THE BIG MUDDY DANCE COMPANY Invigorating Life Through Dance

Total Page:16

File Type:pdf, Size:1020Kb

THE BIG MUDDY DANCE COMPANY Invigorating Life Through Dance 2015-2016 THE BIG MUDDY DANCE COMPANY Invigorating life through dance. OUR VISION The Big Muddy Dance Company, a St. Louis-based repertory dance company, seeks to build a love of dance by providing fun, experiential and highly entertaining performances. By engaging both emerging and established choreographers, collaborating across the community through senior outreach and training future performers through our school and trainee program, we constantly strive to invigorate life through dance. BRIAN ENOS ARTISTIC DIRECTOR Mr. Enos, originally from San Francisco, CA, began studying ballet at the age of 16. After his training at the Maria Vegh Ballet Centre and The Houston Ballet Academy, he was invited to join Houston Ballet at the age of 18. After several years performing with Houston Ballet, Mr. Enos went on to dance for Hubbard Street Dance Chicago for eight years, before retiring from the stage in 2010. He’s danced leading roles in works by some of the industry’s most in demand choreographers including: Jiri Kylian, William Forsythe, Ohad Naharin, Ben Stevenson, Twyla Tharp, and Christopher Bruce, among others. Mr. Enos also has an impressive choreographic career spanning 16 years, with over 30 original works, and glowing reviews from both critics and audiences throughout the United States and abroad. Some of the companies on which he’s created work include: Houston Ballet, Hubbard Street Dance Chicago, Ballet Met, Nashville Ballet, Oklahoma City Ballet, Grand Rapids Ballet, DanceWorks Chicago, Thodos Dance Chicago, and many more. Succeeding the company’s founder, Paula Young David, as the artistic leadership behind The Big Muddy Dance Company, Mr. Enos is always seeking to push the artistic and technical level of the company, cultivate diverse and engaging repertoire, and “invigorate life through dance”. TOUR OFFERINGS The Big Muddy Dance Company offers high quality PERFORMANCES to a wide variety of venues such as theaters, event spaces, and retirement homes. Technical requirements and pricing can be determined by contacting Erin Warner Prange at [email protected]. The Big Muddy Dance Company offers MASTER CLASSES in ballet, contemporary, and jazz to all ages and levels of technique. The Big Muddy Dance Company can expand its classes into week-long WORKSHOPS for aspiring dance students, which may include resumè building, improvisation, choreography, mental toughness, and arts administration seminars. The Big Muddy Dance Company offers IN-STUDIO SHOWINGS for students of the company’s current repertoire, with question-and-answer sessions afterwards with the dancers and directors. OUR HISTORY St. Louis Dance Theatre, Inc. was founded in May of 2010 by Artistic Director Paula David. Beginning with 9 volunteer dancers and staff members, the company followed Paula David’s vision of creating St. Louis’ first professional contemporary jazz dance company. The company pre- miered in June 2011 at the Blanche M. Touhill Performing Arts Center to a sold out house and standing ovation. Since that time, the company has presented over 100 performances and has commissioned over 28 works for its repertoire. Now under the artistic direction of Brian Enos, The Big Muddy employs 10-12 full-time dancers and presents 3 full theater production runs each season to enthusiastic audiences. The Big Muddy Dance Company was named “Best Local Dance Company” by the St. Louis Post Dispatch 2013-2015 and by the Riverfront Times in 2015. SENIOR EMBRACE OUTREACH PROGRAM The company kicked off its Senior Embrace outreach program in 2012. In its conception, the program included performances for senior living facilities, later adding hands-on dance workshops for early-stage dementia patients and performances to help raise awareness for organizations such as the Alzheimer’s Association. After what started as a few small ways to give back to the community, the company was staggered with the positive impact our performances were having on our audiences. This inspired the development of The Big Muddy Dance Company’s Senior Embrace program with the mission to consistently bring high quality dance experiences to our senior community. Dementia and cognitive decline in our older adult population is a growing problem. Creative solutions and treatments are needed to delay clinical onset and to slow the progression of dementia and memory impairment in older adults, helping them to lead as fulfilling lives as possible. The Big Muddy Dance Company’s Senior Embrace aims to play a small but important role in this creative intervention to invigorate lives of our senior community and their caregivers. Offerings for the Senior Embrace program include: 45-60 minute performances with a meet & greet period with the dancers and residents Ongoing communication with Activities staff and family members if necessary to supply memory triggers for the patients such as music and video a hands-on workshop