DOCSLIB.ORG

Abstracts and Biographies Friday May 20, 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abstracts and Biographies Friday May 20, 2016 Contemporary Ballet: Exchanges, Connections and Directions Welcome We are thrilled to welcome so many of you to this special topics conference on contemporary ballet. Based on the overwhelming response and enthusiasm to the call for papers, it is clear that there is a need for discourse and rigorous investigation into how this moment in ballet historiography is being shaped. We began to dialogue about ‘contemporary ballet’ two years ago, while conceptualizing what would become the 2015 issue of Conversations across the Field of Dance Studies: Network of Pointes. That effort to articulate complexities of the genre yielded many more questions and the idea to continue the “conversation” surrounding the efficacy of ballet, its history, locality, and relevancy at a conference exclusively devoted to the topic. We chose New York City for both practical and ideological purposes. It provided willing sponsors to whom we are eternally grateful. Furthermore, New York prompts a discourse about the city’s past and present relationship to ballet histories. In October 2015, we put forth a call for papers hoping to elicit practitioners, scholars, critics and those who work across those categories as well as in-between. Today we happily welcome over fifty presenters and ten invited speakers. The topics that surround contemporary ballet address gender, race, the choreographic form as tradition and innovation, as well as national practices and politics from the global north and south. Over the next two days, you will witness the range and breadth of scope that refreshingly confirms a new chapter is being written. The support from our two hosts in New York City has been truly invaluable. We are grateful to New York University’s Center for Ballet and the Arts and Barnard College, Columbia University for their generosity in resources to make this event happen. Our sponsors for the two-day conference include: the Faculty of Education (Royal Academy of Dance), Skidmore College, the Dance Department at Loyola Marymount University (Los Angeles) and SLIPPAGE: Performance, Technology, Culture. Finally, we owe much gratitude to the Society of Dance History Scholars and its Board of Directors for the confidence to realize this event. In addition, we would like to thank Andrea Salvatore (CBA), Tricia Toliver (Barnard College, Columbia University), Thomas F. DeFrantz (Duke University), Jim Ranieri (Prime Management), Ariel Osterweis (our local arrangements chair) and Ann Cooper Albright (President of SDHS). Last but not least, our sincere appreciation to Lynn Garafola in her capacity as Artistic Advisor for the conference. It is our hope that you will find this two-day conference as intriguing as we did during the process of curating the event. Jill Nunes Jensen and Kathrina Farrugia-Kriel May 20 – 21, 2016 New York City 1 Contemporary Ballet: Exchanges, Connections and Directions Conference Committee Artistic Advisor Lynn Garafola, Professor of Dance, Barnard College, Columbia University (New York City) Program Chairs Jill Nunes Jensen Ph.D., Loyola Marymount University (Los Angeles) Kathrina Farrugia-Kriel, Ph.D., Faculty of Education Royal Academy of Dance (London) Local Arrangements Chair Ariel Osterweis, Ph.D., Skidmore College (New York) and Cal Arts (Los Angeles) Invited Speakers Joshua Beamish, Choreographer and Director of Move: the company Emily Coates, Director of dance studies (Yale University) Jodie Gates, Director and Vice Dean (USC Glorya Kaufman School of Dance) Julia Gleich, Choreographer and Director Gleich Dances, curator of CounterPointe Francesca Harper, Choreographer, performer and director Jill Johnson, Dance Director (Harvard University) Gabrielle Lamb, Choreographer, dancer and filmmaker Emery LeCrone, Choreographer, performer and teacher Helen Pickett, choreographer, educator and