Ballet Instructors 2012/2013
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IATSE and Labor Movement News
FIRST QUARTER, 2012 NUMBER 635 FEATURES Report of the 10 General Executive Board January 30 - February 3, 2012, Atlanta, Georgia Work Connects Us All AFL-CIO Launches New 77 Campaign, New Website New IATSE-PAC Contest 79 for the “Stand up, Fight Back” Campaign INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES, MOVING PICTURE TECHNICIANS, ARTISTS AND ALLIED CRAFTS OF THE UNITED STATES, ITS TERRITORIES AND CANADA, AFL-CIO, CLC EXECUTIVE OFFICERS Matthew D. Loeb James B. Wood International President General Secretary–Treasurer Thomas C. Short Michael W. Proscia International General Secretary– President Emeritus Treasurer Emeritus Edward C. Powell International Vice President Emeritus Timothy F. Magee Brian J. Lawlor 1st Vice President 7th Vice President 900 Pallister Ave. 1430 Broadway, 20th Floor Detroit, MI 48202 New York, NY 10018 DEPARTMENTS Michael Barnes Michael F. Miller, Jr. 2nd Vice President 8th Vice President 2401 South Swanson Street 10045 Riverside Drive Philadelphia, PA 19148 Toluca Lake, CA 91602 4 President’s 74 Local News & Views J. Walter Cahill John T. Beckman, Jr. 3rd Vice President 9th Vice President Newsletter 5010 Rugby Avenue 1611 S. Broadway, #110 80 On Location Bethesda, MD 20814 St Louis, MO 63104 Thom Davis Daniel DiTolla 5 General Secretary- 4th Vice President 10th Vice President 2520 West Olive Avenue 1430 Broadway, 20th Floor Treasurer’s Message 82 Safety Zone Burbank, CA 91505 New York, NY 10018 Anthony M. DePaulo John Ford 5th Vice President 11th Vice President 6 IATSE and Labor 83 On the Show Floor 1430 Broadway, 20th Floor 326 West 48th Street New York, NY 10018 New York, NY 10036 Movement News Damian Petti John M. -
Dance, American Dance
DA CONSTAANTLYN EVOLVINGCE TRADITION AD CONSTAANTLY NEVOLVINGCE TRADITION BY OCTAVIO ROCA here is no time like the Michael Smuin’s jazzy abandon, in present to look at the future of Broadway’s newfound love of dance, American dance. So much in every daring bit of performance art keeps coming, so much is left that tries to redefine what dance is behind, and the uncertainty and what it is not. American dancers Tand immense promise of all that lies today represent the finest, most ahead tell us that the young century exciting, and most diverse aspects of is witnessing a watershed in our country’s cultural riches. American dance history. Candid The phenomenal aspect of dance is shots of American artists on the that it takes two to give meaning to move reveal a wide-open landscape the phenomenon. The meaning of a of dance, from classical to modern dance arises not in a vacuum but in to postmodern and beyond. public, in real life, in the magical Each of our dance traditions moment when an audience witnesses carries a distinctive flavor, and each a performance. What makes demands attention: the living American dance unique is not just its legacies of George Balanchine and A poster advertises the appearance of New distinctive, multicultural mix of Antony Tudor, the ever-surprising York City Ballet as part of Festival Verdi influences, but also the distinctively 2001 in Parma, Italy. genius of Merce Cunningham, the American mix of its audiences. That all-American exuberance of Paul Taylor, the social mix is even more of a melting pot as the new commitment of Bill T. -
2016 - 2017 Season Passion
2016 - 2017 SEASON PASSION. DISCIPLINE. GRACE. Attributes that both ballet dancers and our expert group of medical professionals possess. At Fort Walton Beach Medical Center, each member of our team plays an important part in serving our patients with the highest quality care. We are proud to support the ballet in its mission to share the beauty and artistry of dance with our community. Exceptional People. Exceptional Care. 23666 Ballet 5.5 x 8.5.indd 1 8/26/2016 3:47:56 PM MESSAGE FROM THE DIRECTOR Dear Friends: Thank you for joining us for our 47th season of the Northwest Florida Ballet. This year will be the most exciting yet, as we debut the Northwest Florida Ballet Symphony Orchestra led by renowned conductor and composer, David Ott. As a non-prot 501(c)(3) organization, NFB is highly regarded for providing world-class ballet performances, training students in the art of dance, and reaching out into our community through our educational endeavors. The introduction of the NFB Symphony Orchestra only further enriches our productions and programming, adding an unparalleled level of depth that Todd Eric Allen, NFB Artistic Director & CEO no other ballet company in our area can claim. In many ways, this depth showcases NFB as a cultural mosaic arranged to represent the best of the Emerald Coast. From the facility in downtown Fort Walton Beach where we train our students to the local family attending a ballet performance for the rst time, we recognize that every facet of who we are as an organization is part of this mosaic. -