specifically for early-stage dementia patients to strengthen the mind-to-muscle connections with familiar movements and music. THE BIG MUDDY DANCE COMPANY DANCERS GEOFFREY ALEXANDER earned his BA in dance at SIUE. In 2007 he joined Atrek Dance Collective and worked with artist such as Germaul Barnes, Jon Lehrer, Mathew Janczewski, and Alicia Graf. In 2011 he joined Big Muddy Dance Company, performing works by Lou Conte, Harrison McEldowney, Lauri Stallings, Katarzyna Skarpetowska, Robyn Mineko Williams, and Brian Enos. He is the contemporary and jazz instructor for the Big Muddy while also teaching master classes and choreographing at various Universities and studios. KELLY BITZER, born and raised in Collinsville, IL, studied the Cecchetti method of ballet as a young student and began training with the St. Louis Ballet in high school, where she had the opportunity to perform with the company as a trainee. She graduated cum laude with a BFA in dance from the University of Arizona. Upon graduation, she joined Charleston Ballet Theatre in South Carolina. She has spent summers with Hubbard Street Dance Chicago, Kaatsbaan, Boston Ballet, ABT, and Ballet Met. This is her fourth season with the Big Muddy. EMILY BAKER was born and raised in San Dimas, CA. She trained primarily at Inland Pacific Ballet Academy, spending summers at schools such as School of American Ballet, San Francisco Ballet School, Boston Ballet School and Atlanta Ballet Centre for Dance Education. Since then, Emily has danced with many companies; Atlanta Ballet, Inland Pacific Ballet, Ballet Tucson, Canyon Concert Ballet, Impact Dance, Colorado Ballet and Missouri Contemporary Ballet. This is her first season with the Big Muddy Dance Company. DUSTIN CRUMBAUGH initially trained at Houston Metropolitan Dance Center’s Houston Met Too before he spent two years as a dance major at Point Park University. He then completed his traineeship with Ballet Austin. Dustin joined Houston Metropolitan Dance Company in 2005, trained at Alonzo King’s LINES Ballet School and in 2007 joined Luna Negra Dance Theater and continued training with Hubbard Street Dance Center. He joined The Big Muddy Dance Company in 2011. THOM DANCY studied at The University of Oklahoma and has danced for Milwaukee Ballet, Grand Rapids Ballet, and The Big Muddy. He has danced soloist roles in works by Kate Skarpetowska, Gerald Arpino, George Balanchine, and Brian Enos. Thom is also a member of Actors’ Equity and has worked for The Muny as a dancer and audition assistant. Thom has choreographed on Danceworks Chicago, Grand Rapids Ballet, Convergence Ballet, Ballet Nebraska, and Big Muddy. MIRANDA PAYNE, a St Louis native, received her BFA in Dance from Webster University. Professional performance credits include The Music Man with Stages St Louis, The Ghosts of Versailles with Opera Theatre of Saint Louis, The Wonder of Christmas at The Shoji Tabuchi Theatre in Branson, MO, and several productions with Variety Children’s Theatre. Miranda has been a dancer with The Big Muddy since the company was founded in 2011. ROBERT POE ((Aiken, SC) began dancing at Crosby’s School of Dance and later on at the SC Governor’s School for the Arts and Humanities. Professionally he has danced with classical companies (Columbia City Ballet, Nashville Ballet, and Missouri Ballet Theatre) as well as contemporary companies (Nashville In Motion, Cedar Lake II, The Big Muddy Dance Company) and has guested with the Nashville Opera. He serves on the Senior Outreach team and the Board Nominating Committee of The Big Muddy where he has been an artist for 4 seasons. ERIN PRANGE currently balances her time between dancing and serving as the company’s Executive Director. She holds her B.A. in Dance and Spanish from Colorado State University, and her M.F.A. in Arts Management from Webster University. She has teaching experience with the Topf Center for Dance Education in Boston, Webster Groves High School, and Dance Center of Kirkwood. Erin danced with Fusionworks II in Providence, RI and the Slaughter Project before coming to The Big Muddy in 2011. ELLEN HINKEL REED joined The Big Muddy in its premiere season and received her doctorate in psychology the same year. When she’s not dancing, Ellen is a Mental Training Consultant with Enhanced Performance, Inc. Her background in both academia and the performing arts allows Ellen to apply mental training techniques to the success of business individuals, athletes, artists, and academics. CHRISTINA SAHAIDA grew up in Pittsburgh, PA and began her dance train- ing at Pittsburgh Ballet Theatre School. Following high school graduation, she attended Butler University in Indianapolis, IN, graduating in 2012 with honors, a BFA in Dance Performance and a Secondary Major in Spanish. She moved on to dance with Ballet Quad Cities and then joined Texture Contemporary Ballet as a resident dancer in 2013. She is very excited to join the Big Muddy Dance Company for her first season! MEREDITH WALLACE graduated from Webster University in St. Louis where she earned a BA in Dance and Marketing.
