CERTIFICATE PROGRAM STUDENT HANDBOOK
2016-2017 Artistic Director, Igal Perry Director of Development, Yarden Ronen
Certificate Program Coordinator, Nikki Holck Certificate Program Assistant Coordinator, Cleo Sykes
Peridance Capezio Center 126 East 13th Street New York, NY 10003, USA 212.505.0886 www.peridance.com
Peridance Capezio Center ______Table of Contents
History of Peridance Capezio Center 3 Statement of Purpose 3 General Information 4 Size and Scope 4 Tracks 5 Program Components and Coursework 6 Sample Class Schedule 8 Faculty 9 Administrative Contacts 20 Board of Trustees 21 Peridance Capezio Center Facilities 21 Library Facilities 21 Housing 22 Tuition and Fees 22 Financial Aid 22 Withdrawal, Refund, and Transfer Policies 23 Attendance Policy 24 Sign In and Sign Out 26 Space Rental Procedure and Policy 26 Rules of Conduct 27 Dress Code 28 Tactile Cueing 28 Injury Policy 29 Admission Information 29 Orientation 29 Evaluation Policy 30 Failing Grades 30 Grading Policy 31 Retention Policy 32 Credit Policy 32 Graduation Requirements 32 Certificates Granted and Requirements 33 Media 33 Visa Options and Employment 33 Academic Calendar 34 Grievance, Probation, and Appeals Procedures 35 Self-Evaluative Process 35 Other Services 36 Contracted Education Services 36
Certificate Program 2 Peridance Capezio Center ______
History of Peridance Capezio Center
Peridance Capezio Center has been a core member of New York City’s dance community since its inception in 1983. Peridance Capezio Center provides a broad spectrum of dance education within a nurturing and professional environment, preparing dancers for the continuously evolving international dance scene. Peridance offers over 250 weekly adult open classes and is home to a world-renowned faculty, the Certificate Program, an International Student Program, the acclaimed Peridance Contemporary Dance Company, and The School at Peridance: a K-12 program training the next generation of dancers, emphasizing a thorough understanding of various dance techniques, while promoting self-expression and creativity.
Peridance Capezio Center is the culmination of years of hard work and a firm belief in dance as a positive force. The integration of traditional technique classes offered alongside the most cutting-edge dance styles emerging today has enabled the school to maintain its original premise: to offer high-quality dance education with integrity, without being compromised by commercialism. It is the fulfillment of Artistic Director Igal Perry's artistic vision and a source of inspiration for those who want to make dance an important part of their lives.
Statement of Purpose
Mission: The Certificate Program offers postsecondary students seeking professional careers in dance an opportunity to hone their technique in a guided environment; allowing room for them to remain students while simultaneously gaining professional experience. We aspire to provide dancers with a multi-faceted dance education, resulting in graduates who are technically accomplished, versatile, and disciplined. Students who complete the program are prepared to work in the competitive international dance arena, supported by strong technique, artistic sensibility, and overall a comprehensive education.
Goals: In four semesters, we aim to enable our dancers to: • reach an advanced level of technique in a variety of dance disciplines. • develop a thorough understanding of dance as an art form. • network in the international dance community. • obtain employment as professionals in the field.
Certificate Program 3 Peridance Capezio Center ______General Information
The two-year Certificate Program is designed for serious dance students between 17 and 25 years old who want to invest in an intensive, collegiate-level training program. By offering daily interaction with top international dance artists in New York City, we prepare students to enter the professional dance world fully equipped for success.
The Certificate Program's objectives are to provide a deep understanding of proper dance technique and performance expression, to foster extensive knowledge of the chosen dance track, and to develop a professional attitude. Performance skills are honed through numerous performance opportunities.
The program offers two tracks: Ballet/Contemporary and Commercial. The curriculum offers a minimum of three classes per day, five days a week, for each track. The program emphasizes personal attention and mentoring in order to nurture each student's full potential as a performer and an individual. Technique classes are drawn from course offerings designed especially for the Certificate Program to provide specialized experiences for the pre-professional student, and also from Peridance’s open class offerings, which allow the dancers to train alongside New York City and international profess ional dancers in a dynamic environment.
To facilitate their transformation into well-rounded dance professionals, students attend technique classes in varying dance styles relevant to their chosen track and non-studio classes and seminars that flesh out their education and knowledge of the field. Students receive letter grades in all technique and non-studio classes, as well as in Workshops, Performance Analyses, and Independent Study Projects.
Size and Scope
Total Enrollment Fall 2016: 28 students Total Faculty: 45 instructors (not including Workshop and Repertory Faculty) Total Accompanists: 13 musicians Total Administrative Staff: 8 employees Total Studios: 6 dance studios
Technique Classes: approximately 15 per week Non-studio Classes and Seminars: 3 per week Total Courses Offered: 30+ each semester
Total Workshops: 1 per semester required, unlimited allowed (at additional cost) Total In-Studio Showcases: minimum of 2 per year Total Productions: 2 fully produced productions per year
Certificate Program 4 Peridance Capezio Center ______Tracks
Ballet/Contemporary Track Designed for ballet, modern, and/or contemporary dancers. With over 60 monthly classes, training in this track focuses on the development of strong technical skills in both classical and contemporary vocabulary. Students study with innovative contemporary dance artists supplementing their foundational courses in ballet, pointe, Horton, Graham, Limón, Taylor, and Improvisation Techniques such as Gaga & Forsythe.
Commercial Track Designed for hip-hop, musical theater, and/or contemporary jazz dancers. With over 60 monthly classes, this track offers training in hip hop, musical theater, contemporary jazz, street jazz, acting for dancers, and voice, with classes in ballet and contemporary also required. Emphasis is placed on audition preparation and exposure to dance artists connected to the latest projects on Broadway and in the commercial dance world.
Both Tracks include: • Non-studio courses, such as Anatomy, Dance History, Dance Criticism, Composition I & II, Music for Dance, and Solo Performance Studies I - III. • Body conditioning classes: Yoga/Pilates/Stretch/Barre à Terre/GYROKINESIS® • Performance and choreographic opportunities • Personal mentoring and guidance • Workshops with guest master teachers, 1 required per semester • Discount for additional classes: Students may purchase 20-class cards ONLY. These cards do not expire for the duration of their time in the program, and can be purchased for $310 ($15.50 per class). • There is no discount for Workshop classes. CP Students must pay the regular or drop-in rate for all workshops. • Free studio space for Certificate Program use only; Discounted space for non-CP use, pending availability • Available list of housing resources upon request • Discounted performance tickets with Peridance Capezio Center Student ID’s, when applicable • Free Injury Prevention Assessment through the Harkness Center for Dance Injuries • Access to periodic physical therapy through the Harkness Center for Dance Injuries (Additional cost) • Discounts with our partnering businesses
Certificate Program 5 Peridance Capezio Center ______Certificate Program Components and Coursework Daily Technique Classes
Fall/Spring Semesters Students are scheduled for classes corresponding to their track, taking at least 15 classes per week, usually three per day. The first week of the Program is identified on each Academic Calendar as Add/Drop; This is a placement period during which schedules are adjusted as necessary to best benefit each student, particularly in regard to level. Adjustments to students’ schedules are also possible during the semester to facilitate upcoming performances, additional rehearsals, and special events happening at Peridance, for example. Students are given up-to-date schedules or are made aware of minor scheduling changes as early as possible by e-mail. The technique class schedule is drawn for each track from course offerings in ballet, pointe, modern, contemporary, yoga, Pilates, GYROKINESIS®, stretch, barre à terre, jazz, musical theatre, hip hop, house, waacking, voguing, and more. Please see the Course Catalog Fall 2016 – Fall 2017.
Summer Session Students participate in 52 technique classes per month for two months (July/August). In compliance with federal law, international students enrolled in the Certificate Program are required by Peridance to be in study for a full year; International students are obligated to take Summer Session, maintaining their full-time, year- round status. Summer Session is optional for domestic students for an additional fee. Summer Session classes are not for credit.
Rehearsals and Performances: The opportunity to learn, rehearse, and perform repertory is a vital component of each Certificate Program student’s education. Rehearsals are built into each student’s Weekly Class Schedule and are mandatory. Extra rehearsals are added to the students’ schedules as performance dates approach. Students are expected to be fully available for posted rehearsals. Rehearsals culminate into at least two in-studio showcases as well as two fully produced concerts in the Salvatore Capezio Theater.
Non-Studio Classes: Students attend at least two non-studio classes and several seminars each semester. Classes and seminars cover academic and career preparation topics.
Classes and seminars are drawn from the offerings below and are included in tuition:
• Academic • Career Preparation o Dance History o Coaching through video analysis o Anatomy o Building Connections: Networking o Dance Criticism in the Field o Composition I & II o Audition Prep: Headshots, o Improvisation Resumes, Reels, etc. o Music for Dance o Hair and Makeup for the Stage o Analysis of Professional Performances* o Voice & Acting
*Students must attend at least one performance related to their area of concentration per semester. Readings, discussions, and written analysis related to the performance will be required of all students. Ticket prices are not included in tuition but free and discounted tickets may be available with proper student identification, if applicable.
Class Levels: Certificate Program classes are leveled in order to allow for students to progress appropriately through their training in the Certificate Program. Levels are based on student’s technical ability and aptitude, and are decided by the Artistic Director and CP Coordinator after considering each student’s performance in his or her program audition and in classes during the first week of the semester. Progression to more advanced levels of technique class is contingent upon satisfactory completion of current coursework. Students who demonstrate consistent improvement in their technique, artistry, and professionalism are evaluated for subsequent placement accordingly.
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Independent Study Project (ISP): In their second and fourth semester, students will independently study a topic relevant to their studies in the Certificate Program and/or to their sensibility as artists. Projects are also encouraged to contain a certain level of practicality, so as to serve as an investment to the students and their future studies and/or careers. Students will make use of the Library of the Performing Arts at Lincoln Center, the New York dance scene, and various other materials. Forms of study and project topics must be chosen and submitted to the CP Coordinator at the beginning of the semester. Meetings will be held with the CP Coordinator or an assigned faculty advisor throughout the semester to mentor each student throughout the creation and eventual production of his/her project. ISP Showings (usually 2-3) will be scheduled within the last month of each semester for projects to be submitted and/or presented. Grading is completed by the CP Coordinator and assigned faculty advisor and is based on a myriad of criteria (see below). For each student’s final semester, his/her Independent Study Project will be considered his/her Final Project, has additional criteria to meet, and must reflect the student’s ultimate career goals.
ISP Grading Criteria CP Coordinator will grade each project on the following criteria. Proposal Submission ______(1-5) i.e. Submitted proposal by the due date, complete, etc.
Meetings (assesed by faculty advisor) ______(1-10) i.e. Attended all meetings, demonstrated consistent work, etc.
Presentation ______(1-20) i.e. Appropriate use of the “Form of Study,” a clear topic/intent, supporting materials, resources used, effectiveness, etc.
Content ______(1-30) i.e. Original v. unique, appropriate use of time and/or length allotted to convey the topic and translate the intent, what you are offering is educational, useful, entertaining, and/or thought-provoking, has a balance between quantity and quality been achieved, etc.
Artistic Exploration & Demonstration ______(1-30) i.e. How does the project relate to your work in the Certificate Program, how does it connect to the artistry already being expanded upon by your participation in the Program, were any discoveries made or questions provoked in relation to your purpose as an artist/dancer, etc.
Overall Impression ______(1-5)
TOTAL ______(1-100)
Plagiarism: There is a zero-tolerance policy regarding plagiarism in Certificate Program work. Any student caught plagiarizing anything in their Performance Analyses, Independent Studies, papers for non-studio classes, choreography or any other work will receive an automatic zero on the assignment and will face a disciplinary meeting with the Program Coordinator to discuss whether the situation warrants a zero in the course.
Please note that this applies to choreography and creative pursuits as well as written assignments. Credit must be given for any non-original idea presented in any format.
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Sample Semester Class Schedule
All class schedules are subject to change.
A sample Commercial Track schedule: A sample Ballet/Contemporary Track schedule:
Monday Monday Ballet 11:30am – 1:00pm Contemporary 10:00am – 11:30am Breaking 1:00pm – 2:30pm Ballet 11:30am – 1:00pm Hip Hop 4:00pm – 5:30pm Voice 2:00pm – 3:30pm
Tuesday Tuesday GYROKINESIS® 11:30am – 1:00pm Ballet 10:00am – 11:30am Theater Dance 2:30pm – 4:00pm Pointe 11:30am – 12:15pm Ballet 4:00pm – 5:30pm Limón 1:00pm – 2:30pm
Wednesday Wednesday Anatomy 8:30am – 10:00am Anatomy 8:30am – 10:00am Ballet 11:30am – 1:00pm Ballet 10:00am – 11:30am Seminar OR Rehearsal 1:00pm – 2:30pm Seminar OR Rehearsal 1:00pm – 2:30pm Hip Hop 4:00pm – 5:30pm Horton 2:30pm – 4:00pm
Thursday Thursday Acting for Dancers 2:30pm – 4:00pm Ballet 10:00am – 11:30am Contemporary Jazz 6:00pm - 7:30pm Pointe 11:30am – 12:15am Waacking 8:30pm – 10:00pm Contemporary 1:00pm – 2:30pm Improvisation 3:00pm – 4:30pm
Friday Friday Dance History 8:30am – 10:00am Dance History 8:30am – 10:00am Heels 10:00am – 11:30am Barre à Terre 10:00am – 11:30am Voice 12:00pm – 1:30pm Ballet 11:30am – 1:00pm Rehearsal 2:30pm – 4:00pm Rehearsal 2:30pm – 4:00pm
Certificate Program 8 Peridance Capezio Center ______Faculty
The students of the Certificate Program receive their training from highly accomplished dance professionals. Many of these professionals, in addition to extensive performing, teaching, and choreographic experience, also hold higher education degrees. Certain core faculty members teach students throughout their time in the Program, while others rotate to provide the most diverse education to the students. All Program faculty members are full-time unless otherwise noted. Adjunct faculty members are hired to teach classes for Certificate Program students only.