performer Troy Schumacher, choreographer and Director of BalletCollective May 20 – 21, 2016 New York City 2 Contemporary Ballet: Exchanges, Connections and Directions Friday, May 20, 2016 at NYU’s Center for Ballet and the Arts 8:00 – 9:00 Registration 9:00 – 9:10 Welcome from Conference Chairs Jill Nunes Jensen and Kathrina Farrugia-Kriel (Main Studio) PANEL 1 (9:20 – 10:50) Topic: Contemporary Narratives Moderator: Melissa Templeton Room: Main Studio Mara Mandradjieff Maguy Marin’s Posthumanist Cinderella: (Sub)objectivity and Contemporary Ballet Tanya Evidente Defining Contemporary Ballet: A Study of James Kudelka's Narrative Themes, Vocabulary and Artistic Collaborations Meryl Lodge From Rags to Riches: the Cinderella Story of Contemporary Ballet in South Africa Ann Murphy Toward a Definition of Contemporary Ballet Or PANEL 2 (9:20 – 10:50) Topic: Legacies and Exchanges Moderator: Kathrina Farrugia-Kriel Room: Meeting Room 1 Molly Faulkner and Julia Gleich Contemporary Ballet is a Liminal State: Reflection and Refraction Tyler Walters Ballet Under Glass Deborah Norris Exploring the Choreographic Work of Cathy Marston: A Matriarch of British Contemporary Ballet in the 21st Century Jessica Maria MacFarlane Reread, Rewrite, Rewire: Connecting Female Writers and Choreographers in Contemporary Ballet Or PANEL 3 (9:20 – 10:50) Topic: Pedagogy and Training (Roundtable) Moderator: Rachel Strauss Room: Meeting Room 2 Paige Caldarella Emily Stein Iyun Harrison Bruce McCormick 10:50 – 11:10 Break Plenary Session (11:10– 12:15) Topic: Contemporary Ballet, Women, and Institutions Moderator: Jill Nunes Jensen Room: Main Studio Guest Speakers: Emily Coates, Jodie Gates, and Jill Johnson 12:15 – 1:45 Lunch on your own May 20 – 21, 2016 New York City 3 Contemporary Ballet: Exchanges, Connections and Directions PANEL 4 (1:45– 3:15) Topic: International Voices Moderator: Professor Thomas DeFrantz Room: Main Studio Anjali Austin Perspectives of an American Artist: The Auto-Ethnographic Chronicles of an African-American Classical Ballet Dancer Kathrina Farrugia-Kriel Negotiating Alterity and Hybridity: Mauro Bigonzetti’s Contemporization of Ballet Kylie Radford From “Burudani” to Making Impact: Insights and Perceptions of a French Artistic Director’s Journey with the Uganda National Contemporary Ballet Elisa Davis Contemporary Ballet Going Gaga Or PANEL 5 (1:45– 3:15) Topic: Historical Structures and Organizations Moderator: Lise Uytterhoeven Room: Meeting Room 1 Joellen Meglin A Thought Experiment: Against Artistic Monopolies in Ballet Caroline Sutton Clark Groovy Bodies: The 1970s and Contemporizing Ballet Henrique Rochelle Ballet as an Imported Tradition and its Current Uses by Brazilian Dance Companies Lester Tomé Cuban Dancers’ Global Careers, Brain Drain and Brain Gain: Contesting Paradigms of Labor Circulation in Contemporary Ballet Or PANEL 6 (1:45– 3:15) Topic: Recirculating Classical Forms (Organized Panel) Moderator: Hanna Järvinen Room: Meeting Room 2 Rebecca Chaleff Choreographing Alterities: The Imperial Politics of Giselle Julian Carter Contemporary Performances of The Dying Swan: Race and Whiteness Michelle LaVigne The Persistence of Classical Form: Repetitions of The Nutcracker in Contemporary Ballet Culture VK Preston Dance Archaeology: Dancing Deep Diaspora 3:15 – 3:35 Break PANEL 7 (3:35 – 5:20) Topic: (In)Forming Ballet Bodies Moderator: Jill Nunes Jensen Room: Main Studio Roger Copeland Ballet, Modernity and the Contemporary Ann Nugent The Forsythescape: A Cumulative Force Rachel Strauss Form, Abstraction, and the Apollonian in Contemporary Ballet, with Reference to the Work of Pam Tanowitz Ariel Osterweis with Christina Johnson Complexions Contemporary Ballet and the Nuances of TechNIQUE: Race, Gender, Hybridity May 20 – 21, 2016 New York City 4 Contemporary Ballet: Exchanges, Connections and Directions Or PANEL 8 (3:35 – 5:20) Topic: Global Connections (1) Moderator: VK Preston Room: Meeting Room 1 Ruth Helier-Tinoco