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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. -
Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another. -
The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C. -
1 Chun Wai Chan Was Promoted to Principal Dancer on December 23
FOR IMMEDIATE RELEASE Ashleigh Aiken 713.535.3224 [email protected] Images: http://bit.ly/2DhnOuR HOUSTON BALLET ANNOUNCES AN EXCITING PROMOTION DURING THE COMPANY’S HOMETOWN TOUR Chun Wai Chan was promoted to Principal dancer on December 23, 2017 HOUSTON, TEXAS [January 15, 2018] — Houston Ballet has announced that Artistic Director Stanton Welch AM has promoted Chun Wai Chan to Principal dancer. Formally a First Soloist, Chan was promoted on the evening of December 23, 2017 after starring in Stanton Welch’s The Nutcracker as the Nutcracker Prince. This well-deserved promotion concluded Houston Ballet’s performances at the Smart Financial Centre during the company’s Hometown Tour. “Dreams do come true,” said Chan. “I have wanted to be a Principal dancer for a long time, but never expected it to happen this soon. Everyone’s thoughts and words are the warmest gift for this Christmas.” Chan was born in Guang-Dong, China and received his professional dance training under Guang-Zhou Art School from 2004 to 2010. His honorary awards include 1st place in the 2006 CSTD International Ballet Competition in Australia, Finalist in the 2007 Beijing International Competition, 2nd place in the 2009 National Ballet Competition “Tao Li Cup” in China, Finalist in the 2010 Prix de Lausanne and received a full scholarship to study with Houston Ballet’s second company (HBII). While attending HBII in 2011, he was awarded the “Houston Ballet Academy Award.” Chan has performed all over the world and in many major cities throughout the United States. He has appeared in the Ninjinsky-Gala XLI in Hamburg, Germany, the 2015 Fall to Dance Festival in New York City Center, and was as a guest artist with Victoria Ballet in 2015 for the role of the Prince in The Nutcracker. -
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 -
Getting to “The Pointe”
Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
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 -
“DANCE SERIES 01” in CARMEL March 23 & 24, 2018
SMUIN PRESENTS “DANCE SERIES 01” IN CARMEL March 23 & 24, 2018 Program includes: Requiem for a Rose by Annabelle Lopez Ochoa Fly Me to the Moon by Michael Smuin Serenade for Strings by Garrett Ammon SAN FRANCISCO, CA (22 February 2018) — Smuin, after a successful run of its annual holiday extravaganza The Christmas Ballet, returns to Carmel with Dance Series 01. Continuing its 24th season, this program includes Annabelle Lopez Ochoa’s critically lauded and transcendent piece Requiem for a Rose. Ochoa is an internationally acclaimed choreographer who creates contemporary dance works and also adapts her style for classical ballet companies. At its West Coast premiere with Smuin in fall 2017, San Francisco Classical Voice described the piece as “perfection!” Also on the program is Michael Smuin’s joyful tribute to Ol’ Blue Eyes, Fly Me to the Moon, hailed as “delicious” by the San Francisco Chronicle. This blend of ballet and popular dance is the embodiment of the smooth and stylish melodies that have inspired generations, including Sinatra’s renditions of “I’ve Got You Under My Skin” and “The Lady is a Tramp.” Rounding out the bill is the return of Garrett Ammon’s bold Serenade for Strings. Set to Tchaikovsky’s score of the same name, this work is a vibrant new interpretation of a piece inexorably tied to the iconic 1934 Balanchine ballet. Upon making its West Coast premiere with Smuin in October 2014, the San Francisco Chronicle noted that “the whole cast danced it vibrantly and flawlessly.” The Dance Series 01 program debuted in San Francisco last fall, with San Francisco Classical Voice describing the program as “terrific…in tune with the demand for ballets that aren’t the same old!” Dance Series 01 will be presented March 23-24 at the Sunset Center in Carmel. -
Dance Class Dress Code 2019 – 2020
Dance Class Dress Code 2019 – 2020 Class Description Photo Link Pre-School Dance, Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, White) WHITE Creative Movement I, Ankle Socks (White) Creative Movement II Pre-Ballet Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, PINK Pink) Ankle Socks (White) Primary I . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, PINK Pink) . Tights (Pink) Primary II . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, Light Blue) LIGHT BLUE . Tights (Pink) Primary III . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Royal Blue) ROYAL BLUE . Tights (Pink) Teen Ballet & . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Hunter Green) HUNTER GREEN Adult Ballet II . Tights (Pink) Level A . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Fuchsia) FUCHSIA . Tights (Pink) Level B . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Bright Red) BRIGHT RED . Tights (Pink) Level C . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Maroon) MAROON . Tights (Pink) Level D, . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Black) BLACK Boys & Girls Club, . Tights (Pink) Adult Ballet Youth Ballet Company . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, (Apprentice) Butter) BUTTER . Tights (Pink) Youth Ballet Company . Any style white leotard (Junior) . Tights (Pink) Youth Ballet Company . Any style black leotard (Senior) . On the 2nd Saturday of each month any color leotard is allowed. Tights (Pink) Boys Ballet . Motionwear Cap Sleeve Fitted T-Shirt . Motionwear Mens Cap Sleeve Fitted t-shirt, (Silkskyn, White) SILKSKYN, WHITE . -
Kansas City Ballet Association
Kansas City Ballet Association Independent Auditor’s Report and Financial Statements June 30, 2018 and 2017 Kansas City Ballet Association June 30, 2018 and 2017 Contents Independent Auditor’s Report ............................................................................................... 1 Financial Statements Statements of Financial Position ........................................................................................................ 3 Statement of Activities – Year Ended June 30, 2018 ......................................................................... 4 Statement of Activities – Year Ended June 30, 2017 ......................................................................... 5 Statement of Functional Expenses – Year Ended June 30, 2018 ....................................................... 6 Statement of Functional Expenses – Year Ended June 30, 2017 ....................................................... 7 Statements of Cash Flows .................................................................................................................. 8 Notes to Financial Statements ............................................................................................................ 9 Independent Auditor’s Report Board of Directors Kansas City Ballet Association Kansas City, Missouri We have audited the accompanying financial statements of the Kansas City Ballet Association, which comprise the statements of financial position as of June 30, 2018 and 2017, and the related statements of activities, functional -
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.