DOCSLIB.ORG

Dance Profile

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dance Profile DANCE The Dance Department at the SCGSAH offers pre- professional training in classical ballet and in modern/ ADMISSION The Dance Program accepts students at intermediate contemporary dance. and advanced ballet levels entering the tenth or eleventh The three-year program (grades 10-12) offers students a grade. Dance students are chosen based on audition, systematic and diverse curriculum that is both physically future dance aspirations, and whether the maturity and demanding and rewarding. It is designed to educate responsibility levels they portray meet the levels necessary and prepare students for entry into a highly fluid and to be successful in the residential campus setting. competitive post-secondary and professional ballet world. COURSES The dance training program aims to be both formal and Honors Ballet Technique forward thinking, blending traditions with the moving Honors Pointe/Variation/Partnering/Pas de Deux trends of the 21st century. Through sound training and a Honors Men’s Technique/Variation/Partnering/Pas progressive curriculum, this systematic approach ensures de Deux increases in technical, artistic, and intellectual scope. The Honors Modern/Modern Fundamentals/Contemporary Ballet Program is based on long-established concepts Techniques and ideas taken from the Vaganova, Cecchetti, R.A.D., Honors Repertoire and Cuban Schools, while the Modern/Contemporary component exposes students to theoretical concepts that Additional Courses per Grade Level touch on principles based on the Graham, Horton, Limon, Sophomore Year: and Cunningham techniques. Historical and Character The Department provides professional guidance, training, Ballet Coaching/Stretch and Stretch and support through its inclusive program to care for Methodology and nurture developing dancers. World-renowned Dance History instructors instill patience, tenacity, and motivation along Pilates with the necessary well-rounded technical and artistic Special Seminars: Nutrition, Yoga, Aspects of Production development required for a successful career in dance. Junior Year: Improvisation/Composition Faculty members train and prepare students for the critical Pilates and Anatomy for Dancers process of auditioning for summer and professional Music for Dancers training programs and for competitions. In addition, they Career Preparation assist students who will pursue further dance education Special Seminars: Alexander Techniques, Stretch and in establishing contacts with reputable company trainee Strength, Yoga, Aspects programs as well as with college and university dance of Production programs. Senior Year: Students learn ballet repertoire and the repertoire Audition Preparation/Senior Showcase of other dance styles to promote a wider range of Special Seminars: Alexander Techniques, Stretch and technical proficiency and strength, a deeper level of Strength, Aspects of Production expressiveness, and a more sophisticated musicality. All play an integral role in our students’ technical and artistic growth. By developing versatility, broadening knowledge FACULTY of movement philosophies, vocabulary, styles, and Josée Garant dynamic range, students gain confidence and maturity Dance Department Chair, Senior Modern/Contemporary as performing artists and become better prepared for Technique, Modern/Contemporary Repertoire, Audition national and international careers in dance. Preparation & Senior Showcase, National High School Dance Festival Coordinator, Youth America Grand Prix Competition Coordinator, Junior Career Preparation Mentor Josée Garant has had an active career as a dancer, Theater in Mexico City; the Kennedy Center in Washington, choreographer, teacher, and administrator. A Native D.C., and the Metropolitan Opera House in New York City. of Canada, Ms. Garant received an MFA in Dance from Additionally, Ms. Mesa-Pelly taught ballet at the National Hollins University/American Dance Festival, a BFA Ballet School of Cuba in Havana and received a Golden (honors) degree in Dance from York University in Canada Diploma of Performing Arts and Dance from the Cuban and graduated from the National Ballet School of Canada Superior Institute of Arts from Havana University. Teacher Training Program. Ms. Mesa-Pelly also taught ballet at the Fomento After a successful