Igal Perry (Ballet) Igal Perry is the Founder and Artistic Director of Peridance Center. Mr. Perry’s international engagements as a teacher and choreographer include: The Scapino Ballet and Het National Ballet (Holland), Laterna Magica and the National Ballet (Prague), Architanz (Tokyo), The Royal Ballet of Sweden, The National Ballet of China, and the Kwang-Ju City Ballet Company (Korea), where he also serves as Artistic Director for the Kwang-Ju International Ballet Competition. Mr. Perry’s works are in the repertories of companies throughout the world, including the Batsheva and Bat-Dor Dance Companies (Israel), Companhia de Danca de Lisboa (Portugal), the Alberta Ballet (Canada), and Alvin Ailey II. Since 1995, Mr. Perry has been serving as guest Master Teacher at Juilliard. Mr. Perry’s work has been repeatedly presented at the prestigious Florence Dance Festival by the Peridance Contemporary Dance Company as well as by the Florence Dance Company.
Nikki Holck (First Year Seminar, Solo Performance Studies I) Nikki is from Honolulu, Hawaii where she began her dance training at Queen Emma Ballet. She continued her studies on scholarship at North Carolina School of the Arts. Nikki graduated from Canada’s National Ballet School, where she also completed her post secondary studies. Upon graduation, she joined the National Ballet of Canada. She moved to New York to join Peridance Contemporary Dance Company under the direction of Igal Perry. Nikki has had the opportunity to perform in a variety of contemporary and classical works, including pieces by Jiri Kylian, William Forsythe, Korhan Basaran, Bryan Arias, and Igal Perry. She is currently a freelance artist in New York working in collaboration with artists of different fields in addition to performing and teaching abroad with Korhan Basaran and Artists. Nikki is the Student Advisor for the Intensive Semester program and the Coordinator of the Certificate Program at Peridance Capezio Center.
Alexandra Beaty (Pilates) Alexandra Beaty was born and raised in California. Growing up around sports and dance, Alexandra was always active, but it wasn’t until she started experimenting with different forms of exercise that her flame was ignited. Alexandra fell in love with dance at the late age of 18 and found that exercising outside of the dance studio was crucial to her technique and dance training. In California she earned her Bachelor of Fine Arts in Dance along with her 200 Hour Yoga and Mat Pilates Certification. She is also a CrossFit Level One Trainer. As a result of her experience training in dance, Pilates, CrossFit and Yoga, she has a keen awareness of the body, a great understanding of movement, and a solid foundation on technique to ensure that her students are always safe. Alexandra loves pulling from all of her training in her clases. She prides herself on never teaching the same class twice and catering to the people that are in her class. She is passionate in helping others to find the love of fitness that she has found.
Kevin Bernard (Acting for Dancers) On Broadway he has performed in Billy Elliot, Curtains (u/s David Hyde Pierce), Oklahoma! and Thoroughly Modern Millie. His Off-Broadway work includes Lone Star Love and Sugarsuite. Kevin has performed across the country and globally in many touring productions and regional houses such as Goodspeed, Paper Mill, Olney and Mill Mountain. His all time favorite regional role was George Bailey in A Wonderful Life. On the road, his favorite role was Will Parker in Oklahoma! He is also a veteran of the thriving downtown art/theatre scene, having performed in spaces like Angel Orensanz, La Mama, HERE and Surf Reality. He was regularly seen in the early years of the New York International Fringe Festival. As a singer/songwriter he performed in many clubs including the historic CBGB. He is currently developing a new rock opera which has been performed in concert version at Dillon’s/NYC. In film he can be seen in Nanny Diaries, Stepford Wives and Little Manhattan, as well as numerous indie films. His most recent commercial is as the new spokesperson for OBI showing in over a dozen countries. He studied at the University of Texas on an acting scholarship. He finished his studies at University of Houston with such theatre luminaries as Edward Albee and Jose Quintero where he received a BA in Drama. He taught extensively throughout the Houston School system as an adjunct acting teacher. In New York City, he is a regular speaker for Manhattan Tour and Travel, offering insight to aspiring actors. Most recently, he has taught vocal performance and acting at Coupe Dance Studio in Nanuet, NY.
Billy Blanken (Ballet) Billy started his professional career as a principal with the Amy Marshall Dance Company before joining Les Ballets Grandiva. Some of Billy’s freelance credits include; principal guest artist with Brooklyn Ballet, Dances Patrelle, CoDa21 of San Juan, Puerto Rico, Catherine Gallant Dance, Atlantic City Ballet, York Dance Works, Mobile Ballet, Flexicurve, Northwest Florida
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Ballet, Lane & Co Arts, Eidolon Ballet, Sun Valley Ballet, the East Village Dance Project, Yuka Kawazu/Danse En L’air, Northeastern Ballet Theatre, Neville Dance Theatre, isadoraNOW, Ballet Mink Colbert, and performing Michael Foley’s work in the Howl on the Road Festival at Lincoln Center. He is a frequent collaborator with Project In Motion and has been commissioned to stage several of his works on their company. He is currently a Senior Artist with Ajkun Ballet Theatre and is the Showcase Coordinator for their annual New York Winter Festival. Billy is original collaborator, writer, producer, choreographer and performer of “the intimacies project” with dancer Jordan Marinov, filmmaker Bill Hayward and late Musician/Playwright Anna Elman. ‘the intimacies project’ was featured at Port Authority by Times Square Alliance, Galapogos Arts Center, the Rover Soho, and Jennifer Muller’s The Hatch series. Billy has taught at Peridance, the Jakarta Intercultural School, the School at Steps on Broadway, the East Village Dance Project, Ball State University, Astoria Fine Arts Dance, Wright State University, D’Valda & Sirico Dance and Music Centre, the Gary Geiss Dance School, SUNY Purchase with isadoraNOW, Northwest Florida Ballet, Northeastern Ballet Theatre, New York Dance Experience, with Brooklyn Ballet’s ‘Elevate’ program, and Montclair State University via the Amy Marshall Dance Company.
Becky Brown (Limón) Becky Brown is originally from England. She completed her dance training at the Laban Centre, London, went on to be a member of Transitions Dance Company, and then continued her training in Canada. Becky was a member of Loop Dance Company for 12 years and has worked as a freelance teacher, choreographer and dancer. Becky has also taught at University level, on Dance Degree and Performing Arts Degree courses in the UK. Becky trained in the Limón technique on the Professional Studies Program and the Limón Teachers Program at the Limón Institute. She is the Limón Program Manager and a current faculty member.
Nina Buisson (Stretch) Nina Buisson is an internationally acclaimed choreographer and dance educator who developed an original release-based and imagery-laden dance technique. Nina is an “excellence” scholar from the Princess Grace Academy of Classical Dance and has obtained her musical training from the Prince Rainier III Music Academy in Monaco. She holds a professional teaching diploma in ballet and modern dance from the Cultural Ministry of France, Aix en Provence. Nina Buisson has garnered critical plaudits and top prizes for her solo performance at numerous national dance competitions in France and Italy. Her inspiring choreography has been presented at renowned New York City venues: “The Best Of” at The Danny Kaye Play House at Hunter College, “Festival on the Pier” at Hudson River Park, The 10th Annual Asian Pacific American Heritage Festival, The American Theatre of Actors, The Latin USA Film Festival Party Extravaganza at Madison Square Garden, The International Dance Festival 2004 at Duke Theater on 42 St., The Dicapo Opera Theater in 2005, The Juilliard Senior Graduation Showcase 2005, La Mama Moves Dance Festival 2007 "Motion Makers,” The Motion Capture Lab held at the Steinhardt School of Education at New York University, HERE Art Center, and at White Wave 2007 Dumbo Dance Festival, The Joyce Soho Theater in 2007, Jennifer Muller’s the Hatch in 2008, and at The Judson Mermorial Church for the “Avant-Garde Festival” in the summer of 2009. Outside of New York, Nina has choreographed for: Bollywood Film & Music Awards Show in Atlantic City; Elan Awards at the Fashion Institute of Technology’01, ’02, ’03 & ’05; InSync Dance Theater at Hope College in Michigan; Freespace Dance Company at Montclair State University in New Jersey; Houston Metropolitan Dance Company; Christopher Huggins & Philadelphia School of Dance Arts. Nina has taught all over the world including France, Italy, Spain, Sweden, Mexico, and the U.S. Most notably, she has taught a company class with LE CIRQUE DU SOLEIL during the New York tour for the show "DELIRIUM" at Madison Square Garden. In the winter of 2010 Nina travelled to Brazil, Spain and France with the aquatic show “Paraddax Water” where she performed as an aquatic dancer. Concurrently, she conducted workshops in Italy with the International Workshop Series “Yes You Can Dance”. In addition to Nina’s ballet and modern proficiency, she is also trained in Yoga, Butoh and Tai-Chi. She holds a certificate in “Yoga & Holistic Eastern and Western Therapy” from the “Qi-Yo Universal Holistic Center” in NY, where she has been studying Integral Yoga with Antonia Katrandjieva and teaching Essential Stretch and Contemporary Dance for the past four years. Nina is currently completing her post-graduate studies in Physical Therapy and Dance Movement. She lives in New York City where she is on faculty of Peridance Center, Qi-Yo Holistic Center, Ballet Arts at City Center and The Valentina Kozlova Dance Conservatory.
Candace Brown (Commercial Hip Hop) Candace Brown is a dancer/choreographer/instructor with a hugh passion for the art of dance. She has taught in Los Angeles for 5+ years as faculty at Debbie Reynolds Studio, Millennium Dance Complex, and Edge PAC. She has also traveled teaching around the world in various countries like Japan, Spain, Australia, Russia, Brazil, Greece, Poland, Ireland, Amsterdam and more, and also in states across the U.S. Candace is a Monsters of Hip Hop Show alumna, and was principal dancer on UNITY LA directed by Tessandra Chavez. She has choreographerd for artists like Nicole Scherzinger, under the direction of Jaquel Knight, and danced/assisted major choreographers on various television shows like “X-Factor” (chor: Kevin Maher) and “Dancing With The Stars” (chor: Aakomon Jones). Recent credits include Janelle Monae, and BET’s “Black Girls Rock” with choreography by Luam Keflezgy. Candace’s transition to New York City is an exciting time for her and she is so honored and humbled to share her craft with the east coast. She hopes to continually be inspired and inspire others by doing what she loves.
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Janelle Cambridge (Jazz) Janelle C. Cambridge (Nellie) was raised in Brooklyn New York. Knew she wanted to be a dancer at the age of three years old. Never wanted to do anything else but dance,and share her talent with others. She started out dancing at a private dance competition studio doing ballet, tap, jazz and lyrical. Then went off teaching at the age of 15 years old. She wanted to expand her knowledge of dance by getting scholarships at schools in New York City such as The Martha Graham School, Joffery Ballet, Alvin Ailey and Broadway Dance Center and studied with Sheila Barker and Frank Hattchett and etc. After years gone by of training at those amazing schools at the age of 16 and on she had her daughter in 2000. Nellie realized she wanted to find out how to get into the commercial world of dance, and thats when she met her future mentor, friend and sister of dance Rhapsody James. After her second class with Rhapsody, Ms. James pulled Nellie to the side and asked her if Nellie would like to join her company...Rhapsody The Company. So from coming from a private competition dance studio (DWDC) to training at the best schools in New York City from ballet, modern and jazz her life was about to take a turn for the best cause Rhapsody James believed that Nellie had it in her to also be able to do Hip Hop and Street Jazz too. That all started in 2001 at the studios of BDC and after 10 years of being in her company Rhapsody also cast Nellie in her new amazing show Siren Assassin "Dance to Die for". Siren Assassin has been successful in New York City for 3 years and went on to be successful in LA. Nellie plays Venom The Housewife. From then on she has been in movies such as American Gangster as a principal dancer, Step Up 2 The Streets and Step Up 3D playing as Fly. Then went off to dancing for Ms. Bette Midler in the hit show in vegas "The Showgirl Must Go On" as a show girl for two years. Also worked in awards shows such as MTV, AMA's and Hip Hop Honors. Working with artist like Beyonce, Rihianna, and New Kids on The Block, Kelis, Musiq Soulchild, Ginuwine, Mary J. Blige and etc. Nellie also had the privilege of working with choreographers as the amazing Luther Brown, Kevin Maher, Fatima Robinson, Laurie Ann Gibson, Dave Scott, Hi Hat, Rich and Tone and the amazing Ms. Toni Basil. Nellie is also in a Poppin Group in LA called The LB's formally know as The Lady Boogaloos, which is founded and created by The Legendary "Poppin Pete". She recently just came back from teaching in Guam for two and a half months. What's next for Nellie, is to continue to follow her dreams and to keep trying to share her talent with others. To give back to the next generation.