With the Grace of a Swan Extracurricular Students Choose Myspace, fl Iers Ballet San Jose Prepares to Bring a Classic to the Stage Over SJSU.Edu to Post Events
MORE BLOOD DRIVE TALK His story in colors Richard Tuker, 61, a former SJSU Policies, principles, protests ... student, speaks through oil on can- and Rip Van Winkle vas about his life, love and culture. See OPINION, page 5. TOMORROW in the Spartan Daily VOLUME 130 ISSUE 12 Spartan Daily 63˚ / 39˚ thespartandaily.com MOSTLY SUNNY SERVING SAN JOSE STATE UNIVERSITY WEDNESDAY, FEBRUARY 13, 2008 FREE SINCE 1934 With the grace of a swan Extracurricular Students choose MySpace, fl iers Ballet San Jose prepares to bring a classic to the stage over SJSU.edu to post events By CHRIS BAUSINGER have to get their events approved for Staff Writer the calendar. The organization must fi ll out a one-page form that is sub- Since Sept. 17, 2007 the Student ject to review and approval. Involvement Web calendar has listed “Most students don’t go to the four events. SJSU Web site to look for clubs,” said The lack of student events is not a Stephanie Jwo, a senior psychology result of clubs not hosting any events, major and member of Tau Delta Phi. but instead because student organiza- Tau Delta Phi spreads information tions often choose not to post their about its events by handing out fl iers events on the Web calendar. in front of a table outside the Student Events on the calendar ranged Union as well as through their own from academic integrity week to stu- Web site. dent organization fairs. Other student organizations feel According to the Student Involve- the same way about the Student In- ment Web calendar the last event to volvement calendar and have created be posted by a student organization and managed their own Web pages was the Associated Students’ bar- separate from the SJSU Web site. -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts, -
Professional Division Graduates, 1999-2014
Professional Division Graduates, 1999-2014 Name Company/College/University Year Heather Aagard Ballet Arizona; Joffrey Ballet 2001 Chelsea Adomaitis Pacific Northwest Ballet 2009 Tristan Alberda Milwaukee Ballet 2000 Maggie Alden Columbia University 2009 Kirsten Allman Louisville Ballet 2009 Garrett Anderson Hubbard Street Dance; Royal Ballet of Flanders; San Francisco Ballet 2001 Jessika Anspach Pacific Northwest Ballet 2004 Isaac Aoki Grand Rapids Ballet 2013 Emma Appel University of California, Berkeley 2011 Robbie-Jean Arbaczewski Central Pennsylvania Youth Ballet 2009 Jacquelyn Arcati Cherylyn Lavagnino Dance; Nevada Ballet; Columbia Univ. School of Law 2005 Thomas Baltrushunas Pennsylvania Ballet; Temple University 2002 Edward Barnes Pennsylvania Ballet 2008 Eli Barnes Cincinnati Ballet; Alberta Ballet 2011 Andrew Bartee Ballet BC; Pacific Northwest Ballet; Princess Grace Award Recipient 2008 Reid Bartelme Alberta Ballet; BalletMet; Current: Freelance fashion/costume designer 2001 Taisha Barton-Rowledge Ballet du Capitole, Toulouse, France; Carolina Ballet 2009 Alison Basford Boston Ballet; Pacific Northwest Ballet; Suzanne Farrell Ballet 2002 Marlowe Bassett Napoles Ballet Theatre; LINES Ballet; Metamorphosis (San Francisco) 2002 Reilley Bell Alberta Ballet 2007 Ezra Benjamin Cornish College of the Arts 2003 Christiana Bennett Ballet West (Principal Dancer) 1999 Laurel Benson Ballet West II 2014 Ian Bethany Ballet Austin 2008 Kelsey Bevington Nevada Ballet Theatre; Cincinnati Ballet II 2013 Perry Bevington Nevada Ballet Theatre, -
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9 GINGER THATCHER, former principal dancer of the Cleveland Ballet and former soloist of the Lar Lubovitch Dance Company, and PHILLIP BROOMHEAD, former principal dancer of the Royal Ballet and the Houston Ballet, will members of the faculty for the Goh Ballet Academy's Summer Program in Vancouver, Canada from July 7-August 9, 2014. GINGER THATCHER began her professional dance career as an apprentice with the Houston Ballet. She later joined the Cincinnati Ballet and in 1981 joined the Cleveland Ballet, rising to the rank of principal dancer. Ms. Thatcher's repertoire with the Cleveland Ballet included principal roles in ballets by George Balanchine (Agon, Concerto Barocco, The Four Temperaments, Serenade, Theme and Variations), Dennis Nahat (Brahms Quintet, Cannonade, Celebration and Ode, Contra Concerti, In Concert, In Studio D, Ontongeny, Pas de Dix, Quicksilver, Slavonic and Hungarian Dances, Some Times, Summerscape, Wu