The Ballet Dance Center Faculty 2011-12
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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. -
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 -
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 -
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. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Black Dancers in American Ballet in Kansas City Live Facebook Panel Discussion April 23 at 6:30 P.M
FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.213.4355 [email protected] For Tickets: 816.931.8993 or kcballet.org Kansas City Ballet Announces Stories of Resiliency: Black Dancers in American Ballet in Kansas City Live Facebook Panel Discussion April 23 at 6:30 p.m. WHO: * Moderator Allan S. Gray II, Former KCB board member and former board member of the Missouri Arts Council. He is also founding board member of the Kansas City Friends of Alvin Ailey. * April Berry, Former apprentice, and ballerina with ballet companies in New York, New Jersey and Washington, D.C., current Director of Community Engagement and Education at Kansas City Ballet and Kansas City Ballet School faculty member. * Karen Brown, Former ballerina with Dance Theatre of Harlem, current Assistant Professor of Dance at UMKC Conservatory, University of Missouri at Kansas City. * Whitney Huell, Former ballerina with Ballet West, current ballerina with Kansas City Ballet and Kansas City Ballet School faculty member. * Josh Bodden, former dancer with Miami City Ballet, Dance Theatre of Harlem, Cincinnati Ballet, current danseur with Kansas City Ballet and Kansas City Ballet School faculty member. WHAT: Four professional black dancers living and working in Kansas City share their journeys on navigating dance careers in the American Ballet World. Moderated by Allan S. Gray II, a respected Kansas City business professional and community leader, each panelist will impart their unique dance experiences, perspectives on diversity, inclusion and equity in ballet and respond to questions from the community sent in advance of the panel, as well as during the panel. Visit www.kcballet.org for more information. -
Grew up in New Jersey and Studied Ballet at a Young Age with the New Jersey Ballet School
Patricia Brown: grew up in New Jersey and studied ballet at a young age with the New Jersey Ballet School. As a teenager, Patricia was awarded full scholarships to the American Ballet Theatre School and the Joffrey Ballet School. Ms. Brown has danced professionally with the New Jersey Ballet Company, Joffrey II Ballet Company, Cleveland Ballet (soloist), the Elliot Feld Ballet, and the Joffrey Ballet Company (soloist). She has worked with many well-known choreographers such as Agnes DeMille, Anthony Tudor, Gerald Arpino, Elliot Feld, Paul Taylor, Laura Dean, and Dennis Nahat. Ms. Brown has served as principal teacher for trainee programs at the Milwaukee Ballet School, Joffrey Ballet School, Harrisburg Ballet School, Nashville Ballet School, The Dance Center, and the Mill Ballet School. She has taught company classes for Joffrey II Ballet, the Elliot Feld Ballet, Nashville Ballet, Harrisburg Ballet, Brandywine Ballet Theatre, the Roxey Ballet, and she has served as Ballet Mistress for the Pennsylvania Ballet. Ms. Brown has choreographed ballets performed at Joffrey Ballet workshop, Milwaukee Ballet workshop, Harrisburg Ballet Company, Brandywine Ballet Theater, the Roxey Ballet and for the international competition at Avery Fisher Hall in New York. Patricia has been asked to join the faculty of the Joffrey School in New York City and commutes weekly to teach class. Val Gontcharov: In 1974 at the age of 11 Val successfully competed against 40 other applicants for the one opening in the Kieu Ballet School. After graduation in 1982, five different companies offered him positions, but he chose the Donetsk Ballet to be closer to his parents' home. -
Competition Schedule
Sunday, April 14th, 2019 John R. Armstrong Performing Arts Center 24600 F.V. Pankow Building Clinton Township, MI 48036 ~Dedicated to the Memory of the Cecchetti Council of America Charter Board~ It is with great respect and admiration that we remember our Charter Board. Their dedication and love of the Cecchetti method lives on in every CCA member. Jack Bickle Olga Fricker Sylvia Hamer Marjorie Hassard Gertrude Edwards-Jory Leona Lucas Jane Caryl Miller Chula (Harriet) Morrow Phyllis Peterson-Thorne Enid Ricardeau Virgiline Simmons Theodore Smith Competition Schedule Please be advised this is a live competition and the schedule may shift. Dancers need to be prepared to dance sooner or later than the time listed below. 8:30am Building opens/Check-in Begins Teachers must check in dancers in at the registration desk upon arrival. Check in will be one hour prior to the start of each category. Doors open at 8:30am. 9:15-9:30am Junior Contemporary Open Stage 9:30-10:15am Junior Contemporary Competition 10:15-10:30am Senior Contemporary Open Stage 10:30-11:45am Senior Contemporary Competition 11:45-12:15pm Break 12:15-12:30pm Junior Classical Open Stage 12:30-1:30pm Junior Classical Competition 1:30-1:45pm Senior Classical Open Stage 1:45-3:15pm Senior Classical Competition 3:15-3:30pm Break 3:30-4:15pm Ensemble Competition 4:15-5:00pm Deliberation 5:00pm Awards Ceremony 1 Participating Studios Dear Participants, Parents and Teachers, Welcome to the first Cecchetti Classical Ballet Competition! We are thrilled that you are taking part in this competition and hope that you will learn from each other and the feedback that you receive. -
