in California, as well as internationally. 2005 Guest Artist, Alonzo King LINES Ballet Founded in 1982, LINES Ballet tours nationally and internationally and is lauded as one of the finest contemporary ballet companies in the world. 2001–2003, 2005 Principal Dancer, Oakland Ballet Founded in 1965, Oakland Ballet has gained recognition for its revivals of ballets by Ballets Russes choreographers and the iconic works of Eugene Loring, Agnes de Mille, Kurt Jooss, and Antony Tudor. 2004 Dancer, Cedar Lake Contemporary Ballet Founded in 2003, Cedar Lake is known for its exceptional dancers and commissioning world-class choreographers. 1999 Dancer, Mia Michaels R.A.W.
    [Show full text]
  • Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638
    Ilana Sascha Goldman 2802 Coldstream Dr, Tallahassee, FL 32312 [email protected] 510-366-5638 www.ilanagoldman.org Professional Preparation 2013 MFA, University of Washington. Major: Dance 1999 BFA, The Juilliard School. Major: Dance Professional Experience 2013–present Assistant Professor, Dance, Florida State University 2011–2013 Dancer, Chamber Dance Company Founded in 1990, this Seattle-based company comprised of MFA candidates at the University of Washington is renowned for presenting and archiving important works from the modern dance canon. 2011–2013 Graduate Teaching Assistant, Dance Program, University of Washington Instructor of Record for 14 courses and TA for 2. 2009–2011 Dancer, Trey McIntyre Project Founded in 2005, Trey McIntyre Project is a highly acclaimed national and international touring contemporary ballet company. 2005–2009 Principal Dancer, Sacramento Ballet Founded in 1954, Sacramento Ballet has gained a reputation for its productions of full- length classics, Balanchine ballets, and world premieres by significant contemporary choreographers. The company performs locally in California, as well as internationally. 2005 Guest Artist, Alonzo King LINES Ballet Founded in 1982, LINES Ballet tours nationally and internationally and is lauded as one of the finest contemporary ballet companies in the world. 2001–2003, 2005 Principal Dancer, Oakland Ballet Founded in 1965, Oakland Ballet has gained recognition for its revivals of ballets by Ballets Russes choreographers and the iconic works of Eugene Loring, Agnes de Mille, Kurt Jooss, and Antony Tudor. 2004 Dancer, Cedar Lake Contemporary Ballet Founded in 2003, Cedar Lake is known for its exceptional dancers and commissioning world-class choreographers. 1999 Dancer, Mia Michaels R.A.W.
    [Show full text]
  • Ballet Association Presents the Reservations Appreciated: NE 8-4552 the St
    baug BAm 07`Lc, ea/twat ffi OPERA HOUSE The Brooklyn Academy of Music - 30 Lafayette Avenue, Brooklyn, N.Y. 11217 (212)6364100 Harvey Lichtenstein .............. Executive Director David Midland Director of Operations i Sharon Rupert ...................... Director of Finance Van Dyke Director of Development 346 FLATBUSH AVENUE, BROOKLYN, N.Y. Leon .................. Charles Ziff ......._ ................. Director of Promotion and Michel's a offers total evening package of our usual Audience Development dinner fare before theatre, and an after theatre special menu Jane Ward Production Manager in our Cabaret which features the most chic, Bob Lussier Theatre Managerox most sophisticated late nite entertainment in Brooklyn. Daniel J. Sullivan .................. Box Office Treasurer Betty Rosendorn .. ............. .. Children's Program Administrator Pre -theatre dinners and After theatre special menu Sarah Walder .... Group Sales Representative Attire: Vogue to Simplicity William Mintzer .................... Lighting Consultant to BAM No Cover No Minimum The Pennsylvania Ballet Association presents the Reservations appreciated: NE 8-4552 The St. Felix Street Corporation, a non -profit organization operating the Brooklyn Academy of Music. Abraham Beame, Honorary Chairman, Paul Lepercq, Chairman /Donald M. Blinken, President /Richard C. Sachs, Treasurer /Harvey Lichtenstein, Secretaryand ExecutiveDirector /Martin P.Carter /Barbaralee Diamonstein/ Donald Elliott /Mrs. Henry Epstein /Seth S. Faison /Richard M. Hexter/ Pennsylvania William Josephson /I. Stanley Kriegel /Samuel Lindenbaum/W. Barnabas The McHenry /Donald Moore/Mrs. Evelyn Ortner, ex -officio /Alan Patricof/ Kenneth Patton /David Picker /William Tobey /Edward L. Weisl, Jr., veryfpnous restaurant Administrator P.R.C.A.and Sebastian Leone, Brooklyn Borough President, w ' members ex- officio. Ballet :1 1.1;1; I. And The Very Famous Brooklyn Academy Of Music An inspiring combination.