career as a freelance modern dance Artistic Cordobes (PROVER) in Cordoba, Veracruz, and performer, Garant shifted her focus to choreography taught Ballet, Pointe, and Repertoire. She was also a and to the education of young dancers. She joined the teacher for the Bachelor of Methodology in Ballet at the faculty of the Royal Winnipeg Ballet School. During Mexican National School of Classical and Contemporary this long association, she created the Modern Dance Dance (ENDCC) in Mexico City where in 2004, she wrote and Choreographic Programs, was the director of the a text book for ballet teachers, Classical Dance Technique, postgraduate Aspirant Program, and collaborated as a edited and published under the National Institute of Fine choreographer on many productions with Winnipeg’s Arts (INBA). GroundSwell New Music Series. In the United States, Ms. Mesa-Pelly has also As a choreographer, Ms. Garant has garnered participated as a juror for the Valentina Kozlova Regional numerous choreographic awards, including the Youth International Ballet Competition in New Orleans. Ms. America Grand Prix competition in Connecticut and at the Mesa-Pelly currently teaches ballet at South Carolina International Choreographic Competition in St-Sauveur, Governor’s School for the Arts and Humanities. She is the Québec. In 1988, Ms. Garant was nominated by l’ADISQ Dance Department Coordinator for the Youth America for a Felix for Stage Direction and for Scenographer of the Grand Prix International Competition (YAGP). Year for her work with singer songwriter Daniel Lavoie. Ms. Thomas Shoemaker Garant’s choreography has had an international impact and has been presented on many stages around the world Men’s Ballet Technique, Junior and Senior Ballet Technique, ranging from the Olympia Theatre in Paris to the New York Men’s Technique, Men’s Ballet Variation, Pas de Deux, Joyce Soho Theatre. Her work has been produced by Repertoire, Dance History, Junior Career Preparation, diverse organizations such as by the Festival of Women Aspects of Production, Coaching/Stretch and Strength, in the Arts in North Dakota, the Winnipeg Symphony Audition Preparation and Senior Showcase Mentor, Orchestra’s Du Maurier New Music Festival, and by the Assistant Production Coordinator 1999 Pan American Games. She has created works for Thomas Shoemaker was an acclaimed principal international dance competitions held in Istanbul, Tokyo, dancer with companies including the Atlanta Ballet, Jackson (Mississippi), and New York City. Miami City Ballet, Louisville Ballet, Augusta Ballet, and Prior to joining SCGSAH, she founded Josée Garant Charleston Ballet Theatre in a professional career that Dance in Miami, Florida, a company with a dedicated spanned 25 years. As a guest artist and choreographer, he mission to educate, promote, and increase the public’s has worked with numerous dance and theatre companies awareness, knowledge, and appreciation of contemporary throughout the U.S. and abroad. As an educator, Mr. dance and arts. While living in the Miami area, she also Shoemaker has taught elementary through college- worked at New World School of the Arts and Harid aged students in studios, schools, colleges and summer Conservatory and was awarded the Miami-Dade County programs throughout the southeastern United States. Department of Cultural Affairs Choreographer Fellowship He received a Master of Fine Arts degree in Dance from Award. Ms. Garant served on the Board of Directors for Hollins University/American Dance Festival. the Florida Dance Association from 2008 to 2012. Before joining the faculty of the South Carolina Governor’s School for the Arts and Humanities, Mr. Miriam Mesa-Pelly (Gonzalez) Shoemaker taught and choreographed for the Vanderbilt Ballet Technique, Pointe, Repertoire University Dance Program and was Artistic Director of Miriam Mesa-Pelly, BFA, was born in Havana, Cuba, Vanderbilt Dance Theatre. He also served on faculty where she was a 1st Soloist with the world renowned with Middle Tennessee State University Dance Program, National Ballet of Cuba (BNC) under the direction of Austin Peay State University Dance Program, Tennessee Fernando and Ballerina Assoluta, Alicia Alonso. In 1948, Governor’s School for the Arts Summer Program, and this couple, along with choreographer Alberto Alonso, American Dance Festival. Mr. Shoemaker also served as founded the