Contemporary Ballet in Mexico City: Opus Ballet, Ricardo Domingo and La Técnica Domingo Yuma Ochi Emergence of Contemporary Ballet in the Ballet de l’Opéra de Paris: On the Intervention of Jérôme Bel Samantha Parsons Stripping the Covers of the Body Politic Jennifer Fisher Ballet is Still an Ethnic Dance Form Or PANEL 9 (3:35 – 5:20) Topic: Exchanges, Connections and Directions Moderator: Lester Tomé Room: Meeting Room 2 Barbara Dickinson Ballet, logos and Contemporary Directions Janet Werther Queer Women in Contemporary Ballet Caroline O’Brien Contemporary Ballet Costumes Julie Janus Walters Intelligence in Motion Cadence Whittier Cultivating a Contemporary Approach in Ballet Class 5.30 End of Conference Day 1 May 20 – 21, 2016 New York City 5 Contemporary Ballet: Exchanges, Connections and Directions Saturday, May 22, 2016 at the Julius S. Held Lecture Hall 304 Barnard Hall 8:00 – 9:00 Registration and Breakfast 9:00 Welcome from Conference Chairs and Professor Katie Glasner PANEL 1 (9:10 – 10:40) Topic: Contemporary Partnerships Moderator: Ann Nugent Daniel Callahan American Accents in Copland’s Corral: Choreomusicality and Intersectionality in Rodeo and 'Rōdē,ō Russell Janzen The Limits of Ballet: Conversations About Gender Presentation in a Physical Art Kyle Bukhari Rupturing the Present: Space, Figure and Text in Michael Clark and Charles Atlas' animal/mineral/vegetable (2013) Jill Nunes Jensen ThroughLINES Revisited 10:40 – 11:00 Break PANEL 2 (11:00 – 12:30) Topic: Global Connections (2) Moderator: Ariel Osterweis Thomas F. DeFrantz The Race of Contemporary Ballet: Interpellations of Africanist Aesthetics Melissa Templeton What Gets Lost in the Word “Contemporary?” From Imperialism to Globalization and the Africanist Aesthetic
Load more

Recommended publications
  • Valerie Roche ARAD Director Momix and the Omaha Ballet
    Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002.
    [Show full text]
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • Metro Atlanta Cultural Assessment FINAL REPORT
    metro atlanta cultural assessment FINAL REPORT table of contents acknowledgements. .3 executive summary. .4 cultural inventory cultural inventory summary. .8 creative industries revenue & compensation. 10 creative industries businesses & employment. 12 nonprofit cultural organizations. 27 cultural facilities. .40 where audiences originate. 53 cultural plans, programs, policies & ordinances cultural plans, programs & policies overview. 58 cultural affairs departments, plans, ordinances & policies. .59 regional planning agencies with cultural components. 63 regional cultural agencies. .65 examples of cultural plans. .67 cultural planning funding sources. .70 cultural forums cultural forums overview. 72 key findings, issues & opportunities. 73 all findings. 87 minutes Cherokee. 84 Clayton. 87 Cobb. 93 DeKalb. .98 Douglas. 105 North Fulton. 112 South Fulton. 120 Gwinnett. .127 Henry. .135 Rockdale. .142 City of Atlanta. 148 external appendices appendix A: cultural industries revenue and compensation technical codes appendix B: cultural industries employment and businesses technical codes appendix C: nonprofit cultural organizations technical codes appendix D: list of nonprofit cultural organizations by county appendix E: list of cultural facilities by county 2 | METRO ATLANTA CULTURAL ASSESSMENT FINAL REPORT acknowledgements This report would not have been possible without the strong support of the Boards of Directors of both the Atlanta Regional Commission and the Metro Atlanta Arts and Culture Coalition. Atlanta Regional Commission Board Members Tad Leithead (ARC Chair), Buzz Ahrens, W. Kerry Armstrong, Julie K. Arnold, Eldrin Bell, Kip Berry, C. J. Bland, Mike Bodker, Dennis W. Burnette, John Eaves, Burrell Ellis, Todd E. Ernst, Bill Floyd, Herbert Frady, Rob Garcia, Gene Hatfield, Bucky Johnson, Doris Ann Jones, Tim Lee, Liane Levetan, Lorene Lindsey, Mark Mathews, Elizabeth “BJ” Mathis, Randy Mills, Eddie L.