    [Show full text]
  • Department of Dance Contact Information 2016-2017
    Department of Dance Contact Information 2016-2017 Ellington @ Meyer Campus 2501 11th Street NW Washington, DC 20001-3923 Ellington @ Garnet-Patterson Campus 2001 10th Street NW Washington, DC 20001-4007 Main Office: 202-282-0123 Dance Office: 202-299-5900 E-Mail: [email protected] Website: www.Ellingtonschool.org Head of School: Desepe de Vargas 1 Just to dance -- Just to soar -- Just to whirl -- Just to pose -- Just to prance -- Just to yearn -- With body sculpted, statuesque, step in flawless syncopation with the corps in tight formation, making time with every heartbeat, every turn…to be poetry in motion, with disciplined devotion. JUST TO DANCE! Excerpts from “Just to Dance” Linda Staten 2 TABLE OF CONTENTS ELLINGTON MISSION STATEMENT……………………...……………………4 THE ELLINGTON CREED……………………………………...………………....4 INTRODUCTION……………………………………………………………...….. .5 DANCE DEPARTMENT MISSION STATEMENT…………………….………..5 DANCE DEPARTMENT VISION STATEMENT…………………….………… 5 ABOUT THE DANCE DEPARTMENT……………………………..…………….6 DESA DANCE FACULTY………………………………………...……………...7-9 AUDITION………………………………………………………………….…...10-11 STUDIO DRESS REQUIREMENTS………………………………………….11-12 CLASS PLACEMENT………………………………………………….………….12 PROPER CLASSROOM & STUDIO DECORUM FOR DANCERS……....13-14 SELECTION PROCESS FOR CHOREOGRAPHIC WORKS…………...……15 NON-PARTICIPATION POLICY…………………………………………...…...15 ILLNESS/INJURY/PREGNANCY POLICY……………………………...……. 15 ATTENDANCE……………………………………………………….……………16 DANCE DEPARTMENT PERFORMANCE CONTRACT……………..…..17-18 EXTRA-CURRICULAR PERFORMANCE AND STUDY POLICY……….....19 GRADUATION REQUIREMENTS……………………………………….……...20 PROGRESS REPORT/ART FEES AND OTHER EXPENSES…………...……21 DANCE DEPARTMENT PARENT SUPPORT GROUP………………...……..22 ELLINGTON DANCE ALUMNI………………………………………….……...23 HAND BOOK RECEIPT…………………………………………………..………24 3 ELLINGTON MISSION STATEMENT The mission of Duke Ellington School of the Arts is to nurture and inspire passion for arts and learning in talented students who might not otherwise have an opportunity to develop their artistic skills.
    [Show full text]
  • Department of English and American Studies English Language And
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Tatiana Janigová Female Dancers of Colour in the World of Professional Ballet Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor Jeffrey Alan Vanderziel, BA for his guidance and helpful advice and my grandma for her love, support and encouragement. Table of Contents Introduction ......................................................................................................................... 5 1. Portraying the Situation and Main Problems of Ballerinas of Colour ..................... 10 The Situation of Dancers of Colour in Ballet .................................................................. 10 The Situation of Ballerinas of Colour.............................................................................. 13 Racism in Ballet ............................................................................................................... 15 2. Cultural and Organizational Barriers to a Dancer of Colour to Pursue Career in Ballet ………………………………………………………………………………………18 Stereotypical Images of Women of Colour ...................................................................... 18 Stereotypes about the Black Dancing Bodies in Association with Ballet Aesthetic ........ 21 The Distinction between White
    [Show full text]