Cuban Ballet Company where Ms. Mesa-Pelly Associate Artistic Director for StillPoint Dance Theatre. danced for 24 years. In May 2009, Shoemaker’s ballet just let go was Ms. Mesa-Pelly danced principal roles in works by awarded Best Ballet at the Panoply Choreographic such prominent choreographers as Alberto Alonso, Competition. In 2010, he won the same award for VS. His Brian McDonald, and Alberto Mendez, and performed ballet Foreverly (based on the lives of the Everly Brothers) throughout Europe, Latin America, United States, and was awarded Best Live Performance of 2005 by the Canada in such venues as the Bolshoi Theatre in Moscow; Augusta Chronicle. The Opera Theater of Les Champs Elysées; the Colon As artistic director and ballet master, Mr. Shoemaker Theater in Buenos Aires; La Scala in Milan; the Beaux Arts has staged or restaged numerous works including Nutcracker, Cinderella,
Load more

Recommended publications
  • Thesis Turned Broadway
    The Library of America • Story of the Week From Dance in America: A Reader’s Anthology (Library of America, 2018), pages 258–61. Originally published in California Arts and Architecture, August 1941 and reprinted in Kaiso!: Writings by and about Katherine Dunham (2005). Copyright © 2005 by Katherine Dunham. Used by permission of the Estate of Katherine Dunham. Katherine Dunham (1909–2006) What a life! Katherine Dunham was a formidable dancer, an irre- pressible choreographer, a driven social activist, a groundbreaking ethnologist and anthropologist, a serial autobiographer, an interna- tional star, an inspiration, a scandal (banned in Boston!), and a model for generations of African American performers. It’s surprising that she found time to die, even if it was at the age of ninety- six. She starred as Georgia Brown in George Balanchine’s Broadway musical Cabin in the Sky, the show that Ethel Waters stopped with “Taking a Chance on Love.” (Lena Horne played Georgia in the movie.) She went on a forty- seven-day hunger strike to protest American policies toward Haitian refugees. (Speaking of Haiti, she became a priestess of the Vaudon reli- gion there.) She choreographed a new production of Aïda at the Met, featuring Leontyne Price. For decades, she toured the world with her Katherine Dunham Dance Company, mostly performing revues she created with names like Bal Nègre and Caribbean Rhapsody. (Danc- ers affiliated with Dunham’s company include Eartha Kitt, Janet Col- lins, and Talley Beatty.) She married the artist and scenic designer John Pratt, her collaborator on her shows as well, and they adopted a French baby.
    [Show full text]
  • Welcome Letter 2013 Samuel H. Scripps American Dance Festival
    Welcome Letter 2013 Samuel H. Scripps American Dance Festival Award Lin Hwai-min The ADF wishes to thank the late Samuel H. Scripps, whose generosity made possible the annual $50,000 Samuel H. Scripps American Dance Festival Award. The Award was established in 1981 as the first of its kind and honors chorographers who have dedicated their lives and talent to the creation of modern dance. The continuation of the award is made possible through the SHS Foundation and its President, Richard E. Feldman. Celebrated choreographer, director, and educator Lin Hwai-min will be presented with the 2013 Award by Joseph V. Melillo in a special ceremony on Saturday, July 27th at 8:00 pm, prior to the Forces of Dance performance at the Durham Performing Arts Center. The program will also include a performance of the solo from Lin Hwai-min’s 1998 work Moon Water, performed by Cloud Gate Dance Theatre dancer Chou Chang-ning. Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today. His illustrious career as a choreographer has spanned over four decades and has earned him international praise for his impact on Chinese modern dance. He is the founder, choreographer, and artistic director of both Cloud Gate Dance Theatre of Taiwan (founded in 1973) and Cloud Gate 2 (founded in 1992), and his choreography continues to be presented throughout the United States, Europe, and Asia. While his works often draw inspiration from traditional elements of Asian culture and aesthetics, his choreographic brilliance continues to push boundaries and redefine the art form.
    [Show full text]
  • Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
    Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change.
