DOCSLIB.ORG

MINT Artsits Wall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MINT Artsits Wall MY SUNFLOWER HAT New Mexico Dance Project Founded in 2019 by husband and wife team Scarlett Wynne and Erik Sampson, NMDP produces original concert works, performance installations, and short films that focus on capturing the imagination and inspiring curiosity. The company exists to widen the spectrum of how dance is accessed and experienced by its audience; emphasizing the art of storytelling as a means of bridging the divides brought on by cultural, racial, and social differences. New Mexico Dance Project is a contemporary dance company based in Santa Fe, New Mexico. Scarlett Wynne, Choreographer/ Artistic Director NMDP Scarlett has over ten years of professional experience in the performing arts industry as a dancer, choreographer, and instructor. She holds her Bachelor of Fine Arts in Dance and has worked with companies across the country such as The Georgia Ballet, Dominic Walsh Dance Theatre, Lemon Sponge Cake Contemporary Ballet, Wonderbound, and The Big Muddy Dance Company. Currently, Scarlett is the Co-Founder and Artistic Director of the New Mexico Dance Project and serves as Resident Choreographer and Instructor with the New Mexico School for the Arts (Santa Fe, NM). Erik Sampson, Dancer/ Executive Director, NMDP Erik has worked professionally as a dancer, teacher, and choreographer since 2010 and holds his Bachelor of Fine Arts degree in Dance. In 2014, Erik’s passion for youth development and community impact lead him into Education resulting in the founding of the Arts Immersion Program in 2014, later known as the Immersion STEAM Schools. In 2019, Erik returned to the stage with New Mexico Dance Project and currently serves as the company’s Executive Director. Spencer Olsen, Musical Collaborator Spencer, is the Art Director of Meow Wolf Las Vegas, at AREA15. With a background in mural painting and graphic design, and now focusing on approachable, tactile new-media, Olsen has led several acclaimed collaborative installations. He first caught the attention of Meow Wolf at his 2015 exhibition, "FURTHER LANDS“, and again for his collaborative installation at Life is Beautiful in 2017, called “WORMHOLE.” Before Meow Wolf, Olsen was the lead Visual Designer for graphic mural company, Walls360. Known for his unique aesthetic and perspective, he has collaborated with several renowned hotels and bands such as The Cosmopolitan, MGM, A Perfect Circle, The Killers, and The 1975. Originally from Las Vegas, Olsen currently resides in Santa Fe. UPRISE Melissa Briggs-Bransford Melissa Briggs-Bransford, Choreographer Melissa has worked as a choreographer and dance educator for over 20 years, in New York City, across New England, and in New Mexico. She holds an MFA in Dance from NYU/Tisch School of the Arts and a BA in Sociology/Theater from Smith College. Melissa’s work has been presented at venues throughout the New York metropolitan area, in Mexico, and here, both in Albuquerque (North 4th Theater, UNM) and Santa Fe (CCA Santa Fe, James A Little Theater, and numerous public sites). She has enjoyed Artist Residencies from The Joyce Theater Foundation (NYC) and The Yard (Martha’s Vineyard, MA), among others, and has an ongoing collaboration with JoAnna Mendl Shaw and The Equus Projects/Onsite NYC. Melissa is fasciated by the intersection of space, design, and storytelling that occurs in site-specific performance work; her most recent projects were created for parking lots and churches. She is currently on dance faculty at UNM, ArtWorks, NDI New Mexico, and also teaches yoga locally. Maia Cortissoz, Dancer Maia began her dance training at the age of four with City in Motion Dance Theater in Kansas City, Missouri. At the age of 8, she joined City in Motion's Children's Dance Theater under the direction of Kathleen Kingsley. In her teen years, she was made an apprentice company member with City in Motion's professional performing company and eventually joined the company in 2003 for several seasons. Maia also trained with Westport Ballet Theater in Kansas City, Missouri, with the late Shirley Weaver of the Ballet Russe de Monte Carlo, and at the University of Colorado at Boulder. In addition to performing with City in Motion, Maia has also performed with Kacico Dance and AHA! Dance Theater, as well as danced in the works of several Santa Fe, based choreographers. She is currently the VP of Strategy & Grants Management with Growing Up New Mexico: The Early Childhood Partnership. Laura Elaine Garrett, Dancer Originally from Santa Fe, New Mexico, is the Co-Artistic Director and the Ballet Instructor at Moving Arts Española. She is a graduate