    [Show full text]
  • Sarah Brooks
    Sarah Brooks Brooks Family Homeschool 17236 NE 144th St Redmond, WA 98052 425-408-0205 [email protected] 5’6” DOB: 05/04/2003 Grade 12; GPA 4.0/4.0; CLT EXAM 94/120 Training Pacific Northwest Ballet School 2011-2020 Classical Ballet Levels I-VIII (Pointe, Pas, Variations, Repertory, Conditioning) Abbie Siegel, Marjorie Thompson, Marisa Albee, Nancy Crowley, Meg Potter, Dana Hanson New Voices: Choreography and Process for Young Women in Dance I and II 2018-2020 Eva Stone, Michelle Curtis Modern V-VIII 2015-2020 Eva Stone Summer Courses Alonzo King LINES Ballet Online Advanced program 2020 School of American Ballet 2019 Pacific Northwest Ballet 2017, 2018, 2020 Oregon Ballet Theater 2016 Master Classes Kidd Pivot Master Classes 2020 Tiffany Tregarthen Chop Shop Bodies of Work Contemporary Dance Festival 2017, 2018, 2019 Adam Barruch, Alicia Mullikin, others Gaga master class at Gibney Dance, Velocity Dance Center 2017, 2019 Performance Experience School of American Ballet Summer Choreography Workshop 2019 Pacific Northwest Ballet School Bruce Wells’ Beauty and the Beast – (performances cancelled due to Covid19) 2020 Bruce Wells’ Pinocchio 2019 New Voices Choreographic Showcases 2019 Spring Fling Fundraiser Performances 2019 Next Step: Outside/In 2019 End of Year School Performance 2012-2019 Virtual School Celebration 2020 Pacific Northwest Ballet (with PNB School) Coppélia (Alexandra Danilova and George Balanchine)- Waltz girl 2016 George Balanchine’s The Nutcracker- Candy Cane 2015 Don Quixote (Marius Petipa/Alexander Gorsky/Alexi Ratamansky)-
    [Show full text]
  • An Exciting Year Ahead How Your Generosity Gives Ballet Arizona the Ability to Strive for Continued Excellence
    BALLET ARIZONA DONOR IMPACT Corporate Spotlight: Donor Spotlight: Letter From the Q&A: Wells Fargo Mary and David Patino Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE An Exciting Year Ahead How your generosity gives Ballet Arizona the ability to strive for continued excellence Ballet Arizona dancers Nayon Iovino and Jillian Barrell in Romeo & Juliet. Choreography by Ib Andersen. Photo by Rosalie O’Connor. WINTER 2017 I thank you for your continued generosity, support and passion ... Happy New Year! Welcome to 2017. On behalf of everyone at Ballet Arizona, I wish you good health and happiness coupled BEHIND THE SCENES with some spectacular ballet performances. I hope you’ll join with Ib Andersen us this February as we celebrate the return of Romeo & Juliet. Accompanied by The Phoenix Symphony, you have a unique opportunity to hear the Prokofiev score performed in its entirety. Q: What is your experience and history with In this issue, Executive Director Samantha Turner shares the Romeo & Juliet? news about an incredible legacy gift endowed to us by the A: I danced Romeo in Romeo & Juliet at the Royal Danish Ballet with late Hazel A. S. Hare. This gift is the largest one-time gift ever Mette-Ida Kirk. We were about 20 years old. It was choreographer received in the history of Ballet Arizona. We are deeply honored John Neumeier's premiere and it became such a huge success, to be the beneficiaries of such a transformational gift and to they are still doing that version today. This ballet was very crucial be among the few beneficiaries of such a generous woman.