    [Show full text]
  • October Chiropractic • Sports Chiropractic • Family Care • Massage Therapy a Cleaner Energy Future Is on the Horizon
    Studio Series october chiropractic • sports chiropractic • family care • massage therapy A cleaner energy future is on the horizon. Company Chiropractors for As a leader in wind and solar, we take our responsibility to the planet very seriously. That is why we are developing the country’s largest offshore wind project—one which the Richmond Ballet will produce enough energy to power 660,000 homes by 2026. We have also added more than 2.5 million solar panels throughout Virginia since 2015, helping to make us 3507 Boulevard 34C Medical Park Blvd 5409 Patterson Ave Colonial Heights Petersburg Richmond America’s third largest in solar. While our commitment to cleaner energy has made us a 526-7125 862-2255 288-1005 national leader in sustainability, it is our commitment to future generations that inspires us every day. For more information, visit DominionEnergy.com. 9778 Gayton Rd 10168 West Broad St 9535 Kings Charter Dr Henrico Glen Allen Ashland 750-2400 270-5700 550-0780 For a natural path to lifelong wellness • Most insurance plans accepted AriyaChiro.com chiropractic • sports chiropractic • family care • massage therapy A cleaner energy future is on the horizon. Company Chiropractors for As a leader in wind and solar, we take our responsibility to the planet very seriously. That is why we are developing the country’s largest offshore wind project—one which the Richmond Ballet will produce enough energy to power 660,000 homes by 2026. We have also added more than 2.5 million solar panels throughout Virginia since 2015, helping to make us 3507 Boulevard 34C Medical Park Blvd 5409 Patterson Ave Colonial Heights Petersburg Richmond America’s third largest in solar.
    [Show full text]
  • Cuban National Ballet: 65 Years on Stage
    Cuban National Ballet: 65 Years on Stage Cubans are celebrating the 65th anniversary of one of the top five ballet companies, an ensemble that has gained international prestige and won awards and recognition in the world throughout the years. Alicia, Fernando and Alberto Alonso founded the Alicia Alonso Ballet with an opening show at Havana’s Auditorium Theater on October 28th, 1948. The company’s opening performance included a cast made up of dancers from the Cuban Pro-Arte Musical Society and dancers of the New York based American Ballet Theater. Fernando Alonso, his wife Alicia and his brother Alberto Alonso thus got involved in the historic event of setting up the Alicia Alonso Ballet, which will later be known as Cuban Ballet and currently as Cuban National Ballet Company. The Alicia Alonso Academy was created by Fernando and Alicia in 1950, planting the seed of what will later be considered one of the most outstanding results of Cuban Ballet: the Cuban Ballet School. At the academy which was aimed at training the first generations of professional Cuban ballet dancers, the Alonso’s conducted a serious research aimed at creating a unique teaching method that, with the passage of time, has led to what is known today as the internationally recognized and praised Cuban ballet school, whose style was discovered and singled out for the first time by renowned British dance critic and professor, Arnold Haskell, in the 1960’s. In the period between 1948 and 1956, Fernando Alonso knew how to face the apathy and misunderstandings of the Cuban governments which denied the most basic support for cultural efforts such as the Cuban ballet.
    [Show full text]
  • Chiarts Dance Overview and Audition Guide
    CHIARTS DANCE OVERVIEW AND AUDITION GUIDE This guide is designed to help you prepare for the Dance conservatory audions and for considering ChiArts as an opon for your high school. ChiArts is a wonderfully creave and educaonal environment, and we take our work seriously. DECIDING IF CHIARTS DANCE IS RIGHT FOR YOU What can I expect from ChiArts Dance? Our programs are modeled on college-level Conservatory programs and tailored for high school students. It is a rigorous training program that is taught by professionals in their fields who have high standards of excellence and a commitment to training the next generaon of arsts. Classroom instrucon is supplemented by a variety of performance opportunies in which training is put into pracce. Whether or not a student chooses to ulmately pursue a career in the arts, the curriculum will provide a wide variety of learning opportunies and experiences that can benefit them throughout their lives and in whatever field they choose to pursue. What does ChiArts Dance expect from me? The school day at ChiArts is from 8 am to 5 pm and includes some evening rehearsals and events. Students must have stamina and focus throughout the enre day and must be commied to both academic and arts educaon. Students are expected to arrive to each Dance class on me, fully prepared to work with all of their materials and dedicated to their cra and community. Students should be open to praccing sustained focus, taking risks, and providing a safe learning environment for others. Your aendance affects the work of your peers as well as yourself.