Recommended publications
  • Season Brochure
    Thirtieth Anniversary Season Pontecorvo ballet studios Barbara Pontecorvo Director Classes Start August 23, 2021! This is Where It Begins Our Covid-19 Plan Welcome back to Pontecorvo Ballet Studios for the 21-22 Season! We continue to follow all local, state and federal rules to keep your dancer and our staff safe. Happily, all teens and adults can easily get vaccinated now, and we hope you do. Vaccines are not available for our many sttudents under 12, so to keep them safe masks continue to be required in the building unless (1) you are in a studio where all dancers are 12 or older AND (2) you are fully vaccinated. Masks are still required for all in the lobby, restrooms and dressing areas regardless of vaccination status,and in the stu- dios for any dancer not vaccinated. In addition, we will continue our regimen of increased venti- lation and extra cleaning of touch services. We implemented mask requirements and other steps when we reopened in June 2020 and are happy to say that, as of July 2021, there has been, to our knowledge, NO in-studio transmis- sion of COVID-19 disease. We are so proud of our dancers and how they adapted,following all guidelines and keeping everyone safe and healthy. We urge everyone to get vaccinated as soon as they can. This is Where It Begins... - a chance to try -an opportunity to be your best -a life-long love of music -everlasting friendships -an understanding of your human body -toned muscles and good posture Pontecorvo Ballet Studios - enjoyment of regular exercise 20 Commercial Way -a well-rounded education Springboro OH 45066 -a love of performing -the end of stage fright For more information call -a career in ballet -the dream.
    [Show full text]
  • Nutcracker December 1–4, 2016
    ASHLEY WHEATER ARTISTIC DIRECTOR PREVIEW PERFORMANCES CHRISTOPHER WHEELDON’S NUTCRACKER DECEMBER 1–4, 2016 OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. ASHLEY WHEATER ARTISTIC DIRECTOR GREG CAMERON EXECUTIVE DIRECTOR ROBERT JOFFREY FOUNDER GERALD ARPINO FOUNDER ARTISTS OF THE COMPANY MATTHEW ADAMCZYK DERRICK AGNOLETTI YOSHIHISA ARAI AMANDA ASSUCENA ARTUR BABAJANYAN EDSON BARBOSA MIGUEL ANGEL BLANCO ANAIS BUENO FABRICE CALMELS RAÚL CASASOLA VALERIIA CHAYKINA NICOLE CIAPPONI LUCIA CONNOLLY APRIL DALY FERNANDO DUARTE CARA MARIE GARY STEFAN GONCALVEZ LUIS EDUARDO GONZALEZ DYLAN GUTIERREZ RORY HOHENSTEIN ANASTACIA HOLDEN DARA HOLMES RILEY HORTON VICTORIA JAIANI HANSOL JEONG GAYEON JUNG YUMI KANAZAWA BROOKE LINFORD GRAHAM MAVERICK JERALDINE MENDOZA JACQUELINE MOSCICKE AARON RENTERIA CHRISTINE ROCAS PAULO RODRIGUES CHLOÉ SHERMAN TEMUR SULUASHVILI OLIVIA TANG-MIFSUD ALONSO TEPETZI ELIVELTON TOMAZI ALBERTO VELAZQUEZ MAHALLIA WARD JOANNA WOZNIAK JOAN SEBASTIÁN ZAMORA SCOTT SPECK MUSIC DIRECTOR GERARD CHARLES DIRECTOR OF ARTISTIC OPERATIONS NICOLAS BLANC BALLET MASTER/PRINCIPAL COACH ADAM BLYDE SUZANNE LOPEZ BALLET MASTERS PAUL JAMES LEWIS SENIOR PIANIST/MUSIC ADMINISTRATOR GRACE KIM MATTHEW LONG COMPANY PIANISTS Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed. Artists subject to change. 3 4 HANCHER 2016/2017 SEASON SPONSOR WEST MUSIC HANCHER SPONSORS OF THE NUTCRACKER SUE STRAUSS RICHARD
    [Show full text]
  • 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.