Pat Catterson (Composition) Pat Catterson’s parents were a ballroom dancing team and her paternal grandfather a Vaudevillian tap dancer. A NYC based artist, she has choreographed 108 works, receiving many accolades including a 2011 Solomon R. Guggenheim Choreography Fellowship and multiple Choreography Fellowships from the National Endowment for the Arts, the CAPS Grants and the Harkness Foundation, as well as a Fulbright Commission. A dedicated educator, she has been on the faculties at Sarah Lawrence College, UCLA, the Juilliard School, and the Merce Cunningham Studio, among many others. For twenty years she taught her own tap classes in NYC and has been a guest artist all over the US and in Europe, most recently in the Kalamata International Dacne Festival in Greece. Her writing has been published in Ballet Review, JOPERD, Attitude Magazine, Dance Magazine Online, the Getty Iris, and the Dance Research Journal. She first performed Yvonne Rainer’s work in 1969 and since 1999 has worked as her dancer, rehearsal assistant, as well as custodian of Rainer’s early works, touring nationally and internationally. She earned her BA in psychology and philosophy from Northwestern University and her MFA in Interdisciplinary Arts from Goddard College. Her latest work NOW. is an installation/performance/event paired her eight NYC dancers with those in nine other countries via Skype projection.
Richard Chen See (Taylor) Richard Chen See danced for the Paul Taylor Dance Company for fifteen years (1993 – 2008), originating and assuming roles from the repertory spanning more than fifty years. Mr. Chen See has been authorized by Paul Taylor to stage/rehearse Mr. Taylor’s dances on companies and educational institutions around the USA and the world, including Taylor 2, the New Zealand School of Dance (as a Fulbright Specialist), Rambert Dance Company (UK) and American Ballet Theater. He has also taught technique classes and Paul Taylor based projects at the Taylor School (1994 – present) and for the American Dance Festival (2010, 2011), New Orleans Ballet Association summer intensive (2012). A Jamaican by birth, where his early training was in ballet, modern and Afro-Caribbean folk forms, Mr. Chen See began his professional career in 1978 dancing with companies as varied as Northern Ballet Theatre (England), Oakland Ballet (USA), ODC/San Francisco (USA) and various independent productions in classical, contemporary and experimental disciplines before joining Paul Taylor Dance Company.
Marcus Allan Cobb (Hip Hop) A proud native of Capitol Heights, MD, Marcus was introduced to the entertainment industry shortly after receiving his B.S. in Family and Consumer Sciences at North Carolina A&T State University. In 2012, he packed his belongings and moved to Atlanta, GA to pursue his dreams of becoming a professional dancer. Marcus was able to tour internationally with the group iLuminate, from the hit TV show America’s Got Talent, and perform in the off-broadway show “Artist of Light”, in New York City. His most memorable moment is performing for Michelle Obama and Jill Biden at the 2013 Kid’s Inaugural Concert. He has worked with renowned choreographers such as Luam Keflezgy, Tanisha Scott, Rich & Tone Talauega, and Jasmine Guy among others. Credits include Mariah Carey, Daddy Yankee, iLuminate, Ozomatli, and others. He has been featured in a
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Netflix Original Series: The Get Down, America’s Got Talent, BET Networks, and CBS. Marcus is the creator and designer of AllanMarco Collections, a clothing retailer based in NYC, known for its “Dance Casual” apparel. Marcus is a dedicated performer who dedicates his career to his mother, Ola Kelly-Avant, his guardian angel.
Laurie de Vito (Contemporary Simonson Technique) Laurie de Vito was a founding director of Dance Space/Dance New Amsterdam where she taught for 30 years. Along with her company, Laurie De Vito and Dancers, she has taught, choreographed, and performed at schools and theaters across the United States, Canada, and abroad. Most notably, she has worked at NYU Tisch School of the Performing Arts, Yale University, York University (Toronto), Montreal Jazz Festival, Spirit Square Center for the Arts (NC), Gustavus Adolphus College (MN), Tel Aviv Dance Center (Israel), I.A.C. Studio (Tokyo), International Dance (Spain), Balettakademien (Sweden). She has self-produced 8 seasons in NYC. Laurie brings Simonson technique which is specifically designed for dancers of all disciplines and injury preventive to Peridance Capezio Center.
Julia Ehrstrand (Contemporary) Julia graduated with a Bachelors Degree in dance/teaching from DOCH/University of Circus and Dance (Stockholm), She has also studied at Institut del Teatro (Barcelona) and graduated from the ISVP program at DNA in 2009. Since coming to New York in 2007, she has danced for TNSP, Jana Hicks/Marijke Eliasberg, Max Stone, Abe Abraham, Carrasco Dance Company, Destiny Bergwall and Collective Noir, among others. In 2010, she choreographed a piece together with Akiko Tomikawa for the Joffrey School of Ballet Summer Intensive. Her choreography has been presented at DOCH in Stockholm and other festivals in Sweden. She has taught at The Royal Swedish Ballet School in Stockholm, DOCH (Stockholm), Balettakademien (Stockholm), Daily Professional Classes for Danscentrum (Stockholm), Amsterdam School of the Arts (Amsterdam), UiS/ University in Stavanger(Norway), the Joffrey Ballet Summer Intensive, Ballet Hispanico, Peridance Capezio Center, Gibney, DNA, Steps on Broadway and Conneticut Dance Conservatory. Julia has also been dancing/choreographing/teaching in China, Uganda and Ethiopia. Julia has also assisted Max Stone in NYC and in Norway and assisted TNSP in Europe and NYC.
Mike Esperanza (Contemporary) Born in Manila, Philippines and raised in Southern California, Mike Esperanza has established himself as a sought-after teacher and choreographer throughout the nation. With a BFA in graphic design from California State University, Fullerton, Mike’s approach to visual construction has influenced a unique movement orchestration on stage. His works have been commissioned by prestigious college and university dance programs including Chapman University, Loyola Marymount University, UNLV, Cal State Long Beach, Cal Poly San Luis Obispo, and Utah Valley University to name a few. Six choreographic works have made regional gala appearances at the American College Dance Festival, with 3 going on to perform at the American College Dance Festival National Gala held at the Kennedy Center in Washington, D.C. In 2005, Mike was awarded the “Dance: Creation for Performance” grant presented by Dance/USA and the Irvine Foundation. With this distinguished award, BARE Dance Company began. BARE has produced numerous shows around Southern California including the Lester Horton Award nominated “Manhattan” – an alternative take on West Side Story. Mike has also been a finalist at the Palm Desert Dance Under the Stars Choreography Festival in 2006, 2008, 2009 and 2010 taking second place in 2009 and winning the paid engagement award in 2010. BARE was recently part of the “Innerstate” roster presented by ODC Theater and finded by the Irvine Foundation. The program allowed the company to perform numerous cities in Southern and Northern California.
Diego Funes (Stretch, Contemporary) Diego Funes trained in gymnatsics from the age of 4 and competed in national championships as a teenager. Around that same time, he fell in love with dance and was accepted to the School of American Ballet. He went on to dance with the Cincinnati Ballet, The Metropolitan Opera, the New York City Opera, and Balleto del Sud. After touring in Europe, he returned to the US to dance in shows such as Cats, Hello, Dolly!, Riverdance, Anything Goes, and A Chorus Line. His other performing credits include the Radio City Christmas Spectacular and numerous videos and performances for MTV. He has also danced with legendary music artists Whitney Houston, Will Smith, and Liza Minnelli. As a choreographer, his credits include the film P.S. I Love You, starring Academy Award winner Hillary Swank and Gerard Butler. He has also choreographed productions of musicals Beauty and the Beast, Hello, Dolly!, And the World Goes Round, Zorba!, Leader of the Pack, the first New York revival of Subways are for Sleeping, and shows for Tokyo Disney. In 2006, Diego founded de funes dance company as a home for his unique choreographic style, which utilizes his ballet and gymnastics backgrounds and the many international influences of his life and travels. As a teacher, he instructs teenagers and professionals dancers in classical and contemporary forms and stretch techniques. He currently resides in New York City.
Andy Gale (Voice) ANDY GALE: Director/ Audra McDonald with the Boston Pops, I LOVE YOU, YOU'RE PERFECT, NOW CHANGE in Melbourne, Bethesda, and Allentown, THEY'RE PLAYING OUR SONG for Regent Cruise Line; LOST AND FOUND in Sacramento; Broadway Credits, Actor/SIDE SHOW, JANE EYRE, RAGS, THE WORLD OF SHOLEM ALEICHEM; National Tours, Actor/ LES MISERABLES, CATS, THE SECRET GARDEN; Master Teacher/ Buck Hill Skytop Music Festival, Heifetz
Certificate Program 12 Peridance Capezio Center ______
International Music Institute; Adjunct Professor/Vassar College, Barnard College; Vocal Instructor/Musical Theatre and Jazz Dance Program-Jacob's Pillow Dance Festival; Guest Teacher for Mark Moorman (The Juilliard School), Loyola University New Orleans, Wayne State University, Baltimore School for the Arts, Discover Opera (Manhattan School of Music); Recent Coaching/Kathleen Turner, Will Swenson, Lou Taylor Pucci, Ashley Bouder; Chautauqua Opera/Music Theatre Revue Director 2009, 2011-2016, Family-Friendly Opera Revue Co-Director/Writer - 2014 & 2015.
Korie Genius (Dancehall) Korie Genius was born in Kingston, Jamaica and grew up in Brooklyn, New York. He has been studying dance for many years and is well-versed in many styles including hip hop, dancehall, flexing, krumping, and popping. Korie’s roots in the culture of dancehall has led to a career in this art form. He has been teaching the style for over 5 years at studios including Brooklyn Dance Project, Broadway Dance Center, and Peridance both on his own and with his group, Blackgold. Genius has choreographed for and performed wih many well-known artists including Mr. Lexx and Mr. Vegas and has been featured in many music videos including Bunji Garlin’s “Brrt” and Rebel Star’s “Look What I Can Do.” He has also choreographed for Syabrite and Sirens After Dark in New York City. Recently, Korie created a very popular dancehall workshop, “Badda Dan Dem,” which brings choreographers and teachers from all over the world together to share their passion for dancehall. Korie strives to make his class accessible to all levels of dancers by mixing simple grooves and movements with more intricae choreography. He infuses each class with authentic dances that help the students to understand the roots of dancehall. Korie is very passionate about his craft and this shows through in each class he shares with his students. His goal as a teacher is to share his love of dancehall and to help all his students feel confident in the style.
Emily Greenwell (Commercial Contemporary) Emily was raised in Michigan and in 2009 moved to New York City. She completed the Professional Semester at Broadway Dance Center, and most recently continued her training studying with Erica Sobol in “The Gypsy Project: LA”. Upon moving to New ork, Emily booked a tour with “Oz the Musical”, directed by American Idol finalist Todrick Hall. Emily can be seen as a featured dancer on the Wendy Williams Season 5 TV Promo, choreographed by Luam and Derek Mitchell. Other credits include dancing for rock group Phish choreographed by Jon Rua at the Boardwalk Hall in Atlantic City, and traveling to Argentina to perform the works of Derek Mitchell. Emily teaches at Broadway Dance Center in both open classes and the children & teen programs. She taught workshops and master classes as a guest teacher in Buenos Aires, Argentina, and continues teaching and setting choreography on various studios throughout the United States. Emily has gained a great deal of knowledge about the industry through her work as an assistat choreographer to Derek Mitchell, with projects including “SoYou Think You Can Dance”, “The Brooklynettes”, music videos for artists Carrie Underwood, Sylvia Tonsun, and Irina Jade, and most recently as assistant to choreographers Jon Rua and Derek Mitchell in “Broadway Bares: United Strips of America”, directed by Nick Kenkel. Emily has also assisted Derek Mitchell with industrials for the NBA Playoffs, Sears, Clarins, Fonseca, and NYC Color, to name a few. This past summer, Emily was selected as “The Featured Choreographer” for The Pulse on Tour in New York City, giving her the opportunity to choreograph the Opneing Number for their 10th Anniversary Gala. Emily was also recently asked to set choreography on Broadway Dance Center’s Professional Semester students for their summer showcase. Through assisting and performing, Emily has found her creative voice, developing a method of teaching and a genuine passion for choreography. She is a firm believer that dance should be a release from reality as well as a challenge of the mind and body. Emily is so grateful to be living her dream in the Big City and sharing her love for art through movement.
Yuki Hasegawa (Pilates) Yuki Hasegawa is a native of Japan. She holds her MA in Dance and Dance Education from NYU, and her BA from Kobe College in Japan. As a dancer and actress, she performed in major musical productions in Tokyo, such as Oliver, Golden Boy, SANADA, No, No, Nanette, and Little House on the Prairie, as well as in Japanese TV dramas and commercial films. She founded Azul Dance Theatre in 2004, and has presented her dance works at various venues in NY, such as United Nations Auditorium, 92nd Street Y, Ailey Citigroup Theater, Salvatore Capezio Theater, Frederick Loewe Theater, John Ryan Theater, Dance New Amsterdam, Dixon Place, Theater for the New City, Merce Cunningham Studio, and DiCapo Opera Theater. She was invited to the 16th International Congress on Dance Research (Greece) for lecture demonstration of traditional Japanese dance in 2002, and her research paper, "Traditional Japanese Dance ---movement and choreography" was published in DVD format for the 20th World Congress on Dance Research in 2006. She has taught creative dance for children at United Nations, and she is currently a faculty member of Peridance Capezio Center and has taught at their certificate program in New York
Sekou Heru (House) Sekou Heru, aka Tony Williams, has been involved in the performing arts since he was very young. His first love was b-boying. In high school, he attended Mercer County School of the Arts and studied modern dance. In 1993, Sekou started studying Capoeira Angola with Mestre Joa Grande at the Capoeira Academy in NYC. He went on to fuse his breaking and modern dance styles with hip hop and house dance. Sekou has worked with Gwen Gethrey, toured with Jazzy Jeff and the Fresh Prince, and can be seen in videos with Aretha Franklin, MC Lyte, Clubland, Pet Shop Boys, Foxy Brown, and Jay Z. Sekou
Certificate Program 13 Peridance Capezio Center ______was a featured dancer in the movie Marty X with Damon Wayans, can be seen in the dance scenes on Spike Lee’s The 25th Hour, and seen in Brown Sugar starring Taye Diggs and Sanna Lathan. He has toured in Germany with German rapper Tony Cottura, and has traveled several times to Japan for the annual premier Dance Delight event as a guest judge and featured dancer with the group Dance Fusion, of which he is a founding member. He was a part of the opening act for Cece Peniston’s Japan tour, and also opened for Cool C's Let me clear my throat in his Japan performance. He was featured in Japan’s "woofin" magazine as one of NYC’s top dancers. Sekou toured the USA with Fred Ho and The Afro Asian Ensemble in the Martial Art stage show Voice of the Dragon. In 2005 Sekou choreographed the Dance Dance video for Fall Out Boy that went #1 in the country and won a Best Video Award at the MTV VMAs.