    [Show full text]
  • Into the Eye of the Storm Destruction
    tain” overwhelmed by a storm, who eventually dis - covers that “to oppose the storm meant preeminent Into the Eye of the Storm destruction. So he took the opposite course and headed the vessel right into the storm and finally reached the center where it was still and peaceful.” Collins equates this tranquil center with what she calls the “Eye of God”—but it serves just as well as a symbol of her intuitive professional strategy. In an interview in the Seattle Times not included in this book, Collins said of her family, “We didn’t consider ourselves black. … We were well-aware of how black people were treated, but we didn’t bow to that treatment. We didn’t have to overcome inferiority. We had to overcome arrogance.” Desirous of education and stability, committed to excellence in every pursuit, the extended Collins-de Lavallade family paired a remarkable self- confidence with a conviction that dates back at least as far as Anna Julia Cooper’s assertion in 1892 that a woman’s “quiet undisputed dignity…without suing or special patronage” could, by dint of example, elevate the “Negro race.” anet Collins was born in New Orleans in 1917 and brought up in southern California in a Jclose-knit extended family in which, she writes, “We were all encouraged to follow our natural endowments.” Her first ballet teacher was a neighbor, Louise Beverly, who seems to have had some association with Ruth St. Denis and Ted Shawn’s Denishawn modern dance company, indicated in part by the fact that the young Collins was taught a version of the company’s “exotic” East Indian “nautch” dance.
    [Show full text]
  • The Ukrainian Weekly 1989
    І : І І Published by the Ukrainian National Association Inc.. a fraternal non-profit association| іїаІИН Ї Vol. LVII No. 10 THE UKRAINIAN WEEKLY SUNDAY, MARCH 5, 1989 50 cents Revelations about Chornobyl accident Initiative group seeks renewal raise questions on extent of cover-up of Ukrainian Orthodox Church by Dr. David Marples hitherto, noting that reports from the by Bohdan Nahaylo the USSR and the Ukrainian SSR and zone had highlighted only the bravery to the international Christian commu­ As the recent revelations about the of pilots, miners, builders and soldiers. A group of Ukrainian Christians led by nity, the five founding members con­ degree of contamination of Byelorus­ Mr. Kachura explains that both the a priest ordained in the Russian Ortho­ demn the suppression of the Ukrainian sian villages demonstrate, there is much Ukrainian party and government took dox Church have announced the forma- Autocephalous Orthodox Church still to be related about the results of an active role throughout. The Ukrai­ tation of the Initiative Committee for during the Stalin era and maintain that radioactive fallout from the April 1986 nian leaders, in his words, "had no time the Renewal of the Ukrainian Auto- the Russian Orthodox Church "is not disaster at the Chornobyl nuclear power to give interviews" because they were cephalous Orthodox Church. capable of satisfying the needs of plant. explaining problems as they arose. In their inaugural statement, dated Ukrainian Orthodox believers." Officially, the consequences of the However, there is evidence to show February 15 and addressed to the accident will be much less serious than (Continued on page 2) Presidiums of the Supreme Soviets of Background originally prognosticated.
    [Show full text]
  • Ambassador Auditorium Collection ARS.0043
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
    [Show full text]
  • Abstract in Our Society, Priority Does Not Lie in Arts Education the Arts Are
    Abstract In our society, priority does not lie in arts education the arts are rarely noticed, as kids growing up don't reallydo not acquire have any background knowledge dealing with anything about the history and practice of the arts. Funding cuts in education affect the arts in a negative fashion precluding the possibility of exposure and flourishing of future artists. In my childhood, I was introduced to dance only through my church. As school may soon take arts classes away from schools, that will not only decrease some knowledge that kids need but also allow kids to not see what their passion could be. Growing up I wasn't introduced to dance until my church introduced it to me. My liturgical dance practice remained my connection to the arts. Later, After I only sawI was exposed to ballet dance in the community through television where a ballet class was being broadcasted which most dance companies teach students infrom a local their studio. I believe that students should be introduced to dance, both western concert and other cultural dance forms, as part of their education. s other than the basics.In my presentation, I argue that kids should be able to learn modern dance at a young age. My thesis focus particularly one in particularon Graham technique conceived and teveloped by modern dance pioneer, Martha Graham. What Martha Graham teaches dancers to question the norm. Her technique differs starkly from ballet and it is one way of acknowledging difference of personality, emotionality, and soulful movement. introduces is how to be different and kids at a young age should understand that it's alright to go a different route and it's alright to not look like what you see in Ballet.
