Love and Ballet at Pacific Northwest Ballet Encore Arts Seattle
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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. -
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. -
Vision / Dance Innovations
2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol. -
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)- -
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. -
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 -
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. -
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 -
World Premiere of Angels' Atlas by Crystal Pite
World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Asthmatic Kitty Records ! ! Sufjan Stevens Enjoy Your Rabbit
Asthmatic Kitty Records ! ! Sufjan Stevens Enjoy Your Rabbit Catalog / AKR003 Release Date / June 10, 2014 Genre / Alternative DESCRIPTION / Originally released in 2001 before Michigan and Illinois, Sufjan Steven’s Enjoy Your Rabbit foretells his 2010 electronic Age of Adz. Though overlooked by many, there are fans who regard Enjoy Your Rabbit as Sufjan’s greatest work. Departing from the singer-songwriter format of his debut Asthmatic Kitty Records album, A Sun Came, Rabbit is a collection of fourteen colorful instrumental compositions combining Sufjan’s noted gift for melody ! with electronic sounds to create an unusually playful and human- not to mention humane- electronic experience. Great for dancing, driving, writing, cooking, LP BOX LOT / 25 painting, running, walking, and of course, eating LP PACKAGING / Wide single jacket Chinese food, Rabbit features nearly eighty minutes of LP UPC / 656605919614 music that will truly soothe the savage breast, whatever LP RETURNABLE / No that means. GENRE / Alternative QUOTES / FORMAT / 2xLP “This may just be Sufjan Stevens' Magnus Opus. Forget Michigan, Seven Swans, Illinois . Enjoy Your RETURNABLE / No Rabbit is a masterclass in doing everything that logic tells music not to do.” – Sputnik Music EXPORT RESTRICTIONS / None “Sufjan Stevens proves himself adept of both long and TRACK LISTING / short forms; downtempo and high BPM; glitches, Disc 1 / Side A scratches and ambient drones; blips, bleeps and 1. Year of the Asthmatic Cat 0:24 bloops.” – Pitchfork 2. Year of the Monkey 4:20 3. Year of the Rat 8:22 4. Year of the Ox 4:01 “The underlying guiding principle is wide-eyed 5. -
Gp 3.Qxt 7/11/16 9:01 AM Page 1
07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S