Jana Hicks (Contemporary, Yoga) Jana Hicks holds a BFA from SMU, and has performed with a variety of companies and choreographers including Max Stone and The Kevin Wynn Collection. She is co-artistic director of The Next Stage Project, and has taught and choreographed in the US and abroad, most recently Holland, Germany, Norway, Sweden, Switzerland, Hawaii, and Japan. Jana is also company manager for The Kevin Wynn Collection and Johannes Wieland.
Mark Janas (Voice) Mark Janas began his piano studies at age of three, composed a sonatina at 5, and by high school was conducting the Hammond Area Youth Orchestra. At Indiana University he studied with pianist Karen Shaw, composer Bernhard Heiden, and conductors Jan Harrington and Tibor Kozma, among others. While a senior at Indiana, he was chosen by Leonard Bernstein to conduct at Bernstein festivals in Israel and Austria. He was twice Bernstein’s assistant, for concerts with the New York Philharmonic and Boston Symphony orchestras. After receiving a bachelor of music degree from Indiana University and a brief stint as associate conductor of Texas Opera Theatre, he acquired a master’s degree in orchestral conducting at Rice University, while simultaneously founding and conducting a professional group, Orchestra Texas. In 1982, he was a conducting fellow at the Los Angeles Philharmonic Institute, studying with Bernstein, Tilson Thomas, Hogwood, and Blomstedt. In 1984, he jumped the fence to musical theater, composing a score for an historical drama The Lone Star, later recorded in London with members of the LSO, and later conducted the Houston Symphony in a performance of a Suite from the work. Janas music directed the world’s largest production ofHello, Dolly!, creating all-new arrangements for its star, Marilyn Maye. He performed all over the United States as associate conductor for two national tours of Les Misérables, as well as music directing for the Yale Repertory Theatre, Hippodrome State Theatre, Arkansas Repertory Theatre, and New Dramatists, to name a few. He music directed the Chautauqua Opera Cabarets in 1998 and more recently has performed and released a CD with 2001 Best Debut BackStage Bistro and MAC award winner Julie Reyburn. Performances with Maree Johnson took him to Australia, and last summer two New York readings of his original musical, PoeSCrypt, were very well received; a recording of the work is currently in process. Mr. Janas won the 2002 BackStage Bistro Award for Outstanding Achievement in Musical Direction, and, having taught before at Yale, Barnard, Concordia, and NYU, as well as his Acting The Song class with colleague Andy Gale.
Jae Man Joo (Ballet) Jae Man Joo started classical ballet training in Kwang-Ju, Korea where he was born and raised. He also studied modern dance and Korean traditional dances. After graduating from Dankook University in Seoul, he danced with a wide range of Korean dance companies including Korea Contemporary Dance Company. Before moving to New York City in 1996, he received the Best Individual Artist Award from the Bagnolet International Dance Festival in Paris, France. He has worked with Zvi Gotheiner, Igal Perry, Ballet Hispanico, She Wei, Michel Elliman, and past 15 years he worked with Complexions Contemporary Ballet, serving as a dancer, ballet master, and Associate Artistic Director. He is a recipient of the 2009 Princess Grace Award for Excellence in Choreography. He choreographed solo work, “Sorrow” (Frank Schubert) at Dance Theater Workshop in 2004. The Korea Modern Dance Museum invited Mr. Joo to choreograph and perform his second solo work, “Duet” (Jules Massenet) during their 2008 festival. In 2007, he premiered his work for Complexions Contemporary Ballet “Tears” (Sergei Rachmaninoff), in 2008 “Surface” (Claude Debussy), in 2009 “Atmosphere” (J.S. Bach), and in 2012 “Flight” (J.S. Bach), which opened at New York’s JOYCE Theater. In 2013, Joo premiered a sensitive abbroach & visual focused his first full-length act work “Recur” premiered at Aram Opera House in Korea, and NY premiere at The JOYCE Theater. “Recur” performed in national and international 2014 tour including Ballet Open Festival in St. Petersburg, Russia. In 2015, he premiered “Beautiful Imperfection” (Nyman, Montero) commissioned & danced by Marymount Manhattan College Dance Spring Concert.
Antonia Katrandjeva (YOGEA Vinyasa-based) Antonia is an internationally acclaimed scholar, director, and choreographer, who explores the realms of dance and theatre, and their spiritual roots in the ritual and the sacred. Antonia holds a B.A. in Physical Theatre Acting, MFA in Theatre Directing, Ph.D. & D.Sc. in Theatre from the National Academy of Theatre and Film Arts in Sofia, Bulgaria and is a graduate of Zurich Tanz Theatre Schule in Switzerland. Antonia has traveled, lectured, and researched dance and theatre traditions in Asia, South America, Europe, and the U.S., and has presented over 40 cutting-edge works at dance and theatre festivals across the globe. She is the NY correspondent for the Bulgarian magazine Teatar and has authored a manual for contemporary actors and dancers Intuitive Gesture, a doctoral thesis Contemporary Trends in Physical Theatre, and numerous articlas on theater,
Certificate Program 14 Peridance Capezio Center ______philosophy, and dance published in Bulgarian, Swiss and American journals. Antonia is the founder and artistic director of Overground Arts Alliance and Overground Physical Theatre Company, and creator of Yogea Afterflow, an innovative yoga style. She is currently implementing an original holistic platform for educating performing artists, “Ecorporeality”, and refining her contemporary dance idiom “Cohera Move”> Antonia is on the faculty at Peridance teaching Yogea and sowing the seeds of “Engaged Spirituality”.
Ken Kasamatsu (Commercial Hip Hop Kenichi, or Ken as most call him, is a half Japanese/Malaysian who was raised in Thailand for most of his life. Back at home, Ken has set himself apart from the norm of dancers to go on dancing for Thailand’s most known artists, teaching at many studios both in and out of the capital, and also establishing a dance studio in partnership with his family. To pursue dance entirely, Ken made the move to New York in the spring of 2013. His most recent exposure includes being featured in Mark Ronson’s latest music video “I Can't Lose” choreographed by the power dance couple, Keone and Mariel Madrid. On this journey, Ken has med and worked closely with a lot of amazing choreographers such a Neil Schwartz, Gigi Torres, Jared Jenkins to name a few. He has made the cast to numerous performances in New York’s most hyp dance events such as Carnival and Sybarite for the choreographers mentioned above. As a breakthroughto the world of creation and choreography, he has also presented pieces for Sybarite, been offered to teach workshops at various places and events; moreover gained the experience of being a judge alongside well-known choreographers from the west coast, Sorah Yang and Aggie Loyola for a dance competition hosted by Stony Brook University: PUSO presents SAYAW 2014. Having the dream of choreographing and teaching all around the world, Kenichi strongly believes in the idea of always staying a student and is consistetly pushing himself past his limits by continuously taking classes that will benefit towards his skill and art form.
Yuka Kawazu (Ballet) Yuka Kawazu was born in Kanagawa, Japan. She has performed throughout the United States and Japan as corps, soloist and principal dancer with many distinguished ballet and theater companies. In the past, Yuka has served as ballet mistress for the Staten Island Ballet Company among others. Yuka is a regular faculty member at several New York City studios, including Ballet Arts and Broadway Dance Center. She was also a faculty member of New Dance Group and the 92nd Street Y Harkness Dance Center. She has choreographed performances at several theaters including the Alvin Ailey Theater, Symphony Space, The Sylvia & Danny Kaye Playhouse and others. Yuka is the Artistic Director of Yuka Kawazu/Danse En L’air, a young, vibrant, and exciting dance company. Her choreographic vision uses the traditional ballet form combined with the expressiveness and immediacy of theater dance to make the company accessible to all audiences. Visit www.yukaballet.com for more information.
Raja Kelly (Improvisation, Solo Performance Studies II) Recipient of the 2016 Solange MacArthur Award for New Choreography, Raja Feather Kelly was born in Fort Hood, Texas and is the first and only choreographer to dedicate the entirety of his company’s work to Andy Warhol. He is the creator of ANDY WARHOL’S 25 CATS NAME SAM; ANDY WARHOL’S DRELLA (I LOVE YOU FAYE DRISCOLL); ANDY WARHOL’S 15: COLOR ME, WARHOL; ANOTHER 37 REASONS TO CRY (ANOTHER WARHOLIAN PRODUCTION); ANDY WARHOL’S TROPICO; and many short works, all of which have been created and performed throughout various theatres in New York City. For over a decade, Kelly has worked throughout the United States and abroad (Austria, Germany, Australia, United Kingdom, and France) in search of the connections between popular culture and humanity and their integration into experiential dance-theatre. Kelly currently choreographs, writes, and directs his own work as Artistic Director of the feath3r theory, a culture-driven dance-theatre company. He is a two-time recipient of Jerome Foundation commissioning funds for emerging artists (Dixon Place 2015, Danspace Project 2016), Jerome Foundation Travel and Study Grant recipient (2013– 2015 Paris + Lyon, France), 2016 Dancemapolitan Commissioned Choreographer, 2015 Dixon Place Dance Artist in Residence, LMCC Workspace Resident Recipient, and an Emerging Choreographer residency at Bates Dance Festival. He has been the Guest Choreographer in Residence at Princeton University, University of Maryland College Park, University of Florida, University of Utah, and Middlebury College; the Harkness Choreographer in Residence at Hunter College; 2009 and 2011 Dance Web Scholar (Vienna, Austria); and has received a Foundation for Contemporary Arts Emergency Grant. Kelly is a 2016 Gelsey Kirkland Academy Artist in Residence. Kelly can be seen in the work of Reggie Wilson/Fist and Heel Performance Group, Rebecca Lazier, and Christopher Williams. He has formerly been a company member with David Dorfman Dance, Zoe | Juniper, Racedance, and PearsonWidrig DanceTheater. Kelly collaborates with Tzveta Kassabova and Paul Matteson. He has had the pleasure of performing in the work of Colleen Thomas and Dancers, and Kyle Abraham/Abraham.In.Motion. He received his BA in both Dance (with honors, concentration in Choreography and Performance) and English (with honors, concentration in Poetry) from Connecticut College.
Raphaelle Kessedjian (Graham) Raphaëlle started her dance training at the Centre Chorégraphique Veronique Théry in France. After her high school diploma in art and literature, she moved to Paris to study at the Centre de Danse Rick Odums, in Paris. Raphaëlle came to the Martha Graham school in New York City in 2006 with a merit scholarship and danced for Graham II until 2009. She was a teacher at the Graham School for the Young Artist Program. She assisted Marnie Thomas at Peridance Capezio center and Adelphi University. Raphaëlle Kessedjian joined Nu Dance Theater in July 2008, and Caliince Dance since September 2009. She
Certificate Program 15 Peridance Capezio Center ______recently has been a member of the Martha Graham Dance Company for their italian production "Cercando Picasso." Raphaëlle is also a certified Pilates and Gyrotonic® instructor at the Sal Anthony's Movement salon.
Dorit Koppel (Ballet) A native Israeli, Dorit Koppel first studied and performed with internationally renowned Bat-Dor and Bat-Sheva companies of Israel. She received a MFA in Dance from NYU Graduate School of the Performing Arts, after completing a BA in Dance at Sarah Lawrence College. Dorit was the Artistic Director and owner of Progressive Dance Studio in Englewood, NJ, where she developed a ballet training program for children, teens and adults. Acclaimed as "Teacher of the Year" by Dance Pages Magazine, Dorit classically trained students who now dance with NYC Ballet and Boston Ballet, to list but a few. She coached Kioko Ina of USA Ice Skating team in Monsey, NY, and also developed their ballet program. Dorit danced with the Wendy Osserman Dance company throughout the USA, participated in workshops and summer residencies led by Jose Limon Company and Alvin Ailey and has choreographed and appeared in a wide range of works in ballet and contemporary dance. Currently Dorit guest teaches throughout the United States.
Graciela Kozak (Ballet) Graciela Kozak was born in Argentina, and trained at the Teatro Colón of Buenos Aires. She danced with the Bat-Dor and Bat- Sheva companies in Israel, and the Peridance Ensemble in NY. She has performed works by Alvin Ailey, Paul Taylor, Jiri Kylian, Mark Morris, Igal Perry, Lar Lubovich, Donald McKayle and many other choreographers. Graciela joined the Peridance Faculty in 1985, and the faculty of the Ailey School in 2002. She has taught classes for Alvin Ailey American Dance Theater, Ailey II, Ballet Tech, Complexions, Donald Byrd, Pascal Rioult, the School of Ballet Hispanico and Ballett Akademien in Sweden. She has also been a guest teacher with Paul Taylor Dance Company and Batsheva Dance Company. Ms. Kozak speaks many different languages and her classes are attended by students from all over the world. Her classes are for dancers of all backgrounds and accentuate the prevention of injuries through correct alignment. She stresses placement, breathing, dynamics, musicality, vocabulary, use of space, and, most importantly, the joy of dancing.