from Goucher College (2020) where she earned a BA in Dance and Spanish with Cum Laude honors. She is a dedicated choreographer, dancer, videographer, and curator. Her work, Junto a ti, was awarded the Phi Beta Kappa Brooke Pierce Award in the Fine Arts and was chosen to perform in the American College Dance Association’s National Gala. As a performer, she has danced in works by Karole Armitage, Charlotte D’Amboise, Ann Reinking, Yin Yue, and more. Ariel Gottschall, Dancer Ariel began her classical ballet training with Aspen Santa Fe Ballet. Upon graduating from the contemporary dance department of the University North Carolina School of the Arts, she continued her formal training at S.U.N.Y. Purchase. Lar Lubavich, Buglisi Dance Theater, Doug Varone and Dancers, and Moving People Dance Theater are among the artists Ariel has studied and danced with. Since returning to her hometown, Ariel has devoted herself to creative community projects with the sole purpose of promoting performing arts for the people. Molly Rose, Dancer Molly Rose is a native New Mexican, and somatic movement educator. As a professional dancer, choreographer, and facilitator of classical and contemporary pedagogy, she has worked professionally for over 36 years throughout the United States, dancing works including the repertoire of Balanchine, Arthur Mitchell, Petipa, Fokine, Agnes DeMille, Lew Christenson, Fleming Flindt, Bournonville, James Clouser, Brenda Way, Alonzo King, Mark Morris, Maria Benitez, Soto Hoffman, and Anna Halprin. Her roles in over 40 Operas, her innovative work in new contemporary west coast works met and helped shape her congruence as a somatic ecologist. Her choreographic work appeared for the Met, PBS ‘great Performances’, on 60 minutes, on beaches, hospitals and museums; including 14 seasons with Santa Fe Opera. As a Tamalpa Practitioner of expressive arts, Molly offers ritual workshops in Body Mythology, somatic training, and private Pilates coaching through her studio SOMA in Santa Fe, on the land of the Tewa peoples. She is a founding member of the new dance collective MoveWest; her passion is in the ecological necessity of creativity as our cultural evolution. BASKETWEAVER SOLO Dancing Earth Creations Co-Choreographed by Rulan Tangen Anne Pesata, Dancer/Co-Choreographer Anne is Jicarilla Apache from Dulce, New Mexico. She has been dancing her stories with the indigenous contemporary dance company Dancing Earth since 2012 and has since traveled with the company to 4 different countries and 8 states across the US, with notable performances at the Kennedy Center for the Performing Arts (Washington, DC), Wellington Opera House(Wellington, NZ), and the Ordway Theater (Minneapolis, NM). She has also performed original work alongside the Santa Fe Symphony Orchestra and performed as a dancer with the Santa Fe Opera in the 2018 production “Dr. Atomic”. Her renowned “Basketweaver” solo has been academically reviewed by Ph.D. candidate from UC Berkeley, Tria Andrews, and featured in numerous national dance festivals and choreography showcases. CREATRIX RE-EMERGENCE Rulan Tangen Photos by Randi Lynn Beach Rulan Tangen, Founding Artistic Director, and Choreographer Dancing Earth Creations Dancing Earth creative hubs are in the homelands of Ogaa Po’ogeh - unceded occupied Tewa lands known as Santa Fe, NM, and Yelamu - unceded occupied Ohlone lands known as San Francisco, CA. These lands have been sung and danced into renewal since the beginning of time by these original peoples of these lands - past, present, and future. With love, I give contemporary dance as my offering to thee lands, to grow respectful, reciprocal, and creative relationships with community and cosmos upheld by these original cultures where we make relationships with people and place PROM.E.NADE BEING SEEN PERFORMANCE PROJECTS Being Seen Performance Projects is work Christiana Barnett-Murphy makes with her creative collaborators. Christiana Barnett-Murphy, Choreographer/Dancer Christiana is a recent transplant to Santa Fe and is so grateful to now live in the Land of Enchantment. She began her training at an early age, primarily in Ballet and Modern. She began her professional dance career at age sixteen and has performed in works by Andrea E. Woods Valdes, Ava Lavonne Vinesett, and Dendy Dance Theater among others. The majority of these performances took place at Duke University and The University of North Carolina. Christiana attended the American Dance Festival for six summers as a student and during the summers of 2012-2016, Christiana was the teaching assistant to ADF faculty member, Jesse Zaritt. Christiana continues to choreograph her own work which has been showcased in