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Five Pioneering Black Ballerinas
_________________________________________________________________________________________________________________ Five Pioneering Black Ballerinas: ‘We Have to Have a Voice’ These early Dance Theater of Harlem stars met weekly on Zoom — to survive the isolation of the pandemic and to reclaim their role in dance history. The 152nd Street Black Ballet Legacy, from left: Marcia Sells, Sheila Rohan, Gayle McKinney-Griffith, Karlya Shelton-Benjamin and Lydia Abarca-Mitchell. By Karen Valby June 17, 2021 Last May, adrift in a suddenly untethered world, five former ballerinas came together to form the 152nd Street Black Ballet Legacy. Every Tuesday afternoon, they logged onto Zoom from around the country to remember their time together performing with Dance Theater of Harlem, feeling that magical turn in early audiences from skepticism to awe. Life as a pioneer, life in a pandemic: They have been friends for over half a century, and have held each other up through far harder times than this last disorienting year. When people reached for all manners of comfort, something to give purpose or a shape to the days, these five women turned to their shared past. In their cozy, rambling weekly Zoom meetings, punctuated by peals of laughter and occasional tears, they revisited the fabulousness of their former lives. With the 2 background of George Floyd’s murder and a pandemic disproportionately affecting the Black community, the women set their sights on tackling another injustice. They wanted to reinscribe the struggles and feats of those early years at Dance Theater of Harlem into a cultural narrative that seems so often to cast Black excellence aside. “There’s been so much of African American history that’s been denied or pushed to the back,” said Karlya Shelton-Benjamin, 64, who first brought the idea of a legacy council to the other women. -
Audience Guide, Beauty and the Beast
Audience Guide Choreography by Lew Christensen Staged by Leslie Young Music by Pyotr I. Tchaikovsky The Benedum Center for the Performing Arts February 14 - 23, 2020 Artists: Hannah Carter, Alejandro Diaz | Photo: Duane Rieder Created by PBT’s Department of Education and Community Engagement, 2020 The Pittsburgh Ballet Theatre Education Department is grateful for the support of the following organizations: Allegheny Regional Asset District Highmark Foundation Anne L. and George H. Clapp Charitable Trust BNY Jack Buncher Foundation Mellon Foundation Peoples Natural Gas Claude Worthington Benedum Foundation Pennsylvania Council on the Arts Eat ‘n Park Hospitality Group Pennsylvania Department of Community and Economic Edith L. Trees Charitable Trust Development ESB Bank Pittsburgh Cultural Trust Giant Eagle Foundation PNC Bank—Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. and Lucy K. Schoonmaker The Heinz Endowments Henry C. Frick Educational Fund of The Buhl Foundation Contents 2 The Origins of Beauty and the Beast 3 Select List of Beauty and the Beast Adaptations 4 About the Ballet 5 Synopsis 6 The Music 6 The Choreography 9 The Répétiteur 9 Costumes and Sets 12 Theater Programs 12 Theater and Studio Accessibility Services 1 The Origins of Beauty and the Beast When it was published in 1740, Beauty and the Beast was a new take on an centuries-old canon of stories, fairy tales and myths, found in all cultures of the world, about humans who fall in love with animals. Maria Tatar, author of Beauty and the Beast: Classic Tales About Animal Brides and Grooms from Around the World, notes that these stories - about love, courtship, romance, marriage - give “a vivid, visual grammar for thinking about abstractions: cruelty and compassion, hostility and hospitality, predators and victims.”* They explore issues that are “as old as time:” the layers, complexities and contradictions at the heart of relationships. -
Michael Langlois