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • October 2020 New York City Center
    NEW YORK CITY CENTER OCTOBER 2020 NEW YORK CITY CENTER SUPPORT CITY CENTER AND Page 9 DOUBLE YOUR IMPACT! OCTOBER 2020 3 Program Thanks to City Center Board Co-Chair Richard Witten and 9 City Center Turns the Lights Back On for the his wife and Board member Lisa, every contribution you 2020 Fall for Dance Festival by Reanne Rodrigues make to City Center from now until November 1 will be 30 Upcoming Events matched up to $100,000. Be a part of City Center’s historic moment as we turn the lights back on to bring you the first digitalFall for Dance Festival. Please consider making a donation today to help us expand opportunities for artists and get them back on stage where they belong. $200,000 hangs in the balance—give today to double your impact and ensure that City Center can continue to serve our artists and our beloved community for years to come. Page 9 Page 9 Page 30 donate now: text: become a member: Cover: Ballet Hispánico’s Shelby Colona; photo by Rachel Neville Photography NYCityCenter.org/ FallForDance NYCityCenter.org/ JOIN US ONLINE Donate to 443-21 Membership @NYCITYCENTER Ballet Hispánico performs 18+1 Excerpts; photo by Christopher Duggan Photography #FallForDance @NYCITYCENTER 2 ARLENE SHULER PRESIDENT & CEO NEW YORK STANFORD MAKISHI VP, PROGRAMMING CITY CENTER 2020 Wednesday, October 21, 2020 PROGRAM 1 BALLET HISPÁNICO Eduardo Vilaro, Artistic Director & CEO Ashley Bouder, Tiler Peck, and Brittany Pollack Ballet Hispánico 18+1 Excerpts Calvin Royal III New York Premiere Dormeshia Jamar Roberts Choreography by GUSTAVO RAMÍREZ
    [Show full text]
  • BEYOND BALLET a Town Hall on the State of Ballet and Diversity
    FOR IMMEDIATE RELEASE MEDIA CONTACT: April 17, 2017 Gary Tucker 206.441.2426 [email protected] PACIFIC NORTHWEST BALLET Presents BEYOND BALLET A Town Hall on the State of Ballet and Diversity 7:00 pm, Wednesday, May 3, 2017 The Phelps Center 301 Mercer Street at Seattle Center Seattle, WA 98109 SEATTLE, WA – On Wednesday, May 3, 2017, Pacific Northwest Ballet (PNB) will host BEYOND BALLET, a Town Hall-style conversation which will investigate aesthetics, diversity, equity, and the efforts to redesign arts institutions. PNB, Spectrum Dance Theater, and Memoirs of Blacks in Ballet (MOBB) invite attendees to share their thoughts, feelings and experiences in a Town Hall format. Ballet—its aesthetics, lack of diversity and equity—is the springboard from which we begin to examine these issues in the theater and arts at large. This forum will be an open study group for organizations participating in the Seattle Office of Arts & Culture Racial Equity Learning Cohorts, part of the Race and Social Justice Initiative (RSJI), the City’s commitment to eliminate racial disparities and achieve racial equity in Seattle. BEYOND BALLET will take place at 7:00 pm on Wednesday, May 3, 2017 at PNB’s Phelps Center, 301 Mercer Street at Seattle Center. This is a free event, however space is limited and registration is required at PNB.org/BeyondBallet. Panelists for BEYOND BALLET include Peter Boal, Artistic Director of PNB; Donald Byrd, Artistic Director of Spectrum Dance Theater; Erica Edwards, Director of Community Engagement at The Joffrey Ballet; Kiyon Gaines, former PNB soloist and PNB School faculty member; and Andrea Long-Naidu, ballet instructor for Dance Theatre of Harlem and CityDance Conservatory.