    [Show full text]
  • Focus Winter 2002/Web Edition
    OKLAHOMA CITY UNIVERSITY • WINTER/SPRING 2002 Focus on The School of American Dance and Arts Management A National Reputation Built on Tough Academics, World-Class Training, and Attention to the Business of Entertainment Light the Campus In December 2001, Oklahoma’s United Methodist university began an annual tradition with the first Light the Campus celebration. Editor Robert K. Erwin Designer David Johnson Writers Christine Berney Robert K. Erwin Diane Murphree Sally Ray Focus Magazine Tony Sellars Photography OKLAHOMA CITY UNIVERSITY • WINTER/SPRING 2002 Christine Berney Ashley Griffith Joseph Mills Dan Morgan Ann Sherman Vice President for Features Institutional Advancement 10 Cover Story: Focus on the School John C. Barner of American Dance and Arts Management Director of University Relations Robert K. Erwin A reputation for producing professional, employable graduates comes from over twenty years of commitment to academic and Director of Alumni and Parent Relations program excellence. Diane Murphree Director of Athletics Development 27 Gear Up and Sports Information Tony Sellars Oklahoma City University is the only private institution in Oklahoma to partner with public schools in this President of Alumni Board Drew Williamson ’90 national program. President of Law School Alumni Board Allen Harris ’70 Departments Parents’ Council President 2 From the President Ken Harmon Academic and program excellence means Focus Magazine more opportunities for our graduates. 2501 N. Blackwelder Oklahoma City, OK 73106-1493 4 University Update Editor e-mail: [email protected] The buzz on events and people campus-wide. Through the Years Alumni and Parent Relations 24 Sports Update e-mail: [email protected] Your Stars in action.
    [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]
  • 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.
    [Show full text]
  • MARY HELLER – CURRICULUM VITAE C
    Heller 1 MARY HELLER – CURRICULUM VITAE c. (208) 310-9913 e. [email protected] w. marychoreographer.com RECENT TEACHING (PAST TEACHING end of CV)________ July – Aug. Urban Bush Women’s Summer Leadership Institute – dancer, researcher and co-creator in 2014 “Soul Deep”, a culminating production of the 100+ participants of the institute. Tulane University, New Orleans, LA Jan. 2014 – Heller Barre Practice®, Adult Tap Workshop, Creative Movement for 3-5 yr. olds, & Present Change Health, Gain Wealth® retreats for teens and adults Locations on marychoreographer.com with Hellet Barre Practice® offered via skype Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ Oct. 2013- Invited Guest Teacher of Contemporary/Modern Technique, and Mentor for Independent Present Study courses. Prescott College, Prescott, AZ Sept. 2013- BeMoved® Artistry 2 Certified Instructor & Breadth of BeMoved® for people sitting – Present Weekly classes for the athlete to assisted living homes. Featured on AZTV, AZKNAU radio, Senior Connection, and Healthhubnetwork.com. Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Locations on marychoreographer.com & BeMoved-Dance.com, Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ July 2012 - Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Feb. 2013 BeMoved® substitute in Chicago, IL - see BeMoved-Dance.com Chicago, IL 1994-present Choreographing U.S.A.G Women’s level 7-Elite Gymnastic Floor Routines - Please see seasonal CHOREOGRAPHY/CREATIVE WORK for current research being done at this time as well. Buffalo Grove Dance & Gymnastics Center, Buffalo Grove, IL Aug. 2011 to BeMoved® Certified Instructor, and Floor Barre Fit Instructor – Weekly classes & July 2012 Featured at Family Fun Nights in Moscow, ID in 2011 –Please see CHOREOGRAPHY/ CREATIVE WORK for current research being done at this time as well.