T'ai Shih), Murray Louis (By George), Daniel Levans (Concert Waltzes), Louis Falco (Escargot), Leonide Massine (Gaite Parisienne), David Lichine (Graduation Ball), Kurt Joos (The Green Table), Antony Tudor (Lilac Garden), Ian Horvath (Ozone Hour, Piano Man), Agnes de Mille (Rodeo, Three Virgins And A Devil), and Jose Limon (The Moor's Pavane, There Is A Time). Ms. Thatcher has also received acclaim for her performances in classical pieces such as Don Quixote Pas de Deux, The Nutcracker, Bluebird Pas de Deux, and the Prelude in Fokine's Les Sylphides. From 1991-93 Ms. Thatcher danced with the Lar Lubovitch Dance Company and danced roles in American Gesture, Concerto 622, Symphonie Concertante, and Waiting For The Sunshine. -
Too Hot to Handel Cincinnati Ballet's the Nutcracker Les Ballets
Too Hot to Handel November 29, 30 2003 Cincinnati Ballet's The Nutcracker December 5-14 2003 Les Ballets Africains February 27 2003 Dance Theatre of Harlem March 4-7, 2003 DETROIT Home of Michigan Opera Theatre David DiChiera, General Director DAIMLERCHRYSLER DaimlerChrysler Corporation Fund Copyright 2010,2003-04 Michigan Dance Series Opera Theatre No one can guarantee success. But knowing how to rehearse for it certainly helps. With over 250 relationship managers dedicated to one-on -one service, a full array of the latest financial products, and an emphasis on helping local businesses succeed, the Standard Federal Commercial Banking team makes sure your needs are always front and center. For more information, call 1-248-822-5402 or visit standardfede ralbank.c om . True Possibility. Standard Federal Bank ABN AMRO standardfederalbank.com ©2003 Standard Federal BankNA Copyright 2010, Michigan Opera Theatre Sur ender to Love DETROIT OPERA HOUSE . HOME OF MICHIGAN OPERA THEATRE ]B~VO 2003-2004 The Official Magazine of the Detroit Opera House BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Winer CONTRIBUTORS Dr. David DiChiera, General Director Matthew S. Birman, Editor Laura Wyss cason Michigan Opera Theatre Staff PUBLISHER ON STAGE Live Publishing Company TOO HOT TO HANDEL. .4 Frank Cucciarre, Design and Art Direction Program ............ .5 Blink Concept &: Design, Inc. Production Artist Profiles .................. ... ...... .6 Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales Rackham Symphony Choir ..... .. .............. .7 Marygrove College Chorale and Soulful Expressions Ensemble 7 Physicians' service provided by Henry Ford Medical Center. Too Hot to Handel Orchestra ... .... .... ........ 7 THE NUTCRACKER .9 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. -
Kim Gardner Pilates-Based Mat Class
GUEST FACULTY • SUMMER 2017 Through the connections of our directors’ professional careers as well as our association with Regional Dance America, we are pleased to bring in world-class guest instructors for our students each summer. Dancers in Intermediate and Advanced levels have the opportunity to work with these illustrious teachers in the Intensive Program. This year’s line up is as wonderful as ever. Kim Gardner Pilates-based mat class Kim Gardner danced professionally for 17 years, her affiliations including the Oakland Ballet, Milwaukee Ballet and Alonzo King’s LINES. She received her ballet training with San Jose Dance Theatre, and continues to teach ballet there to this day. The directed the Dance Medicine Program at O’Connor Hospital’s Center for Sports Medicine for ten years. Kim is now the Owner of Align Pilates and Dance Conditioning in San Jose. She is a Certified Pilates Instructor with over 20 years experience teaching movement and dance. In 1988, she began studying Pilates at St. Francis Memorial Hospital (Dance Medicine Department), while rehabilitating a dance injury. She was certified in 1996. Her clientele includes dancers, instructors, competitive athletes and individuals affected by strokes, multiple sclerosis and other health/movement challenges. She also works with individuals interested in general conditioning and core stability work. She has developed programs that address a variety of rehabilitative issues and has given presentations on the application of Pilates-based exercise for injury prevention and rehabilitation to physical therapists, athletic trainers, physicians and dance instructors. She has memberships in Pilates Method Alliance, and International Association for Dance Medicine and Science. -
Program Booklet