Anabella Lenzu (Dance Criticism, Barre à Terre) Anabella Lenzu is a dancer, choreographer, and teacher with over 20 years experience working in Argentina, Chile, Italy, and the USA. She is the artistic director of Anabella Lenzu / DanceDrama. Ms. Lenzu completed her classical ballet training at the renowned Teatro Colòn in Buenos Aires, Argentina. In 1994, she founded and directed L’Atelier Centro Creativo de Danza in Argentina (directed by her sister Pamela since 2001). Ms. Lenzu has conducted classes at several dance schools in Manhattan, given lectures and master classes, and held residencies at universities throughout the US and abroad.
Cesar Lopez (Yoga) Cesar Reyes Lopez was born in Oaxaca, Mexico. From an early age, Cesar studied piano, drawing, painting, soccer, and eventually trumpet. As he strove to attain a formal dance education he encountered his first yoga teacher. In 2004, Cesar devoted himself to the ancient practice of Yoga and began to unravel his own body’s wisdom. The allied arts of Yoga and Dance became his tools of self-inquiry and self-expression. Cesar practices and specializes in Asthanga and Hatha Yoga. While training as a triathlete, Cesar experienced a time of inner awaking and an acquisition of an intelligent and constructive way to hone the power of will to train the body both mentally and kinesthetically. Cesar takes the psycho-physical balance he attained as an athlete and directs it into his yoga practice. He has been teaching yoga, and embracing other forms of energy work like Tai-Chi Chuan and Qu-Gong. In 2010, Cesar received a scholarship at “City Center Ballet Arts” where he is currently training in different styles of dance. In addition, Cesar will also perform with Nina Buisson Contemporary Move in May. He is a new member of “Overground Physical Theatre Company” who will perform in May at the Judson Memorial Church.
Milton Myers (Horton) Milton Myers received his BFA from the University of Missouri at Kansas City. He was a founding member, performer, and assistant to the director with the Joyce Trisler Danscompany and performed with the Alvin Ailey American Dance Theater. Upon the death of Joyce Trisler, Mr. Myers was also the Artistic Director of the Joyce Trisler Danscompany for seven years. He has taught for Ballet Hispanico, New Danish Dance Theatre, Les Ballets Jazz de Montréal, Batsheva Dance Company, Kansas City Ballet, Matthew Bourne’s Swan Lake on Broadway, Ballet Stagium in Sao-Paulo, Brazil, Danny Grossman Company and Ballet Croele in Canada. He is a professional instructor for the Alvin Ailey American Dance Theater and has been an instructor and resident choreographer for the Philadelphia Dance Company (Philadanco) since 1986. He has been an Artist-in-Residence at the Juilliard School, North Carolina School of the Arts, Brown University, Howard University in Washington DC, the New York LaGuardia High School of Performing Arts, the School of Toronto Dance Theatre in Canada, and the Dance Masters at Wesleyan University. He has been on faculty at the Tisch School of the Arts at New York University, City College of New York, Marymount Manhattan College and the University of the Arts in Philadelphia. Mr. Myers is currently on faculty at the Juilliard School, Fordham University Ailey program, and STEPS on Broadway in New York. He has been the director of the modern and contemporary program at Jacob’s Pillow Dance Festival for the past twenty-four years. He teaches extensively throughout Europe, Israel, South America, Canada, and the United States. He has taught at several prominent festivals in Vienna, Moscow, Paris, Germany, Italy, Greece, Holland, Belgium, Sweden, Norway, Denmark, South Africa, and Israel. His choreography has earned him recognition and funding from the National Endowment for the Arts,
Certificate Program 16 Peridance Capezio Center ______the New York State Council, CAPS Choreography Award (funded by the Rockefeller Foundation), Phillip Morris New Works Fund, Dance USA/Philadelphia Dance Alliance, and Jacob’s Pillow. The International Association of Blacks in Dance honored Milton Myers for his artistry and contribution.
Jackie Nowicki (Contemporary) Jacquelyn Nowicki originates from Chicago, Illinois. She received her BFA in Dance from Western Michigan University, where she graduated summa cum laude and was named Presidential Scholar in April 2008. She has performed works by Robert Battle, Lou Conte, Helen Tamiris, George Faison and Doug Varone, among others. Jacquelyn currently dances for Pilobolus Dance Theater in their PCS company and has performed for them all over the world including Abu Dhabi, Germany, Italy, and Mexico, and she is certified to teach for their Educational Outreach Program. Her professional credits also include working for Mike Esperanza's BARE Dance Company, Calen Kurka's :pushing progress, and Marlena Wolfe's The Wolfe Project. Jacquelyn worked as a part-time faculty member at Western Michigan University's Department of Dance where she still frequents as a guest teacher and choreographer, and she currently teaches all over the New York dance scene including being on faculty at Peridance Capezio Center, and guesting at Steps on Broadway, and Broadway Dance Center. Her athletic, daring, and unique approach to movement has also landed her numerous master classes and conventions throughout the United States and internationally in Rome, Italy. Most recently Jacquelyn started her own New York City based dance company, NOW Dance Project, and will be premiering her work in festivals and showcases in the months to come. In addition to dancing, teaching, and choreographing Jacquelyn is a nationally certified Personal Trainer.
Jon Ole Olstad (Contemporary) Jon Ole Olstad started dancing at the ago of 16 and took his first ballet class when auditiong for a high school dance department. He quickly realized that dancing was his big passion and that he would do anything to make his dream of becoming a professional dancer come true. Later, he was accepted into the National Academy of the Arts in Oslo, and graduated with a Bachelor’s Degree in 2009. After college, he was hired for the tour project “Kamuyot”, a collaboration between the Swedish Riksteatern and Batsheva Dance Company led by Artistic Director Ohad Naharin. During this time her participated in daily ‘gaga’ class, the training form they use in Batsheva Dance Company, and developed a great love and respect for this work. In 2010, Jon Ole formed the choreographic duo “Ruth n ‘Walter” together with Caroline Skjoershammer. Their first duet “Epilogue” got infited to the Cross Connection Choreography Competition and in 2012 they created “Dear, It’s Time to Turn the Lights Off”, which was performed in different festivals and venues. In 2013, Jon Ole was hired by Nederlands Dans Theater 1, led by Artistic Director Paul Lightfoot. He has worked with choreographers such as Paul Lightfoot and Sol Leon, Johna Inger, Hofesh Shechter, Marco Goecke, Alexander Ekman, Jiri Kylian, Mehdi Walerski, and Crystal Pite. In 2015, he was awarded 1. Prize in the prestigious competition, International Solo- Tanz Festival in Stuttgart. With his solo “and we already knew the names” he was awarded 1.Prize in Dance and 1.Prize in the Choreography category. He started teaching in 2009 and has a huge passion for sharing his knowledge and the love of dance. He has taught at numerous colleges and studios across Norway, as well as in Los Angeles and New York City – Lines Ballet in San Francisco, New York University/Tisch, The National Academy of the Arts in Oslo, EDGE Performing Arts Center in Los Angeles, Movement Lifestyle and Opifivio Movimento in Rome.
Phil Orsano (Contemporary Fusion) Phil Orsano was born in Queens, NY and studied dance at LIHSA his junior and senior year in HS. Later he received his BFA in Dance Performance at Southern Methodist University. Orsano has danced for Complexions Contemporary Ballet, Hubbard Street 2, OUI Danse, Dana Foglia Dance, Derek Mitchell and Peridance Ensemble. Commercially he has worked with artists such as Madonna, Debbie Gibson, Jennifer Love Hewitt ("The Client List"), Meta and the Cornerstone, Jimmy Fallon, Howie Mandel, Lisa Vanderpump (Bravo's "Vanderpump Rules"), on Maria di Filippi's "AMICI" (Italian TV program), Law and Order SVU and more. Philip is also currently teaching at Broadway Dance Center, on faculty for Quest Intensive, and is represented by CESD in NYC and MSA in Los Angeles.
Shirlene Quigley (Heels) Shirlene Quigley was born and raised in Los Angeles, California, and just moved to New York city. She is best known for her work as a professional dancer and teacher. She has performed all over the world at arenas world wide touring with some of the biggest stars of our generation. dancing on television, commercial, film, and Music videos with artists such as Beyonce, Rihanna, Chris Brown, Destiny's Child, Missy Elliot, Mary J Blige, Jamie Foxx, Ray J, PorcelainBlack, Lil Romeo, Ashanti, Fantasia and many more. Her dance career began at 18 years old, when she danced as one of the original "uhh ohh girls" on Beyonce's Crazy In Love music video. The next day she found herself traveling the world. She's performed on today's most popular award shows in America and oversea's, such as The Grammy's, VMA's, Teen CHoice Awards, BET Awards, Essence Awards, Fashion Rocks, NRJ awards, VMA Japan, ESPY Awards, Soul Train awards. and Billboard Awards. As well as television and Talk shows like All My Children, Diva's Live,America's Got Talent for several seasons, Oprah, The View, Top of the Pops, Jimmy Kimmel Live,TRL, Craig Fergeson, David Letterman, Saturday Night Live, and a national commercial for Pepsi. While on a break from touring she created the first High Heel Dance class 'Kitten Kontrol' at world famous Millennium Dance Complex, in her hometown of Los Angles. Teaching woman, young ladies, professionals, beginners, and even men from all walks of life how to dance in High heels. More then anything she wants to use her experiences and successes to be a
Certificate Program 17 Peridance Capezio Center ______testimony for this generation world wide. Being a woman of God and a leader in this entertainment industry, she hopes that all her increase will help her outreach for our society. Chris Ralph (Contemporary, Heels) Christopher Ralph was born and raised in Long Island, N.Y. He began his dance training at Holy Trinity High School, were he was accepted into the theater/ dance program. While training at school, he simultaneously attended classes at Broadway Dance Center and Steps on Broadway with teachers such as Peter Schabel, Dorit Koppel, Frank Hatchett and Chio Yamada. In 2005 Christopher attended SUNY Purchase to complete his B.F.A in dance. Christopher Ralph has performed works by Aszure Barton, Lauri Stallings, Gregory Dolbashian, Loni Landon, Doug Varone, Rebecca Lazier, Patrick Corbin and Janis Brenner. Known for his fast paced clear movement quality, Christopher has been commissioned as an emerging choreographer by Dance Iquail and recently by Dixon Place. He has performed and toured in many countries throughout his career including, Greece, Indonesia, London, Spain, Japan and China.
Max Stone (Contemporary) Max Stone is an internationally-recognized teacher and choreographer of contemporary dance. He holds a Master’s Degree in choreographic theory and practice, and has served as senior lecturer on the dance faculty at Southern Methodist University. He was with the original Broadway cast of the Neil Simon musical/play, They’re Playing Our Song. He has taught classes at the Juilliard Conservatory and conducted choreography seminars for Cirque du Soleil. Max was artistic director of The New York Dance Exchange, an international intensive workshop series, and he continues to teach throughout Europe and Japan.
Kristin Sudeikis (Contemporary) Kristin Sudeikis resides in New York City. Years of an intense love for music and dance have brought Kristin to her present existence in the arts. Her training began in Kansas City. She went on to spend years traveling and broadening her vocabulary in many different styles of dance.Kristin’s credits include choreographer and dancer for the Emmy award winning NBC hit 30 Rock, as well as NIKE, Under Armour, Good Morning America, The Today Show, Microsoft, Oprah and for events at Self Magazine. Her print work includes Shape Magazine as well as Vogue. Most recently, Kristin finished the second successful run of her original production " Even in Silence... " a dance concert including live music, spoken word and film exploring all those things left unsaid. Whether it be televsion, stage, film or print - she is committed to bringing an authentic experience. Kristin’s focus is on one’s musicality, technique and athleticism. Her emphasis on creating pure and intense movement can strike an emotional chord with those she works with. Her influences continue to erupt from every walk of life. A tireless study of the human body, both inside and out, is brought into her classes as well as her performances. She encourages her dancers to reach far beyond any limitations they may perceive to have. “Only then, can they tap into what they want to become. Dance is a gift. Study hard and take care of it. Never cease to strive for the artist you want to become.”-- Kristin Sudeikis
Breton Tyner-Bryan (Ballet) Breton Tyner-Bryan is an American born Dancer, Actor, Choreographer, and Photographer, as well as a highly sought after Teacher. Film and television credits include The Knick (Cinemax) Steven Soderbergh, Studio City Meredith Danluck, Manhattan Love Story (ABC) Celia Rowlson- Hall, Second Wind Sarah Choi, TEST (Feature Film), Chris Mason Johnson, and PICO John Sanborn. Theater credits include Dorothy Parker in How to Drink like a Lady director Hattie Mae Williams, Greta in her own production of Un Tanguito Cualquiera. as well as numerous roles she has choreographed and performed in for McKittrick Follies of the McKittrick Hotel NYC. Concert Dance credits include works by Marius Petipa, Kirk Peterson, Alonzo King, Robert Moses, Pontus Liedberg, Norbert De La Cruz III, Francesca Harper, Celia Rowlson-Hall, Kathryn Luckstone, many dance theater companies, Hartford Ballet, and Utah Ballet. She holds a BFA in Ballet Performance from the University of Utah and received her training at the School of the Hartford Ballet. By invitation she has studied with Bill T. Jones/Arnie Zane Dance Company, Australian Dance Theatre and Sydney Dance Company.Breton is on faculty at New York University, Broadway Dance Center, Peridance, Sleep No More, Ballet Hispanico, Joffrey Ballet School, and Sidra Bell Dance. She has taught for The Place (London), Dance Base Scotland, San Francisco State University, ODC Dance, LINES Ballet, Mark Morris Dance Center, Complexions Contemporary Ballet, Fall For Dance Festival, Columbia Ballet Collaborative, and Google. Choreographic credits include Sonas Denim Commercial, Jewels in the Square presented by Alonzo King LINES Ballet, Brigham Young University, SELF, and Woodside Vaulters Equestrian international competitions. As a performer and choreographer her work has been featured in Pointe Magazine, Dance Informa Magazine, Broadway World, Oberon’s Grove, Huffington Post, and the New York Times. She is currently performing in her own productions at the McKittrick Hotel, and choreographing for theater and film.