    [Show full text]
  • Chamber Dance Company FALLING
    Contact: Lila Hurwitz/Doolittle+Bird [email protected] | 206.650.3305 FOR IMMEDIATE RELEASE UW DANCE PRESENTS Chamber Dance Company Presenting modern dance works of artistic and historic significance. FALLING Thursday–Saturday, October 10–12, 2019, 7:30pm Sunday, October 13, 2019, 2pm Meany Hall—Katharyn Alvord Gerlich Theater, UW Campus Pre-performance lectures 30 minutes before curtain with Sheila Farr, arts writer and UW alumna. Tickets: $12–22 / ArtsUW Ticket Office / ArtsUW.org / 206-543-4880 Info: dance.uw.edu / UW Department of Dance Facebook Chamber Dance Company’s 29th season explores the despair, thrill and humor intrinsic in the act of falling, with choreography by José Limón (1945), Brian Brooks (2012), Talley Beatty (1947) and Mark Morris (1982). Highlights include Brian Brooks’ First Fall (2012), a duet he created for acclaimed New York City Ballet ballerina Wendy Whelan. For the first time since exclusively performing and touring First Fall with Whelan, Brooks is sharing this work with Chamber Dance Company––the only company to perform the work since its premiere. With a mission of restaging and archiving significant works from the modern dance canon, Chamber Dance Company is one of the only companies in the country ensuring that these seminal masterworks are kept alive and accessible. About the Program & Choreographers: Concerto Grosso (1945) by José Limón. Staged by Brenna Monroe-Cook. An ebullient trio to music by Vivaldi, showcasing the suspension and fall on which Limón technique is based. Monroe-Cook received her MFA from the UW in 2011 and re-joined the José Limón Dance Company after graduation.
    [Show full text]
  • Senior Intensive 2019 6/17
    ACADEMIE DE BALLET SENIOR 2019 INTENSIVE SUMMER JULY 29 - AUGUST 16 INTENSIVE Monday through Friday 9:30 AM - 4:00 PM SERIES Levels 3/4 Through 6 SAMPLE SCHEDULE: 9:30am - 10:00am: Devotions 10:00am - 11:30am: Ballet Tech 11:30am - 12:30pm: Pointe 12:30pm - 1:00pm: LUNCH 0 & 1:00pm - 2:00pm: Character/Conditioning 2 . T 3 d E 2:00pm - 3:00pm: Contemporary/Modern 3 L R R 2 L E 3:00pm - 4:00pm: Jazz/Lyrical Jazz e A T A v B N V o E , r Registration Fee: $25 E e C G D k E E (Non-Refundable) k a I C a e N 3 Week Tuition: $525 M p O E A a 4 D D s 0 A e 9 C h A C REGISTRATION: Name: EXPLORE EXCELLENCE Age: Address: IN DANCE EDUCATION City, State, Zip: SENIOR Phone #: IN SUMMER 2019 WITH Email: JULY29 - AUGUST 16 [ ] Check #: ONE OF THE FINEST [ ] Credit Card: 904 OAK GROVE RD. Name on Card: DANCE INTENSIVES CHESAPEAKE, VA 23320 Expiration Date: ON THE EAST COAST (757) 548-2122 ACADEMIEDEBALLET.COM FELICIA BAKER MELISSA MOORE CONTEMPORARY JAZZ Melissa Moore began dance lessons in 1971 BALLET and never looked back. Teaching since 1984, Melissa became certified to teach Currently living in Memphis, Tennessee, Felecia through Dance Masters of America and was Baker is from Chesapeake, Virginia. She began a Carolina Dance Masters protégé. A career her training at Academie de Ballet and continued teacher, Melissa Moore has been afforded there through high school, performing in both the pleasure of teaching students in both Masterworks shows and on the studio private and public schools in North competition team.
    [Show full text]