    [Show full text]
  • Parent-Student Handbook 2020-2021
    Parent-Student Handbook 2020-2021 The Rankin 1004 Broadway, 2nd floor Columbus, GA. 31901 TABLE OF CONTENTS Welcome and Mission 2 Instructors 2-4 NEW Covid Protocol 5-6 Dance Year & Holidays ____________________________________________________6 Summer Intensives and Summer Classes 6 Performance Opportunities 5 Student Placement 6 Promotions 7 Pointe Training 7 Student Evaluations 7 Parent Observation 7 Conservatory Etiquette 8 YDC Dress Code 8 Ballet Bun 9 What to Have in a Ballet Bag 9 Conservatory Policies ______________________________________________________9-10 Absences/Tardiness 10 Video Recording/Social Media Policy _________________________________________10 Studio and Office Hours ____________________________________________________10 Registration Information 11 Payment Plans ____________________________________________________________11 Withdrawals 12 1 | Page ~Welcome: The CSU Youth Dance Conservatory (YDC) is one of many programs offered under Continuing & Professional Education at The Rankin. The YDC partners with The Columbus Ballet to offer the best classical ballet training and performance opportunities to aspiring dancers in our community. An air of tradition and discipline fills an atmosphere of intense, yet fun learning from our youngest dancers to advanced levels. In addition, the Conservatory offers training in jazz, contemporary, modern, and stretch. Our advanced students have been accepted to many well-recognized summer intensive programs such as: Atlanta Ballet, Montgomery Ballet, American Ballet Theatre, Boston
    [Show full text]
  • Roberto Muñoz
    Roberto Muñoz Mr. Munoz has been teaching and coaching young dancers for over 30 years, both in the USA and abroad. Mr. Munoz served as Director of the Conservatory of Dance and Music Point Park College (now University) from 1983-1995. There, he created two successful programs for young aspiring dancers, The Pre-Professional Division and the International Summer Dance Program. During this time, he assembled an impressive faculty of world-renowned Master Teachers, including Laura Alonso, Barbara Sandonato, Karen Brown, Magda Aunon, Eva Evdokimova, Willy Burmann, Michael Uthoff, John McFall and Jose Molina. In the summer of 1993, Mr. Munoz, was invited to be part of the faculty at Pro Danza in Havana Cuba, where he taught classes at the Historical Theater Garcia Lorca. In the year 1995, was invited to teach at The Baltimore High School for the Performing Arts. From 1997-2005, Mr. Munoz was Ballet Master/Coach for both Pittsburgh Ballet Theater’s Company and its school. In 2005, he became Executive Director and Ballet Master at Gulfshore Ballet in Florida. Mr. Munoz’s former students are recognized for their high level of professionalism and their artistic and technical achievements. Most have gone on to successful careers with major companies across the US and Europe. Mr. Munoz has been a guest Master Teacher at a number of Ballet Companies, including Atlanta Ballet, Ballet Arizona, Ballet Met, Boston Ballet, Houston Ballet, Pittsburgh Ballet Theater and Colorado Ballet, among others. He has also taught master classes at Central Pennsylvania Youth Ballet, Magda Aunon Classical Ballet School, Wexford Dance Academy, Ballet Academy of Pittsburgh, Dmitri Kulev Classical Ballet Academy, Colorado Conservatory of Dance, Aspen Santa Fe Ballet School, both in Aspen and Santa Fe, Vail Valley Dance Academy, Ballet Conservatory of South Texas, Dance Conservatory of Maryland, Takeuchi Ballet Studio in Japan and the Kenny Wang Ballet School in Taiwan..
    [Show full text]
  • Dance Theatre of Harlem
    François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin
    [Show full text]