Ms. Vee (Hip Hop) Val Ho (Bachelor of Human Kinetics, Bachelor of Education), also known as “Ms. Vee,” is a multi-faceted dancer and performer whose movement background includes Hip-Hop (Freestyle, Breaking, Popping, Locking), House, Chinese Dance, Jazz, Tap, Ballet, Modern, Swing, Salsa, Chinese Martial Arts (Wushu), Capoeira, and Yoga. Specializing in street dance and Hip-Hop culture, Vee has studied with such greats as Mr. Wiggles, Popin Pete, Skeeter Rabbit, Greg Campbellock Jr., and Buddha Stretch to name a few. Film credits: Step Up 3D, College Road Trip and Deep Rising. Off Broadway: Mop Tops 20th
Certificate Program 18 Peridance Capezio Center ______
Anniversary Reunion, Groovaloo: Freestyle, Rennie Harris’ Legends of Hip Hop (US & International Tour). Ms Vee has been on the BDC Faculty since 2004, and travels throughout the US & the world teaching Master classes.
James White (Hip Hop) James White is a North Carolina native, who started dancing at the age of 18. James recently received his M.A. of Dance Education at New York University in hopes of creating his own dance convention to help aspiring dancers become their best. James has had to opportunity to train in New York, Los Angeles, and Atlanta in Modern, Contemporary, Street Jazz, Hip-Hop, and Commercial Dance.. He has trained with choreographers such as Luam, Neil Schwartz, Zach Lattimore, and Candace Brown and is currently a Monsters of Hip Hop Show Nominee. James' professional credits include BET Blaze the Stage, Sound Syndrome: The Off Broadway Show, the Broadway Dance Center Showcase, NBA Playoff Flash Mob, Frankie Lemmon School Promo Video, and the New York University Faculty and Master's Concert. He has also had the opportunity to assist choreographers such as Neil Schwartz and Aurelia Michaels for the "For Your Love" Music video by Cess and Unlimited Wireless Flash Mob.
Manuel Vignoulle (Contemporary) Born in France, Manuel studied at The Conservatoire National Supérieur de Danse de Paris and went on to work with contemporary French choreographers including Claude Brumachon, Corinne Lanselle, Karine Saporta and Bernardo Montet. Manuel worked with Redha, a modern-jazz choreographer, and has performed for television, video, fashion, opera and musicals. He has also been assistant choreographer in collaboration with Alvin Ailey (USA), Het Nationale Ballet (Nederland) and State Theater Dance Company (South Africa). In recent years, Manuel danced for Ballet du Grand Théatre de Genève (Switzerland) whish was named best European Ballet Company in 2006. There he worked with choreographers such as Sidi Larbi Cherkaoui, Adonis Foniadakis, Cisco Aznar, Annabelle Ochoa Lopez, Carolyn Carlson, Benjamin Millepied, Malou Airaudo among others. At Cedar Lake Contemporary Ballet (New York) he has performed works by Ohad Naharin, Hofesh Shechter, Didy Veldman, Jo Stromgren, Alexander Eckman and Benoit-Swan Pouffer. Manuel appeared as a guest for La La La Human Steps (Canada), Het Nationale Ballet (Netherland), State Theatre (South Africa) and The Forsythe Company (Germany). As a freelance choreographer, he has been commissioned by Satellite Collective, 10 Hairy Legs, Chicago Repertory Ballet, Steps Repertoire Ensemble, The Ailey School, Rutgers University, Peridance and Antigel Festival. He is also the recipient of New Directions Choreography Lab at Alvin Ailey for this coming year. His work has been performed in Switzerland (Antigel Festival 2012, Tanzfaktor Interregio 2011 and at Geneva Opera House), in France (Theatre Charles Dullin), in New York (The Latin Choreographers Festival 2012, Alvin Ailey American Theater, New York City Center studio, Dixon Place, Peridance Theater, French and Filipino Ambassies, Secret Robot Project and for « Artist emerging from the earth ») and Montreal (Springboard 2012).
Accompanists: Kevin Carpenter, Rami Cohen, Michael Dolnikov, Marc Dimino, Matthew Ferry, Benjamin Houghton, Gary Kachikyan, Amir Khosrowpour, Anna Korab, Annie Lebow, Andy Monroe, Ron Musicus, Dmitry Polischuk, Kevin Sport, Benjamin Strivers, Raisa Umanskaya, Sophie Velberg
Faculty Loads: A normal faculty workload is considered to be between .5 and 3 credits per semester, and shall not exceed 6 credits per semester. A load includes teaching responsibilities (including evaluating and advising students), and may also include the creation, setting, and/or rehearsing of choreography.
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Administrative Contacts
Artistic Director: Igal Perry, [email protected] Igal Perry is the founder of Peridance Capezio Center and the Certificate Program. He makes all final executive and artistic decisions regarding the Program and is the head of the ballet department. He chairs all committees regarding admission, financial aid, grievance and appeals, and any other subjects requiring executive administrative action.
Director of Development: Yarden Ronen, [email protected] Yarden Ronen is the Director of Development of Peridance Capezio Center and founder of the Certificate Program. He makes final executive and artistic decisions regarding the Program. He chairs all committees regarding admission, financial aid, grievance and appeals, and any other subjects requiring executive administrative action.
Certificate Program Coordinator: Nikki Holck, [email protected] Nikki Holck is the Certificate Program Coordinator. She is the direct head of the Certificate Program and arranges registration, auditions, admission, scheduling, and day-to-day concerns of the Program. She sits on all committees and provides advice to students about courses and issues related to dance training and careers.
Assistant to the Certificate Program Coordinator: Cleo Sykes, [email protected] Cleo Sykes s the Certificate Program Assistant. She assists in registration, auditions, admission, scheduing, and day-to-day concerns of the Program. She manages the accreditation process for the school.
Business Manager/CFO: Ron Perry, [email protected] Ron Perry is the Business Manager. He manages all issues related to the school’s finances, including accepting and processing all tuition and fees related to the Program.
International Student Advisor: Isabel Eisen, [email protected] Isabel Eisen is the International Student Advisor. She assists international students with the visa and immigration processes and helps them assimilate to American life.
School Administrator: Mathew James, [email protected] Mathew James is the School Administrator. He coordinates workshops and master classes, arranges faculty substitutes, and manages the website.
Technical Director/Assistant CFO: Nick Neagle, [email protected] Nick Neagle is the Technical Director of the school. He manages the daily income of the school and the use of the in-house Salvatore Capezio Theater.
Operations Manager: Nick Neagle, [email protected] Nick Neagle is the Operations Manager of Peridance. He manages the front desk, arranges studio space and accompanist schedules, and oversees the daily operational logistics of the school.
Summer Intensive Coordinator: Nikki Holck, [email protected]
Technical Staff: Stage Manager: [email protected] Lighting Designer: Brant Murray
Certificate Program 20 Peridance Capezio Center ______Board of Trustees
The Board of Trustees serves to advise and monitor the Certificate Program to ensure its continual improvement and commitment to excellence.
Cherylyn Lavagnino Chair of the Dance Department at Tisch School of the Arts, NYU
Helen Pickett Choreographer for Boston Ballet, Dresden Ballet, and Vienna State Opera, Master Teacher of Forsythe-based Improvisation Technique, Frankfurt Ballet
Agnes Horowitz Parent of dancer, Speech and Language Pathologist
Linmarie Martin Personal Banker, Citibank
Igal Perry Founder and Artistic Director, Peridance Capezio Center
Peridance Capezio Center Facilities
All Certificate Program classes and performances are held in the Peridance Capezio Center building. Peridance Capezio Center houses: • Six state-of-the-art, column-free, climate-controlled studios totaling over 16,000 square feet of dance space • Professional sound systems and sprung flooring • Six pianos for live accompanists in all ballet and modern classes • The in-house, 150-seat Salvatore Capezio Theater • Peridance Café serving gourmet coffee, snacks, and meals • Capezio Dancewear Boutique • Free WiFi throughout the building • Drinking fountains and rest rooms located on each floor • Men’s and women’s locker rooms with shower facilities
Peridance Capezio Center is located at: 126 East 13th Street, New York, New York, 10003.
Library Facilities
All Certificate Program students must enroll in the New York Public Library System to gain access to the library facility. Library membership is free and can be done online or in one of the many NYPL locations. Students should use the Lincoln Center Performing Arts Library to do their research. The Lincoln Center Performing Arts Library is part of the NYPL system and is located at 40 Lincoln Center Plaza, New York, NY 10023. Guidelines for library usage can be found at http://www.nypl.org/help/borrowing-materials.
Certificate Program 21 Peridance Capezio Center ______Housing
While students are responsible for obtaining their housing, Peridance helps domestic and international students find housing near the Center. Many students find it beneficial to arrange for a short-term stay initially and find more long- term housing once they enter the NYC area. International students should contact Peridance's International Student Advisor for more information.
Tuition and Fees
Annual Tuition: 10 months (two semesters) - $9780 Audition Fee: $30 Application and Processing Fee: $50 Domestic students, $350 International students Summer Tuition (Mandatory for International students only): 2 months – $2170
Tuition and fees due dates: The Application and Processing Fees are due upon acceptance to the Program. Half of tuition is due six weeks prior to the start date of the Program, with the remaining tuition due at the start of the Program. Should a student demonstrate considerable financial need, the school will consider arranging a payment plan on a case-by-case basis. Additional fees apply.
Fee Calendar Fall Spring Program Start Date August 29th, 2016 January 23rd, 2017 1st half tuition due July 15th, 2016 December 9th, 2016 Remaining tuition due August 29th, 2016 January 23rd, 2017
Housing costs, living expenses, physical therapy fees, performance tickets, any additional workshops and classes, or other expenses are not included in tuition.
Financial Aid
Peridance Capezio Center offers financial aid to the students of the Certificate Program in the following ways: • Certificate Program students may apply for a Certificate Program half-tuition scholarship through a competitive audition process. Scholarship auditions are held once per year (based on monetary availability). Students are evaluated on technical skill, artistry, performance quality, and financial need. The Program reserves the right to grant or deny scholarships at its sole discretion. • Students demonstrating significant financial need may be granted a tuition payment plan by appealing directly to the CP Coordinator and Artistic Director. The Program reserves the right to grant or deny payment plans at its sole discretion. Payment plan fees apply. • Peridance Capezio Center makes available to all students a resource list of organizations that provide scholarships and grants. • Some students may qualify for Work/Study assistance.
Certificate Program 22 Peridance Capezio Center ______Withdrawal, Refund, and Transfer Policy
All Students: Students are considered in attendance until they officially withdraw or are requested to withdraw by the CP’s Director. To officially withdraw from the Program before or during the course of study, students must contact the CP Coordinator and submit a Withdrawal Form, declaring official withdrawal date.
Cancelation/Refund Policy: Students who withdraw more than 6 weeks prior to the start date of the Program will receive a full refund (minus 3% credit card and 3% payment plan fees, if applicable).
Students who withdraw less than 6 weeks prior to the start date of the Program or during the first 30 days of the Program will be eligible to transfer to Peridance’s Open Program (OP) and must comply with the OP’s Schedule, Rules and Regulations, etc. Should a student decline transfer to the OP, 50% of tuition will be refunded within 30 days of the official withdrawal date (minus 3% credit card and 3% payment plan fees, if applicable).
Students who withdraw after the first 30 days of the Program will not be eligible to receive any refund.
Payment Plan Students: Any student granted a payment plan who has declined transfer to the OP upon official withdrawal date from the CP and has an outstanding tuition balance is responsible for paying the remaining balance of tuition due within 30 days from official withdrawal date (3% payment plan fee applicable).
No refund is given for any absences. Make-up classes must be approved and pre-arranged with the CP Coordinator.
All Application and Processing Fees are non-refundable. ($50 Domestic students; $350 International students)
International Students ONLY: International Student tuition and fees are non-refundable once an I-20 has been processed and the student has received his/her F-1 Visa. If U.S. Immigration denies a Visa, tuition will be refunded to the student minus 10% processing fees.
If due to a verified illness or injury a student is unable to arrive in the United States and begin his/her studies on the scheduled date, he/she must notify the CP Coordinator in writing prior to the original start date. The CP will arrange for him/her to begin studies the following semester/year.
If a student wishes to transfer out of the CP and into the OP, he/she will not be permitted to transfer mid-semester but may only do so at the end of one full semester of study. Students who withdraw from the CP will not be eligible to apply for Optional Practical Training (OPT) through Peridance Capezio Center unless transferring directly into the Open Program (3 yrs. For OPT).
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Attendance Policy
Excellent attendance is crucial to a cohesive learning process and is a testament to professionalism. To require CP Students to adhere to the attendance policy is a way in which to mold them into the professionals we aspire them to become.
