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Globalrelations.Ourcuba.Com Cleveland Ballet in Havana
GlobalRelations.OurCuba.com 1-815-842-2475 Cleveland Ballet in Havana In Cuba from Thursday February 27th to Monday March 2, 2020 Day 1 – Thursday :: Arrive Cuba, Iconic Hotel, welcome dinner and evening to explore Depart to Havana via your own arranged flights. You should plan arriving Havana by mid-afternoon. It may take you some time to clear Cuban Immigration, get your bag and go through Customs. You will be met in the arrival hall, after clearing Customs, by our Cuban representative holding a ‘Cuba Explorer’ sign to take you to your hotel. They will have your name and will be monitoring your flight arrival in case there is a delay. Your first tour activity will be the welcome dinner and your guide will finalize details with you on arrival to your hotel. On departure from Cuba you will be asked to be at the airport 3 hours in advance. Havana’s International Airport arrival hall does have bathrooms. They may not have seats or tissue. This is normal in Cuba, so you may wish to bring packets of tissues. It is suggested to use the restroom on your flight before landing. On arrival at Havana’s José Martí International Airport proceed through Immigration. Your carry-on will once again be scanned. Give your ‘Health’ form to the nurses in white uniforms after you go through Immigration & screening. The important question they may ask is if you have been exposed to Ebola. Collect your bags and go through Customs giving them your blue customs form. You will be welcomed at the airport exterior lobby after you exit Cuban Customs. -
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. -
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
Arts Council Ballet Policy Review
ARTS COUNCIL BALLET POLICY REVIEW November 2013 1 TABLE OF CONTENTS INTRODUCTION EXECUTIVE SUMMARY CHAPTER 1: HISTORICAL CONTEXT 1.1 Chapter introduction 1.2 A brief overview of ballet history 1.3 Ballet’s relevance in western contemporary society 1.4 Irish ballet in brief 1.5 Chapter conclusion CHAPTER 2: EDUCATION 2.1 Chapter introduction 2.2 Impediments to the development of formal dance education in Ireland 2.3 A brief overview of the current provision for pre-vocational dance training in Ireland 2.4 A possible model for professional dance education in Ireland 2.5 Proposed outline of course content for a BA in Dance 2.6 The positioning of a professional dance programme within a university setting and the development of international associations for quality assurance 2.7 Chapter conclusion CHAPTER 3: AN AUDIENCE PERSPECTIVE 3.1 Chapter introduction 3.2 Audience data sources 3.3 Audience data observations 3.4 Participation observations 3.5 Strategies for nurturing and developing audiences/engagement. 3.5.1 Research 3.5.2 Skills 3.5.3 Partnerships 3.5.4 Branding 3.5.5 Programming 3.5.6 External perceptions 3.5.7 Participatory activities 3.6 Chapter conclusion CHAPTER 4: PROFESSIONAL PRACTICE 4.1 Chapter introduction 4.2 Common factors 4.3 Artistic considerations and planning 2 4.3.1 A commitment to creativity and moving the art form forward. 4.3.2 Producing a ‘balanced’ programme 4.3.3 Imaginative programming achieved taking account of practical considerations 4.4 Model of practice for Ireland 4.5 Chapter conclusion APPENDIX 1: ARTS COUNCIL CONSULTATION PROCESS NOTES APPENDIX 2: ABOUT THE AUTHORS 3 INTRODUCTION In May 2006 the Arts Council commissioned an independent review of the context and issues affecting professional ballet in Ireland. -
Stephen M. Rooks
Stephen M. Rooks Vassar College 95 Vassar Road Box 743 Poughkeepsie, New York 12603 124 Raymond Avenue (845) 463-0020/416-8056 (cell) Poughkeepsie, New York 12604-0743 [email protected] (845) 437-7472 (845) 437-7818 (fax) [email protected] EDUCATIONAL BACKGROUND B.A. (Cum Laude) Dartmouth College – Senior Fellow in Music 1977 The Mercersburg Academy 1973 French and German PROFESSIONAL WORK EXPERIENCE Professor of Dance and Resident Choreographer, Vassar College, 1996 to present Guest Artist-in-Residence, University of North Carolina School of the Arts, 2001 Lecturer in Dance, Howard University, 1993 – 1996 Instructor of Dance, Alvin Ailey American Dance Center, 1991 – 1996 Guest Instructor of Dance, Martha Graham Dance Center 1997 to present PRINCIPAL DANCER WITH MARTHA GRAHAM DANCE COMPANY, 1981 –1991; 1998, 2007 (Danced major roles in Graham repertory) DANCER WITH ALVIN AILEY II, 1980 – 1981 (performed in works by Alvin Ailey, Tally Beatty, Ulysses Dove, and Donald McKayle) PUBLICATIONS Rooks, Steve “An Interview with Ann Reinking: Teacher’s Wisdom” Dance Magazine, November 2006 TEACHING Undergraduate Courses: Beginning through Advanced Modern Dance (courses all informed by the codified Martha Graham technique – Vassar College), 1996 to present Graham Technique and Repertory (intermediate technique, repertory, and lectures on Martha Graham –Vassar College), 2003 to present Dance Composition/Craft of Choreography (working with students on the study, process, creation and performance of dance –Vassar College), 1996 to present Advanced -