Tobacco Road Dance Productions, Durham ArtWalk, and the Durham Arts Council’s Centerfest among others. In 2013 she received the Durham Arts Council’s Ella Fountain Pratt Emerging Artist grant which supported her solo work, BURNING. Christiana holds a B.A. in Theology with a concentration in Counseling from The King’s University. Christiana actively works at bringing dance to populations who would not ordinarily be able to engage with it and seeks to foster human connection in all her work. Sam Italiano, Dancer Sam Italiano was born and raised in Colorado, studying under the direction of Danielle Heller, exploring a variety of styles of dance including ballet, ballroom, jazz, modern, and tap. Studying with Gene Medler at Elon University, her love of tap dance outshined all other styles, and she has continued to keep dance in her life.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Valerie Roche ARAD Director Momix and the Omaha Ballet
    Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [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]
  • Sarah Brooks
    Sarah Brooks Brooks Family Homeschool 17236 NE 144th St Redmond, WA 98052 425-408-0205 [email protected] 5’6” DOB: 05/04/2003 Grade 12; GPA 4.0/4.0; CLT EXAM 94/120 Training Pacific Northwest Ballet School 2011-2020 Classical Ballet Levels I-VIII (Pointe, Pas, Variations, Repertory, Conditioning) Abbie Siegel, Marjorie Thompson, Marisa Albee, Nancy Crowley, Meg Potter, Dana Hanson New Voices: Choreography and Process for Young Women in Dance I and II 2018-2020 Eva Stone, Michelle Curtis Modern V-VIII 2015-2020 Eva Stone Summer Courses Alonzo King LINES Ballet Online Advanced program 2020 School of American Ballet 2019 Pacific Northwest Ballet 2017, 2018, 2020 Oregon Ballet Theater 2016 Master Classes Kidd Pivot Master Classes 2020 Tiffany Tregarthen Chop Shop Bodies of Work Contemporary Dance Festival 2017, 2018, 2019 Adam Barruch, Alicia Mullikin, others Gaga master class at Gibney Dance, Velocity Dance Center 2017, 2019 Performance Experience School of American Ballet Summer Choreography Workshop 2019 Pacific Northwest Ballet School Bruce Wells’ Beauty and the Beast – (performances cancelled due to Covid19) 2020 Bruce Wells’ Pinocchio 2019 New Voices Choreographic Showcases 2019 Spring Fling Fundraiser Performances 2019 Next Step: Outside/In 2019 End of Year School Performance 2012-2019 Virtual School Celebration 2020 Pacific Northwest Ballet (with PNB School) Coppélia (Alexandra Danilova and George Balanchine)- Waltz girl 2016 George Balanchine’s The Nutcracker- Candy Cane 2015 Don Quixote (Marius Petipa/Alexander Gorsky/Alexi Ratamansky)-
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Roberto Muñoz
    Roberto Muñoz Mr. Munoz has been teaching and coaching young dancers for over 30 years, both in the USA and abroad. Mr. Munoz served as Director of the Conservatory of Dance and Music Point Park College (now University) from 1983-1995. There, he created two successful programs for young aspiring dancers, The Pre-Professional Division and the International Summer Dance Program. During this time, he assembled an impressive faculty of world-renowned Master Teachers, including Laura Alonso, Barbara Sandonato, Karen Brown, Magda Aunon, Eva Evdokimova, Willy Burmann, Michael Uthoff, John McFall and Jose Molina. In the summer of 1993, Mr. Munoz, was invited to be part of the faculty at Pro Danza in Havana Cuba, where he taught classes at the Historical Theater Garcia Lorca. In the year 1995, was invited to teach at The Baltimore High School for the Performing Arts. From 1997-2005, Mr. Munoz was Ballet Master/Coach for both Pittsburgh Ballet Theater’s Company and its school. In 2005, he became Executive Director and Ballet Master at Gulfshore Ballet in Florida. Mr. Munoz’s former students are recognized for their high level of professionalism and their artistic and technical achievements. Most have gone on to successful careers with major companies across the US and Europe. Mr. Munoz has been a guest Master Teacher at a number of Ballet Companies, including Atlanta Ballet, Ballet Arizona, Ballet Met, Boston Ballet, Houston Ballet, Pittsburgh Ballet Theater and Colorado Ballet, among others. He has also taught master classes at Central Pennsylvania Youth Ballet, Magda Aunon Classical Ballet School, Wexford Dance Academy, Ballet Academy of Pittsburgh, Dmitri Kulev Classical Ballet Academy, Colorado Conservatory of Dance, Aspen Santa Fe Ballet School, both in Aspen and Santa Fe, Vail Valley Dance Academy, Ballet Conservatory of South Texas, Dance Conservatory of Maryland, Takeuchi Ballet Studio in Japan and the Kenny Wang Ballet School in Taiwan..
    [Show full text]