Dance Major Handbook
DANCE MAJOR 2020-2021 HANDBOOK www.dance.uga.edu Remembering the Class of 2020 August, 2020 Welcome to the UGA Department of Dance! This Dance Handbook provides “everything you need to know” as a dance major at UGA!!! In addition to providing information on degree requirements and policies, this handbook will also answer some of the many questions you will have as you work toward your undergraduate degree in dance. Due to the COVID-19 pandemic, there will be some adaptions and changes to the information provided in this handbook, including measures to keep all UGA students, faculty and staff safe. As a student at UGA, you are responsible for knowing what classes you need to take and when those classes are offered. This handbook contains most of the information that you will need. Each semester you will have an advising session with your academic advisor who is available to assist you in mapping-out your schedule and graduation requirements. By cross-referencing the Dance Handbook and ATHENA (UGA's online list of classes) before your advisement session, your advisor can make sure you enroll in the right classes at the right time. Your advisor will inform you of any changes in the policies or requirements in the Department of Dance and the University of Georgia System. Your successful completion of all course work toward completion of your degree is ultimately your responsibility. Changes in your academic journey - such as a change of major, leave of absence, academic probation, tours and travels - are also your responsibility when keeping up with your program of study. -
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 -
The Edward Villella Dancers EDWARD VILLELLA
Presented by THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN The Edward Villella Dancers EDWARD VILLELLA Roseanne Germer Sheri Little Carol Stone Susan Strain Kim Vickers Ric Abel James Caton Joseph Fritz Paulo Manso de Sousa Oswaldo Muniz Tuesday and Wednesday Evening, July 17 and 18, 1984, at 8:00 Power Center for the Performing Arts Ann Arbor, Michigan An American Salute PRELUDE, FUGUE, AND RIFFS Choreography: Edward Villella Music: Leonard Bernstein Kim Vickers Susan Strain Carol Stone Ric Abel Oswaldo Muniz Joseph Fritz TARANTELLA Choreography: George Balanchine Music: Louis Gottschalk, arranged by Hershey Kay Roseanne Germer Paulo Manso de Sousa INTERMISSION THE WALTZ PROJECT Choreography: Richard Tanner Music: Waltzes by Robert Moran, Lou Harrison, Joseph Fennimore, Ivan Tcherepnin, Robert Helps, Tom Constanten, Philip Glass, and Morton Gould's "Rag Waltz for Edward Villella June 1984" Edward Villella Sheri Little Carol Stone Susan Strain "The Waltz Project" was commissioned for The Edward Villella Dancers by the Empire State Institute for the Performing Arts, Albany, New York. These concerts mark the first performances of this lyric piece; its official premiere will take place in October in Albany. These performances are made possible, in part, by a grant from the National Endowment for the Arts. STARS AND STRIPES (pas de deux) Choreography: George Balanchine Music: John Philip Sousa, arranged by Hershey Kay Shed Little Oswaldo Muniz INTERMISSION LEGS OF LAMB Choreography: Edward Villella Music: Joseph Lamb Roseanne Germer Kim Vickers Joseph Fritz Paulo Manso de Sousa Sheri Little Carol Stone Susan Strain Ric Abel James Caton Oswaldo Muniz Sheri Little, Carol Stone, Susan Strain, Kim Vickers, Ric Abel, and Oswaldo Muniz appear courtesy of Ballet Oklahoma; Roseanne Germer and Joseph Fritz appear courtesy of the New Jersey Ballet: Paulo Manso de Sousa appears courtesy of Festival Ballet; and James Caton appears courtesy of U. -
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9 GINGER THATCHER, former principal dancer of the Cleveland Ballet and former soloist of the Lar Lubovitch Dance Company, and PHILLIP BROOMHEAD, former principal dancer of the Royal Ballet and the Houston Ballet, will members of the faculty for the Goh Ballet Academy's Summer Program in Vancouver, Canada from July 7-August 9, 2014. GINGER THATCHER began her professional dance career as an apprentice with the Houston Ballet. She later joined the Cincinnati Ballet and in 1981 joined the Cleveland Ballet, rising to the rank of principal dancer. Ms. Thatcher's repertoire with the Cleveland Ballet included principal roles in ballets by George Balanchine (Agon, Concerto Barocco, The Four Temperaments, Serenade, Theme and Variations), Dennis Nahat (Brahms Quintet, Cannonade, Celebration and Ode, Contra Concerti, In Concert, In Studio D, Ontongeny, Pas de Dix, Quicksilver, Slavonic and Hungarian Dances, Some Times, Summerscape, Wu T'ai Shih), Murray Louis (By George), Daniel Levans (Concert Waltzes), Louis Falco (Escargot), Leonide Massine (Gaite Parisienne), David Lichine (Graduation Ball), Kurt Joos (The Green Table), Antony Tudor (Lilac Garden), Ian Horvath (Ozone Hour, Piano Man), Agnes de Mille (Rodeo, Three Virgins And A Devil), and Jose Limon (The Moor's Pavane, There Is A Time). Ms. Thatcher has also received acclaim for her performances in classical pieces such as Don Quixote Pas de Deux, The Nutcracker, Bluebird Pas de Deux, and the Prelude in Fokine's Les Sylphides. From 1991-93 Ms. Thatcher danced with the Lar Lubovitch Dance Company and danced roles in American Gesture, Concerto 622, Symphonie Concertante, and Waiting For The Sunshine.