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. -
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 -
Boston Ballet Announces 2017 Bb@Home Series
MEDIA CONTACTS: Toni Geheb, (617) 456-6236, [email protected] Lillian I, (617) 456-6235, [email protected] Sarah Gledhill, (617) 456-6264, [email protected] BOSTON BALLET ANNOUNCES 2017 BB@HOME SERIES PROGRAMS HIGHLIGHT BOSTON BALLET’S NEW FIVE-YEAR PARTNERSHIP WITH WILLIAM FORSYTHE AND THE TALENT OF BOSTON BALLET II January 11, 2017 (BOSTON, MA)—Boston Ballet is pleased to announce its BB@home performance series for the 2016–2017 season. Boston Ballet II (BBII), Boston Ballet’s second company, will present a range of diverse repertoire January 21–22, 2017 at 7:30 pm. On February 10, 2017 at 7:30 pm, BB@home: “Focus on Forsythe” will feature a conversation with world-renowned choreographer William Forsythe and Artistic Director Mikko Nissinen, with excerpts from Forsythe’s masterpiece Artifact. All BB@home performances take place in Boston Ballet’s grand rehearsal studio at its South End headquarters, which transforms into an intimate, state-of-the-art black box theater. BB@home with Boston Ballet II For the January BB@home, BBII will present George Balanchine’s rarely-performed Haieff Divertimento, “an intimate, appealingly human gem” (Sarah Kaufman, The Washington Post). Other program highlights include Jaime Sierra’s energetic, all-male ensemble work LEGIÓN with music by “avant garde” cellist Zoë Keating (Chrissie Dickinson, Chicago Tribune), and Laurie Jones’ classical Drigo Divertissements, a work that “nurtures a joyous appetite for movement” (Jennifer Dunning, The New York Times). The young ensemble will also perform a preview of a newly commissioned work by Jill Johnson, Dance Director at Harvard University and dancer/collaborator with choreographer William Forsythe. -
American Photographer Exhibits Photos of Cuban National Ballet
American photographer Exhibits Photos of Cuban National Ballet The future stars of the Cuban National Ballet, students of the famed National Ballet School in Havana are the subjects of an exciting new exhibition by American photographer, Rebekah Bowman. Curated by Roberto Chile and Rebekah herself, the exhibition will open next Monday October 27 at Havana's José Martí Memorial in Revolution Square, as part of activities of the International Ballet Festival of Havana, running October 28 to November 7. The images in medium and large format reflect many aspects of the daily ritual of classes and rehearsals at the National Ballet School. Commenting on the photographic display, Miguel Cabrera, Historian of the National Ballet of Cuba, said: "This exhibition, which we gratefully welcome, besides constituting a valuable testimony, is a tribute to the rich heritage of the institution, showcasing the inexhaustible yeast that nurtures the future of Cuban ballet." The National Ballet School in Havana was originally founded in 1931, but grew into the prestigious institution it is now in the 1960s, after Fidel Castro came to power and declared that art and education were for the people. Talented children from all over the island could get free ballet training; the school is open to every child. Since the '60s, the Cuban ballet style has been chiefly formed by prima ballerina assoluta Alicia Alonso, now 93, and her husband Fernando Alonso. According to Bowman, along with its rigorous attention to classical form and technical precision, “the Cuban style has borrowed elements from the then-dominant European schools, influenced by aspects of Cuba’s Spanish and Afro-Cuban cultural heritage, and adapted them to the Cuban dancer’s physiology to express a Latin sensibility and aesthetic.” Many of Cuban ballet school graduates are dispersed all over the globe in prestigious companies such as the San Francisco Ballet, the Royal Ballet, and the American Ballet Theater. -
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..