Amy Seiwert’s Imagery Presents: SKETCH 3: Expectations world premiere ballets by Marc Brew Val Caniparoli Amy Seiwert July 25–28, 2013 ODC Theater 3153 17th Street San Francisco, CA 94110 All logo and bubble photography by David DeSilva in collaboration with Bubble Master Sterling Johnson Dear Patron: Thank you so much for choosing to come to Amy Seiwert’s Imagery’s SKETCH 3. By doing so, you have supported Live Arts which, in and of itself, is important. But more than that, you have chosen to participate in a unique program. Each year, Amy identi"es a theme and invites stunning choreographers that she thinks have a pertinent message to create dances for Bay Area audiences — dances and choreographers that we wouldn’t, otherwise, be exposed to. Last year, she brought in female choreographers to present their individual message, commenting on the lack of female choreographers in the ballet "eld. This year, she has chosen to focus on process, shifting the focus from who makes the ballets, to how ballets are being made, as a theme. To accomplish this she invited a marvelous local choreographer familiar to Bay Area audiences through San Francisco Ballet, Val Caniparoli, as well as a renowned Australian choreographer, Marc Brew. And, we can thrill to a new o#ering by Amy herself. Michael Smuin once introduced Amy’s choreography by saying: “Amy has more originality in 25 seconds of work than most choreographers have in their entire work.” The SKETCH series is becoming a staple of mid-summer dance in San Francisco... but it won’t be able to continue without your generous support. -
Milwaukee Ballet Artistic Director Announces 2016-17 Dancer Roster Petrocci Retires, Departures Lead to New Faces and Exciting Promotions
Milwaukee Ballet Artistic Director announces 2016-17 Dancer Roster Petrocci Retires, Departures lead to New Faces and Exciting Promotions Contact: Leslie Rivers; 414-510-0052 or [email protected] MILWAUKEE – APRIL 18, 2016 – Artistic Director Michael Pink today announced Milwaukee Ballet’s 2016-17 dancer roster, featuring 18 returning dancers, the addition of five new artists; two promotions; the retirement of Marc Petrocci, and the departure of Susan Gartell, Valerie Harmon, and Alexandre Ferreira at the end of the 2015-16 season. Following his performance in ALICE (in wonderland) in May, Leading Artist Marc Petrocci will retire from his dance career after 13 seasons with Milwaukee Ballet. Petrocci will join wife Courtney Kramer Petrocci in Northern Illinois for new career opportunities, while pursuing the completion of his degree in Economics at UW-Milwaukee. “Milwaukee has been my home these past 13 years. During my tenure with Milwaukee Ballet, I have grown as an artist, athlete, and career professional. Investing myself completely as a leading artist has given me exposure to many facets of this Company, and this has helped inform my choices in my career transition,” Petrocci said. Artistic Director Michael Pink applauded Petrocci’s depth of commitment to the Company, his exceptional artistry, and his appetite for learning about the inner workings of a ballet company. “Marc has been a wonderful role model for all the dancers. He has always advocated for studying whilst dancing to ensure that next step in a dancer’s professional career can provide security and fulfilment,” said Pink. After 13 years with Milwaukee Ballet, Susan Gartell is considering dance opportunities in New York and Europe. -
Program Booklet
AMY SEIWert’S IMA| GERY SKETCH 5 Stirred World Premieres by Amy Seiwert & KT Nelson achel Furst; Photo by David DeSilva. David by Photo achel Furst; R Photo: ImageryPhoto: Artist July 16-19, 2015 asimagery.org Co-Presented by ODC Theater • 3153 17th Street, San Francisco, CA 94110 Dear Patron, Thank you so much for choosing to come to Amy Seiwert’s Imagery’s SKETCH 5. By doing so, you have supported live arts which, in of it itself, is important. But more than that, you have chosen to participate in a unique program. Each year, Amy identifies a theme and invites stunning artists, that she thinks have a pertinent message, to create dances for Bay Area audiences -- dancers, choreographers and composers that we wouldn’t otherwise be exposed to. This year, in Sketch 5 | Stirred, IMAGERY is mixing it up. Seiwert has been collaborating with ODC co-artistic director KT Nelson on a new work. The artists edited each other’s work and interrupted each other’s process, in hopes of discovering something entirely new. This type of collaboration is extremely rare in ballet, and completely new to Seiwert. During an intensive creative process in residence at Zaccho Studio, Seiwert and Nelson worked together on creating a series of solos that explore the theme of isolation. The choreographers addressed questions such as: How does one consider the idea of isolation when not in isolation? How does it feel to be isolated in community? Finally, given the choreographers’ different working styles and aesthetics, an inherent focus of the project was the relationship between process and content.