Policy: 1. Students are allowed no more than 2 unexcused absences per technique class each semester. Students are allowed no more than 2 unexcused absences in their academic and specialty classes per semester. 2. For every absence beyond the 2 allowed per technique class, students’ attendance grade in that technique class will be dropped by ½ a letter grade. For every absence beyond the 2 allowed in any academic or specialty classes, students’ grade will be dropped by ½ a letter grade for that class. Excused absences do not detract from the attendance grades of students for their classes. Students who have more than 8 unexcused absences in any given class will be marked as failing that class. 3. Any student missing more than their allowed unexcused absences at the end of the semester will be called into a disciplinary meeting with the CP Coordinator and Artistic Director to discuss the student’s continuation in the Program. If excessive absences continue, a student may be asked to leave the program.
Excused Absences: In order for an absence to be excused, students must submit a Student Absence Form via email explaining the absence to the CP Coordinator for approval, as well as a doctor’s note in the case of sickness/injury. Absence emails must be sent to [email protected] with “Absence” in the subject line, with the body of the email containing the student’s name, list of class(es) missed, date and time of class(es) missed, and the reason for the absence(s). This policy also applies for all classes that are missed due to scheduled rehearsals. Student Absence Forms must be submitted within 72 hours of the class(es) missed. Excusal is at the CP Coordinator’s discretion; some requests may not be approved. Student Absence Forms are only valid for absences of 4 days or fewer. For any absence exceeding 4 days, students must submit a Leave of Absence Form (see below).
Make-Up Classes: Students excused for absences may be allowed to make up classes – make-up classes will be assigned by the CP Coordinator and/or Assistant Coordinator and must be taken by the date assigned. If a student does not take the assigned make-up class, the absence will stand as unexcused.
Unexcused Absences: Any absence for which no Student Absence Form is submitted will be tallied as an unexcused absence. For example: if a student is feeling sick enough to stay home but does not send a Student Absence Form and does not have a doctor’s note, he/she is unexcused. Additionally, any student not marked as present in the front desk computer will be given a ½ unexcused absence for that class. Signing in is important, and any student who is not signed in, and therefore disrupts the flow of class, will be given a ½ unexcused absence and ½ an hour of unpaid work-study.
Work-Study Policy: In addition to the grading penalties outlined above, all students who have more than 2 unexcused absences in a class will be required to do one hour of unpaid work-study per class missed. Work- study will be arranged by the CP Coordinator, and students will have one week from the date of the unexcused absence to complete this work-study. If a student does not complete this work-study within the allotted time period, the student will be called in to a disciplinary meeting with the Artistic Director and/or CP Coordinator and the hours of work-study owed will be doubled.
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Observations: If a student is injured or too sick to participate in class, but is able or well enough to be present at Peridance, he or she must observe class and take notes on the CP Observation Form in order to receive full credit for attendance. For these classes, students should sign in at the front desk as if they were regularly attending class, and should turn in an Observation Form to the CP Coordinator (or in Student Drop Box) at the end of class. The CP Observation Form should state the class, teacher, date, reason for observation, and any notes taken during the class. If sufficient notes are not taken, credit will not be given and student will be marked unexcused. CP Observation Forms can be found in the office and are to be submitted along with any other necessary documents to the CP Coordinator. When a student observes class, the student is considered in attendance and will not receive a makeup class. Students may not observe class without submitting a CP Observation Form. Students must observe class from inside the classroom. Students are only permitted to observe class two times per technique class per semester. For every observation form turned in exceeding the two allowed forms, students will receive ½ of an unexcused absence in that class (counted toward the student’s absence quota as stated in the attendance policy).
Tardiness: Tardiness will not be tolerated and it is at the discretion of each CP teacher on how to discipline the student. All students should arrive at Peridance no later than 10 minutes before the start of their first class Monday - Friday. Two or more late arrivals could result in the student being penalized and their studies jeopardized. Any student entering class over 10 minutes late will earn ½ of an unexcused absence for that class (counted toward the student’s absence quota as stated in the attendance policy), and will be asked to observe class at the teacher’s discretion. Being signed in to class and being present in class are two different things. Make sure you are physically (and mentally) present in the classroom.
Class Substitution or Cancellation: In the event of a teacher’s absence, students should take the assigned class with the substitute teacher, unless otherwise notified. In some cases, it is possible the CP Coordinator will reassign the students to a different class on the same day. If a class is cancelled, students may be reassigned to a different class on the same day. If reassignments or reschedules cannot occur on the same day as the absence or cancellation, the CP Coordinator may arrange a different day for students to take class. In the event a teacher is absent and/or cancels for multiple classes, the CP Coordinator will arrange schedules accordingly and make changes necessary to maintain the consistency of education needed for students to be most successful. A student may not attend class at their own discretion, even in the absence of the CP Coordinator or CP Assistant Coordinator.
Injuries/Sickness: In the case of serious, long-term injury/illness, due to which the student is no longer able to participate in class(es), the student must immediately report to the CP Coordinator and submit a written note declaring injury/illness from a doctor or physical therapist. A temporary, modified schedule will be created to accommodate the student’s needs. A modified schedule can only be accommodated for 2 week at maximum. It is at the discretion of the Artistic Director and CP Coordinator to recommend withdrawal from the Program if a serious, long-term injury/illness is detrimental not only to the student benefiting from participation in the Program but also to their health and well-being.
Leave of Absence: Please contact the CP Coordinator to discuss and obtain permission for personal or medical leaves of absence. A leave of absence is considered an absence from class of five days or longer, and at this point a Leave of Absence Form must be submitted. For students under the age of 18, verbal or written (e-mail, formal letter, etc.) permission from a parent or legal guardian is required for approval of Leave of Absence Forms.
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Sign In and Sign Out
Students should sign in to their classes at the Front Desk each day, fifteen (15) minutes before the start of their first class. For classes beginning at 2:30p or later, students should return to the Front Desk and sign in after 2p. Students should be prepared to tell the front desk their student ID number and the name and instructor of each class they plan to take.
If the student decides not to take one of the classes for which they are signed in, the student must go back to the Front Desk to notify the Front Desk Staff. Multiple failures to sign out of class may result in disciplinary action.
Any student taking a makeup class must sign in to that class. Students may only take pre-approved makeup classes assigned by the CP Coordinator.
Any student taking a class that is neither part of their regular CP Schedule nor a makeup class assigned by the Coordinator must pay the single class rate per class ($20).
Space Rental Procedure and Policy
Students are permitted one hour of free rehearsal space per week for their Solo Performance Studies assignments and one hour per week for their ISP.
Rehearsal space must be booked through the CP Coordinator via email or by scheduling a meeting.
Students who decide that they would like to cancel their rehearsal space must notify the CP Coordinator of the cancellation 24 hours in advance of their rehearsal time. If rehearsal space is scheduled during the weekend and needs to be cancelled, this should be done 24 hours in advance, and the Front Desk must be emailed regarding the cancellation.
Students who fail to inform the CP Coordinator and/or Front Desk of their cancellation with 24 hours advance notice will be charged $10 for their rehearsal space.
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Rules of Conduct
Students are expected to conduct themselves as professionals inside and outside the studio, classroom, etc. They are expected to be prompt, abide by the dress code, give proper respect to CP faculty and administration, engage and make an effort in all their classes, and behave in a manner in accordance with professional standards. Non-compliance will result in disciplinary action.
Technical Improvement: Students are expected to make efforts to improve their technique by attending all their classes, implementing critiques and/or constructive feedback, seeking guidance and/or personal coaching when needed, and consistently demonstrating commitment to the learning process.
Classroom Attentiveness: Students are expected to fully engage in all of their classes. They must demonstrate competency in what they are learning and be able to accept and fully apply any corrections and/or constructive feedback.
Auditioning Outside of Peridance: Peridance allows Certificate Program students to audition outside of the school, providing they submit an Outside Audition Form to the CP Coordinator for approval prior to the audition. Approval may be denied for any reason and is at the discretion of the Artistic Director and CP Coordinator. If approved, ensuing rehearsals and performances should not interfere with the student’s attendance for the Program in any way. International students may not work for compensation if visa regulations stipulate such rules. International students should speak with International Director about what is necessary to attend an audition.
General: Cellular phones, gum, jewelry, eating, drinking (except bottled water), and inappropriate behavior are prohibited during any class. Possession, sale, and use of alcoholic beverages or controlled substances are not permitted on the premises at any time. Theft, lying, plagiarism, forgery, and all other forms of dishonesty will not be tolerated.
Harassment and Bullying: No form of harassment (sexual, verbal, or otherwise) or bullying will be tolerated at any time. Evidence of any Certificate Program student engaging in harassment or bullying will result in immediate dismissal from the Program and potential legal proceedings.
Mail: We ask that no personal mail or packages be directed to Peridance Capezio Center at any time. If necessary, seek permission from Program Coordinator first.
Media: Students cannot use any media (video/photography and/or other media acquired while studying at Peridance Capezio Center) or the Peridance Capezio Center name (including but not limited to the Artistic Director, CP Coordinator, and the Peridance Faculty) until completing the Certificate Program and receiving approval from the Artistic Director or CP Coordinator.
Certificate Program 27 Peridance Capezio Center ______
Dress Code
The Certificate Program Dress Code has been established for the benefit of both teachers and students. Proper dress allows teachers to see the students’ bodies and thus address alignment, posture, presence, etc. Students should be dressed appropriately for the class they are taking based on the discipline and teacher requirements. We ask for cooperation from both teachers and students in regards to enforcing the dress code. Students should remember that they are not only a representative of the Certificate Program but are also representing themselves. Students who are not in compliance with the dress code will be asked to change or dismissed from class.
Ballet: Women should wear leotards, tights, and ballet slippers or pointe shoes. Men should wear fitted t-shirts and fitted black pants or tights. All warm-ups, sweaters, etc. should be removed after barre. NO SOCKS.
Modern/Contemporary: Women should wear a leotard and tights or fitted pants, shorts, or capris. Men should wear appropriate, fitted dance attire. Feet should be bare; socks are permitted at each teacher’s discretion/requirements.
Jazz/Theater: Dancewear should be fitted and appropriate. Jazz shoes should be worn; Character heels are at each teacher’s discretion/requirements.
Hip Hop: Sneakers and comfortable dancewear should be worn.
All Technique Classes: NO plastic pants, over-sized shirts, scarves, jewelry including facial rings, earrings, belly button rings, etc. Dancewear must be washed daily. Men must wear dance belts. Undergarments must be neatly concealed.
Rehearsals: Dress Code applies as set forth for “All Technique Classes.” Dancewear/shoes should be fitted and appropriate to the requirements of the choreographer.
Performances: Jewelry is not permitted. No nail polish. Tattoos must be covered in makeup for ALL performances. Men must wear dance belts. Undergarments must be nude and neatly concealed. Dance belts and undergarments must be washed daily.
Tactile Cueing
Dance is a physical discipline. As such, many teachers use a ‘hands on’ approach and manually correct students in their placement, alignment, etc. Such tactile cues are a traditional component of dance pedagogy.
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Injury Policy
In case of serious injury, dancers should make an appointment at the Immediate Care Center located at 301 East 17th Street (at 2nd Avenue). Immediate Care will be able to attend to any injury, especially injuries requiring an orthopedic specialist, and is able to provide financial assistance to dancers. A Certificate Program student is required to seek professional care with an injury as soon as the injury inhibits the student’s ability to follow the normal course of training. Delay or failure to seek immediate, professional care may hinder training and thus compromise the student’s position in the Program. A list of doctors, dance specialists, physical therapists, orthopedists and other practitioners can be obtained from the Peridance offices.
Injury Prevention Assessment: Certificate Program students are required to make appointments at the beginning of their first semester with the Harkness Center for Dance Injuries (Tel: 212.598.6022) for a private, one-hour injury prevention assessment. These assessments are free but should be scheduled a month or more in advance. (see Form, Harkness Information)
Admission Information
The program accepts students by audition only. Students may audition to begin the Certificate Program in either the Fall or Spring semester.
Students may audition by: • Attending one of Peridance's public, open auditions. Dates are advertised online as they approach.
• Submitting a DVD by mail, or YouTube/Vimeo link via email, to the attention of the Certificate Program. Video submissions for both tracks should include a 2 to 5 minute solo of any style/choreography of choice, demonstrating technical ability, quality of movement, musicality, and overall artistry. Video submissions for the Ballet/Contemporary Track should also include 2 full barre exercise (one side only), center adagio, grande allegro, pointe work (center combination or Classical Variation), and/or men’s technical work (canter combination or Classical Variation).
Students must also provide: • Audition Fee ($30), accompanied by the Certificate Program Registration Form. • Academic and dance resumes. • Headshot • Two letters of recommendation, one of which must be from a dance professional. • A short essay (1 page maximim) detailing professional goals and what they hope to achieve from the Program. • Any additional dance certificates, awards, etc. • Proof of completion of High School (or equivalent)
Orientation
An orientation is held for all Certificate Program students at the start of each semester. This is to provide students with the information and paperwork they need to get the semester underway, and to allow students, faculty, and staff to get to know one another.
Wristbands: Students are provided wristbands at Orientation to wear during the first several weeks of class. These are a tool to allow faculty to better identify CP students in their classes.
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Evaluation Policy
Students are evaluated throughout each semester. Final grades for each class, rehearsal, and performance are issued at the conclusion of each semester and grade point averages are calculated. Explanation of each evaluation given for technique class, non-studio class work, rehearsals, and performances are given below.
Technique Class: Each student’s progress is monitored throughout the semester by his/her technique teachers. Students are evaluated on technical skill; movement quality; overall understanding of concepts, technique, quality etc.; kinesthetic awareness; ability to apply corrections; work ethic and attentiveness; attitude and ability to work well with others; preparedness and presentation; artistry; and overall professionalism. Attendance is separate from evaluations and is given weight in students’ midterm/final grades.