    [Show full text]
  • Ate9 Dance Company (With Glenn
    Featuring Ate9 Dance Company, Deeply Rooted Dance Theater, View in browser and Visceral Dance Chicago 50 E Congress Pkwy (50 E Ida B. Wells Dr) Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 10, 2018 ATE9 DANCE COMPANY (WITH GLENN KOTCHE OF WILCO), DEEPLY ROOTED DANCE THEATER, AND VISCERAL DANCE CHICAGO PERFORM AT THE AUDITORIUM THEATRE AS PART OF THE “MADE IN CHICAGO” 312 DANCE SERIES ON NOVEMBER 16 AN EVENING OF INNOVATIVE CONTEMPORARY DANCE Ate9 Dance Company/Deeply Rooted Dance Theater/Visceral Dance Chicago on November 16, 2018 (CHICAGO, IL) – On Friday, November 16, three groundbreaking contemporary dance companies perform on the Auditorium Theatre’s landmark stage in the “Made in Chicago” 312 Dance Series. The evening features Ate9 Dance Company, performing the work calling glenn with live music from Chicago-based percussionist Glenn Kotche (Wilco); Deeply Rooted Dance Theater, performing Kevin Iega Jeff’s Church of Nations, Kevin Iega Jeff and Gary Abbott’s Heaven, and Nicole Clarke-Springer’s Until Lambs Become Lions; and Visceral Dance Chicago, performing company founder Nick Pupillo’s Soft Spoken. “We are thrilled to feature these three innovative companies as we open our 2018-19 ‘Made in Chicago’ 312 Dance Series,” says Rachel Freund, Interim Chief Executive Officer of the Auditorium Theatre. “This evening will highlight the creativity of these distinct companies and showcase the breadth of contemporary dance styles that we present on our historic stage.” The Los Angeles-based Ate9 Dance Company makes its Auditorium Theatre debut with calling glenn (2017), created by company founder and artistic director Danielle Agami in collaboration with Chicagoan Glenn Kotche.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • 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,
    [Show full text]
  • Focus on Dance Education
    FOCUS ON DANCE EDUCATION: Engaging in the Artistic Processes: Creating, Performing, Responding, Connecting In Partnership with the International Guild of Musicians in Dance (IGMID) 17th Annual Conference October 7-11, 2015 Phoenix, Arizona CONFERENCE PROCEEDINGS National Dance Education Organization Kirsten Harvey, MFA Editor Focus on Dance Education: Engaging in the Artistic Processes: Creating Performing, Responding, Connecting Editorial Introduction In October 2015, the National Dance Education Organization met for their annual conference in Phoenix, Arizona to celebrate and honor the legacy, and individuality of the NDEO dance community. The warm spirit of Phoenix resonated with each educator and artist that came together at the beautiful Pointe Hilton Tapatio Cliffs Resort. Over 150 workshops, papers presentations, panels, master classes, social events, and performances were offered including full day pre-conference intensives that preceded the official start of the conference. The range of offerings for dance educators included a variety of experiences to foster inspiration, education, response, dialogue and connection to one another. Contributions to Focus on Dance Education: Engaging in the Artistic Processes: Creating Performing, Responding, Connecting Conference Proceedings include paper presentations, panel discussions, workshops, and movement sessions presented from October 7-11, 2015. The proceedings include 4 abstracts, 9 full papers, 6 movement session summaries, 6 summary of workshop presentations, 2 panel discussion summaries, and 1 special interest group summary. One of the broadest ranges of submissions since I have been editing the proceedings. The NDEO top paper selection committee selected Caroline Clark’s paper titled “We Learned to Perform by Performing: Oral Histories of Ballet Dancers in a Beer Hall” for the Top Paper Citation.
    [Show full text]
  • 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,
    [Show full text]