Dallas Black Dance Theatre TOURING KIT
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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. -
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. -
Conference Program
CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University. -
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 -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
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 -
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. -
Mccarter THEATRE CENTER FOUNDERS Arthur Mitchell Karel
McCARTER THEATRE CENTER William W. Lockwood, Jr. Michael S. Rosenberg SPECIAL PROGRAMMING DIRECTOR MANAGING DIRECTOR presents FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Virginia Johnson Anna Glass BALLET MASTER INTERIM GENERAL MANAGER Marie Chong Melinda Bloom DANCE ARTISTS Lindsey Donnell, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Kouadio Davis, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher McDaniel, Sanford Placide, Anthony Santos, Dylan Santos ARTISTIC DIRECTOR EMERITUS Arthur Mitchell Please join us after this performance for a post-show conversation with Artistic Director Virginia Johnson. SATURDAY, FEBRUARY 8, 2020 The taking of photographs and the use of recording equipment of any kind during performances is strictly prohibited. Support for Dance Theatre of Harlem’s 2019/2020 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 -
Paul Taylor Dance Company WEDNESDAY EVENING, MARCH 8, 1989, at 8:00 POWER CENTER for the PERFORMING ARTS ANN ARBOR, MICHIGAN
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Paul Taylor Dance Company WEDNESDAY EVENING, MARCH 8, 1989, AT 8:00 POWER CENTER FOR THE PERFORMING ARTS ANN ARBOR, MICHIGAN ELIE CHAIB CHRISTOPHER GILLIS CATHY McCANN KARLA WOLFANGLE KATE JOHNSON RAEGAN WOOD SANDRA STONE MARY COCHRAN JOAO MAURICIO JEFF WADLINGTON CONSTANCE DINAPOLI FRANCIE HUBER JOSEPH BOWIE HERNANDO CORTEZ MANUEL RODRIGUEZ DONALD YORK, Musical Director JENNIFER TIPTON, Lighting Designer ROBERT YESSELMAN, Executive Director PROGRAM BRANDENBURGS Music by J. S. Bach Brandenburg Concertos Nos. 6 (movements 1 and 2) and 3 Choreography by Paul Taylor Costumes by George Tacet Lighting by Jennifer Tipton (First performed in 1988; Ann Arbor premiere, 1989) Christopher Gillis Cathy McCann Kate Johnson Mary Cochran Joao Mauricio Jeff Wadlington Joseph Bowie Hernando Cortez Manuel Rodriguez Production made possible in part by contributions from the National Endowment for the Arts, the Reader's Digest Dance and Theatre Program established by the Wallace Funds, the Andrew W. Mellon Foundation, and the Ida and William Rosenthal Foundation, Inc. Ten-minute Intermission The Taylor Company's master classes on Monday and concerts on Tuesday and Wednesday comprise a dance residency supported in part by Arts Midwest's members and friends, in partnership with the National Endowment for the Arts. Cameras and recording devices are not allowed in the auditorium. Thirty-third Concert of the 110th Season Eighteenth Annual Choice Series DUST Music by Francis Poulenc Concert Champetre Choreography by Paul Taylor Set and Costumes by Gene Moore Lighting by Jennifer Tipton (First performed in 1977; Ann Arbor premiere, 1989) Cathy McCann Karla Wolfangle Raegan Wood Sandra Stone Joao Mauricio Jeff Wadlington Constance Dinapoli Francie Huber Joseph Bowie Production made possible in par! by contributions from the National Endowment for the Arts and the Andrew W. -
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. -
Ailey II: the Next Generation of Dance Troy Powell, Artistic Director
Appalachian State University’s Office of Arts and Cultural Programs presents APPlause! K-12 Performing Arts Series Thursday, October 26, 2017 Ailey II: The Next Generation of Dance Troy Powell, Artistic Director Jessica Amber Pinkett, Photo by Kyle Froman School Bus As an integral part of the Performing Arts Series, APPlause! matinées offer a variety of performances at venues across the Appalachian State University campus that feature university-based artists as well as local, regional and world-renowned professional artists. These affordable performances offer access to a wide variety of art disciplines for K-12 students. The series also offers the opportunity for students from the Reich College of Education to view a field trip in action without having to leave campus. Among the 2017-2018 series performers, you will find those who will also be featured in the Performing Arts Series along with professional artists chosen specifically for our student audience as well as performances by campus groups. Before the performance... Familiarize your students with what it means to be a great audience member by introducing these theatre etiquette basics: • Arrive early enough to find your seats and settle in before the show begins (20-30 minutes). • Remember to turn your electronic devices OFF so they do not disturb the performers or other audience members. • Remember to sit appropriately and to stay quiet so that the audience members around you can enjoy the show too. PLEASE NOTE: *THIS EVENT IS SCHEDULED TO LAST APPROX 60 MINUTES. 10:00am – 11:00am • Audience members arriving by car should plan to park in the Rivers Street Parking Deck. -
2020-21 Schedule of Classes
2020-21 SCHEDULE OF CLASSES Lisa Slagle, Director 972-745-0199 [email protected] balletacademyoftexas.com 145 Fitness Court, Coppell, TX 75019 Celebrating its twenty-first year, the Ballet Academy of TEACHING STAFF LINDSEY YOES DANIEL received her training at the Ballet Texas’ goal has been to provide quality, professional dance Academy of Texas and was a leading dancer with the Ballet instruction for all ages. The primary focus is on classical THOM CLOWER is one of the most energetic and inspiring Ensemble of Texas for several years. She has performed ballet technique which provides a strong foundation for all teachers across the country, his evangelistic approach to professionally with The Dallas Opera, Texas Dance other dance forms. Our goal for the recreational dancer is teaching has touched the lives and careers of dancers Theatre, and Dallas Black Dance Theater II; where she was to gain self-confidence through the physical and mental around the world for 40 years. Trained in Dallas, School of also the Assistant Director. She received a Bachelor of Fine accomplishments that come from positive dance American Ballet, Paris, Amsterdam, and London, Thom Arts in Dance, Psychology and Development and Family instruction. The professional background of the directors performed eleven seasons with Dallas Ballet, served as Studies from University of North Texas and is certified in and staff will provide the more serious student with the Artistic Director of Ballet Dallas for eight seasons, Ballet the ABT Curriculum for the Primary through Level Three. knowledge and training necessary to prepare for a career Master for Hubbard Street Dance Chicago, and Artistic She also serves as Ballet Mistress for the Ballet Ensemble in dance, as well as additional performing opportunities Director of Yuma Ballet Theatre in Arizona.