Non-Studio Class: Non-studio as well as seminar classes require students to perform research beyond the studio on dance-related subjects in order to complete assignments, such as short papers, customized projects, etc. Non-studio class work allows students to demonstrate their understanding and mastery of the material learned inside and outside the studio. Evaluations weigh on attendance, effort, attentiveness, preparedness, and productivity.
Rehearsals: Rehearsals are usually held twice a week (more frequently as performances approach) and are evaluated by the Choreographer and the CP Coordinator. Evaluations are similar to Technique Class evaluations and measure technical prowess, performance quality, and professionalism.
Performances: Students are evaluated by the choreographer(s) and CP Coordinator. Evaluation is based on their work in performances, i.e. informal showcases and productions. Technical prowess, performance quality, and professionalism are taken into consideration.
Grades are a culmination of the evaluation process. They are given in an effort to measure each student’s improvement to ensure that he/she is getting the most he/she can from the Certificate Program and is bound for success in the world at large.
Midterm/Final Grades: Grades are given twice each semester. Midterm evaluations are given halfway through the semester. Grades at this time demonstrate to students how they are progressing. Students are given midterm evaluations for their technique classes and non-studio classes only. Final grades are given at the end of the semester and grades at this time demonstrate to students how they performed overall in their technique classes, non-studio classes, rehearsals, and performances. Students’ final grades are determined by each teacher and take into consideration their overall work in each class.
Failing Grades
If a student does not pass a class, whether because of an instructor giving a failing grade or because of poor attendance, the student will not receive credit for that class. Students must earn 60 credits to graduate from the Certificate Program. In the event a student does not receive credit for a class, he or she may be given the opportunity to repeat the class, pending a conference with the CP Coordinator and/or Artistic Director. All repeated classes are at additional expense to the student, at the rate of $540 per credit (2 technique classes). Repeating classes may delay a student’s graduation from the Program.
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Grading Policy
Ultimately, grades provide a calculated assessment of each student’s work for each semester. They are designed to help the students quickly identify their relative strengths and weaknesses as a student of dance and as a potential dance professional.
Students are graded in each Technique Class by the following weighted system:
Final Evaluation Grade: Criteria evaluated includes: technical skill; movement quality; overall understanding of concepts, technique, quality etc.; kinesthetic awareness; ability to apply corrections; work ethic and attentiveness; attitude and ability to work well with others; preparedness and presentation; artistry; and overall professionalism. Students’ grades are adjusted to reflect their attendance based on the attendance policy.
Students are graded in their Non-Studio Class Work on criteria determined by the instructor. Student’s grades are adjusted to reflect their attendance based on the attendance policy.
Students are graded in each Repertory Rehearsal/Performance by the following weighted system:
Final Evaluation Grade: Criteria evaluated includes: technical skill; movement quality; overall understanding of concepts, technique, quality etc.; kinesthetic awareness; ability to apply corrections; work ethic and attentiveness; attitude and ability to work well with others; preparedness and presentation; artistry; and overall professionalism. Students’ grades are adjusted to reflect their attendance based on the attendance policy.
Letter Grade Qualifications Grade Point A 3.76-4.00 Excellent Execution of Technique, Artistic Growth, and Class Attendance
A- 3.51-3.75 Above Average Technique, Good Effort in Class, Good Attendance
B+ 3.01-3.50 Good Technique, Good Effort in Class, Satisfactory Attendance
B 2.76-3.00 Satisfying Technique, Satisfying Effort in Class, Satisfying Attendance
B- 2.51-2.75 Minimal Effort in Class, Satisfactory Attendance
C+ 2.01-2.50 Passing, but Below Average Technical Development and Attendance
C 1.76-2.00 Passing, Unsatisfactory Work in Class and Poor Attendance
C- 1.51-1.75 Fail
D+ 1.01-1.50 Fail
D 0.76-1.00 Fail
D- 0.51-0.75 Fail
F 0.00-0.50 Fail
Certificate Program 31 Peridance Capezio Center ______Retention Policy
In order to remain in the Program, students must maintain a minimum overall Grade Point Average of 1.76 and must adhere to the Attendance Policy and Rules of Conduct.
Credit Policy
Schedules: Schedules are distributed at the start of each term. No students can make changes to his/her schedule without first consulting and receiving approval from the CP Coordinator. Schedule changes must be completed during the Add/Drop period. (see Academic Calendar).
Value of Credit per Semester: Technique Classes: Students are given ½ credit for every 60-90 minutes spent per week in technique class. Non-Studio Classes (Classes, Seminars, etc.): Students are given 1 credit for each hour spent in class plus two hours of preparation. Rehearsal: Students are given 1/2 credit for every 60-90 minutes spent per week in rehearsal.
Credit Limit: All students must take 15 credits per semester to be considered full-time. International students must be full-time in order to maintain their F-1 visa student status. Certificate Program students may not study part-time.
Transfer Credit: Peridance does not accept credit from other post-secondary establishments. If a student has previously completed and passed a required course at the collegiate level prior to matriculation in the Certificate Program, alternate courses may be offered on a case-by-case basis.
Credit Breakdown: Each student is required to complete sixty credits prior to graduation from the Certificate Program. The credits will generally be broken down as follows in equal parts over four semesters:
Component Credits/Semester Total Credits Dance Technique 8.5 34 Non-studio Classes 4.5 18 Rehearsal/Performance 1 4 Independent Study .5 2 Performance Analysis .5 2 . Total 15 60
Graduation Requirements
Any student who meets the academic standard must have completed his/her Final Project in order to receive a Certificate of Completion.
Academic Standard: To meet the academic standard for the Certificate Program, students must fulfill each of the following requirements: • Students must have completed a minimum of 60 credit hours. • Students must maintain an overall Grade Point Average (GPA) of 1.76.
Final Project: A student must complete a final project to present in his/her last semester. A written proposal will be submitted and discussed with the CP Coordinator and/or Artistic Director before the end of his/her third semester.
Financial Standing: A student’s account must be paid in full including any amount of work study owed due to absences or tuition scholarship.
Certificate Program 32 Peridance Capezio Center ______Certificates Granted and Requirements
Certificate of Completion: Students will receive a Certificate of Completion if upon completing the Program they have achieved: • no incompletes for any classes. • an overall GPA of at least 1.76 or higher. • an intermediate level or equivalent in all technique classes.
Certificate of Excellence: Students will receive a Certificate of Excellence if upon completing the Program they have achieved: • no incompletes for any classes. • an overall GPA of 3.0 or higher. • An advanced-intermediate level or equivalent in all technique classes.
Certificate of Excellence with Honors: Students will receive a Certificate of Excellence with Honors if upon completing the Program they have achieved: • no incompletes for any classes. • an overall GPA of 3.5 or higher. • an advanced or higher in all technique classes.
Media
• Upon receiving any of the above mentioned Certificates, students are eligible for access to all pictures and videos of their work at Peridance for use in their portfolios. This footage is included in your tuition but MAY NOT at any time be accessed before graduation. You MUST complete 2 years in the program successfully for access.
• Requesting Media: To request media from your time at Peridance, you must present your Certificate to the Media Coordinator. You must make an appointment and list of all footage and pictures requested ahead of time and submit to the Media Coordinator.
Visa Options and Employment
F-1 Visa students are NOT generally eligible to work while they are studying full-time in the US. Employment of any kind can be a violation of your status. Below are the exceptions to that regulation:
On-Campus Employment: We do not currently offer on-campus employment or work study to International Students
Curricular Practical Training (CPT): The opportunity to work (for $ or volunteer) in the dance field up to 20 hours per week while you are still a full-time student. Students at Peridance are eligible for CPT after one year of study and only if they have maintained good standing in their programs. We need the name and address of your employer along with a letter of employment.
Post-Completion Optional Practical Training (OPT): The opportunity to work (for $ or volunteer) for one year in the dance field up to 40 hours per week after you have completed your study. Certificate Program students are eligible to apply for OPT after they graduate from the Certificate Program. All other international students are eligible to apply after three years of study. All students must have maintained good standing in their programs.
A $300 non-refundable processing fee will apply for all students requesting Post-Completion OPT. Application for these employment opportunities must begin a minimum of three months prior to your program’s completion date. Please see the International Student Advisor for more details on restrictions and requirements regarding these employment possibilities.
Certificate Program 33 Peridance Capezio Center ______Academic Calendar
The Certificate Program requires four semesters of study over the course of two years. Currently the Program must be completed on a Fall/Spring semester schedule. Students may enter the Program in either the Fall or Spring semester. Each semester runs for eighteen weeks.
FALL 2016 AUGUST 29TH – JANUARY 13TH
Orientation: August 29th Classes Begin: August 29th Add/Drop: August 29th - Sept. 6th Yom Kippur (No Class): October 12th Midterm Week : October 17th - 21st Midterm evaluations due: October 28th Thanksgiving Break (No Class): November 23rd - 25th Winter Production (in theater): December 9th - 11th Winter Break (No Class): December 19th - January 1st Classes Resume: January 2nd Optional Classes (No Academics): January 2nd - January 6th Final Evaluations Week: January 9th - 13th Solo Performance I Showcase: TBA Solo Performance II Showcase: January 11th In-Studio Showcase: January 12th Last Day of Classes: January 13th Final Evaluations Due: January 20th
SPRING 2017 JANUARY 23RD – JUNE 11TH
Orientation: January 23rd Classes Begin: January 23rd Add/Drop: January 23rd - 30th Midterm Week: March 13th - 17th Spring Break (No Class): March 20th - 24th Midterm Evaluations due: March 24th Classes Resume: March 27th Final Evaluations Week: May 29th - June 2nd Solo Performance I Showcase: TBA Solo Performance II Showcase: TBA Solo Performance 3 Showcase: TBA In-Studio Showcase: June 1st Last Day of Classes: June 2nd Rehearsal Week: June 5th - 9th Final Evaluations Due: June 9th Spring Production (in theater): June 10th - 11th
Certificate Program 34 Peridance Capezio Center ______Grievance, Probation, and Appeals Procedures
Grievance Procedures: Students with complaints should fill out an anonymous Student Complaint Form. Students may also air grievances in an appointment with the CP Coordinator.
Probation: Students who do not meet the standards set forth for the Certificate Program may be placed on probation. Students who fail to meet standards in the studio/classroom or who repeatedly violate the Rules of Conduct and/or display unacceptable behavior may be placed on probation.
Dismissal: Repeated violations of the Rules of Conduct may lead to dismissal from the Program. Peridance Capezio Center and the Certificate Program reserve the right to dismiss students who fail to abide by the Rules of Conduct. No refunds will be given.
Appeals Process: 1. Student must submit a written letter addressed to the CP Coordinator. The letter should include reasons for probationary status and counter reasons why probationary status should be lifted, including but not limited to providing the student’s current academic record as proof of meeting Certificate Program standards. 2. A Probation Appeals Committee, consisting of the Artistic Director, the CP Coordinator, and the Director of Development, will review the letter. 3. The CP Coordinator will respond within two weeks of receiving the letter detailing the decision reached by the Probation Appeals Committee.
Self-Evaluative Process
Peridance Capezio Center is committed to offering the highest quality of education to its students. To that end, Peridance Capezio Center’s administration and faculty engage in a comprehensive, self-evaluative process to result in the utmost quality in its students, teachers, programs, facilities, and employees. Heavily relying on the student’s feedback as well as communication between all those connected to Peridance, the following are completed:
• Student evaluations of teachers • Student evaluations of class schedules • Administrative evaluations of teachers and schedules • Student-teacher meetings • Teacher-director meetings • Student-director meetings
The results of all of the above are compiled and used to improve the Certificate Program on an ongoing basis, which allows the Program to continuously evolve into the future and meet its demands. Results are reviewed after each evaluation and meeting, noting areas for improvement. Improvements are implemented on an as-needed basis; urgent concerns are immediately addressed. After each semester and year, structural, administrative, and/or program-wide concerns are considered.
Certificate Program 35 Peridance Capezio Center ______Other Services
Advising: Peridance Capezio Center recognizes the value of communication between students, faculty, and staff. • The CP Coordinator will hold open Office Hours on Mondays and Wednesdays from 1-3. During this time, students may meet with the CP Coordinator to discuss any questions or concerns. For a meeting at any other time, students must email the CP Coordinator to arrange an appointment. • The CP Coordinator and faculty members will meet students at any time by appointment to discuss any technical, artistic, administrative, and personal concerns. • Any student may request a list of outside Nutritionists and Psychological Counselors. • A Student-to-Student Mentoring Program provides first-year students with support and advice from a second- year mentor.
Resource Lists: Available to students in the Peridance offices are resource lists of: • Housing • Grants and Scholarships for Domestic Students • Grants and Scholarships for International Students • Doctors, Physical Therapists, Nutritionists, Psychologists, etc.
Student Discounts: Peridance partners with the following businesses to provide discounts to its Certificate Program Students: • Capezio Dancewear, Zaro’s Bakery, Pie by the Pound, Ibiza Kids, On Stage Dancewear, Everyman Espresso, Chickpea, Apt. 141 Boutique, Classic Stage Company
Contracted Education Services
Peridance Capezio Center’s Certificate Program provides all coursework and educational services to support its program at the professional, postsecondary level. There is no outside cooperative or contracted coursework and educational services in Peridance Capezio Center’s Certificate Program.
The Peridance Capezio Center Certificate Program is currently in the process of applying for accreditation from the National Association of Schools of Dance: 11250 Roger Bacon Drive, Suite 21, Reston, VA 20190-5248
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© Peridance Capezio Center
Certificate Program 37