Winter 2 017-2018 B allet Review From the Winter 2017-1 8 issue of Ballet Review A Conversation with Heather Watts by Michael Langlois © 2017 Dance Research Foundation, Inc. 4 New York – Elizabeth McPherson 6 Washington, D.C. – Jay Rogoff 7 Miami – Michael Langlois 8 Toronto – Gary Smith 9 New York – Karen Greenspan 11 Paris – Vincent Le Baron 12 New York – Susanna Sloat 13 San Francisco – Rachel Howard 15 Hong Kong – Kevin Ng 17 New York – Karen Greenspan 19 Havana – Susanna Sloat 46 20 Paris – Vincent Le Baron 22 Jacob’s Pillow – Jay Rogoff 24 Letter to the Editor Ballet Review 45.4 Winter 2017-2018 Lauren Grant 25 Mark Morris: Student Editor and Designer: Marvin Hoshino and Teacher Managing Editor: Joel Lobenthal Roberta Hellman 28 Baranovsky’s Opus Senior Editor: Don Daniels 41 Karen Greenspan Associate Editors: 34 Two English Operas Joel Lobenthal Larry Kaplan Claudia Roth Pierpont Alice Helpern 39 Agon at Sixty Webmaster: Joseph Houseal David S. Weiss 41 Hong Kong Identity Crisis Copy Editor: Naomi Mindlin Michael Langlois Photographers: 46 A Conversation with Tom Brazil 25 Heather Watts Costas Associates: Joseph Houseal Peter Anastos 58 Merce Cunningham: Robert Gres kovic Common Time George Jackson Elizabeth Kendall Daniel Jacobson Paul Parish 70 At New York City Ballet Nancy Reynolds James Sutton Francis Mason David Vaughan Edward Willinger 22 86 Jane Dudley on Graham Sarah C. Woodcock 89 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Cover photograph by Tom Brazil: Merce Cunningham in Grand Central Dances, Dancing in the Streets, Grand Central Terminal, NYC, October 9-10, 1987. -
Ballet Makers, Inc., American Airlines and Covington Travel, Inc
^^^t^vT-^n^ Regional Dance America/MidStates Festival May 17-21, 1995 • Fort Wayne, Indiana Sponsored in part by: Capezio/Ballet Makers, Inc., American Airlines and Covington Travel, Inc. mix, IP VETO AM021OX Regional Dance America was founded in 1988 to promote the artistic development of dance companies throughout the United States and to continue the important work of the National Association for Regional Ballet. Built on the legacy of visionaries Dorothy Alexander and Anatole Chujoy, the NARB contributed to the decentralization of dance as regional companies grew in stature and quality nationwide. Under the leadership of Doris Hering, and with the encouragement of Ben Sommers, its membership grew to five geographical areas and over two hundred companies including more than two dozen nationally recognized professional groups. As we enter a new decade, RDA is dedicated to fostering quality, promoting education and nurturing the talents of dancers and choreographers while exploring new horizons. 35 Performance Advisory Committee Maria Crandy Robert Barnett Edward Villella Choreography Alfred Terlizzi Dennis Nahat jane Cifford Muriel Topaz Saeko Ichinohe Mel Tomlinson CONFERENCE: July 21-Aug. 2,1995 David Howard Robert Lindgren Florence Warren at The University of Iowa in Iowa City, Iowa Lyle Cashion Jon Rodriguez Rochelle Zide-Booth Sally Bliss Ben Stevenson Maria Vegh 1 vJrl Dancers, Composers, Choreographers, Teachers. Artistic Directors rnvULl T Leslie Jane Pessemier, Director of Choreography; Rob Kaplan, Director of Music; Alumni Professional Companies: Frcncoise Martinet, Ballet; Mid States: Madco, Harbinger Dance Company, Minnesota Dance Armando Duarte, Modern Theatre, Indianapolis Ballet Theatre, Ft. Wayne Ballet. Northeast: Berkshire Ballet, Ballet Metropolitan, Boston Ballet, Dayton Contemporary Dance Co., Dayton Ballet, Philadanco, Princeton Ballet. -
Leon Levy BAM Digital Archive
Brooklyn Academy of Music P R O G R AM C DANCE THEATRE 4/1-61Afr51 IIMIKINgrIrTr,7r477, BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Opera House DANCE THEATRE OF HARLEM Founders ARTHUR MITCHELL KAREL SHOOK Artistic Director ARTHUR MITCHELL Executive Director ROBERT J. TAYLOR Music Director MILTON ROSENSTOCK Dance Artists TYRONE BROOKS KAREN BROWN LORRAINE GRAVES YVONNE HALL CHARMAINE HUNTER CHRISTINA JOHNSON VIRGINIA JOHNSON HUGUES MAGEN RONAL D PERRY CASSANDRA PHIFER KEITH SAUNDERS EDDIE J. SHELLMAN LOWELL SMITH JUDY TYRUS AUGUSTUS VAN HEERDEN DONALD WILLIAMS Lisa Attles Dean Anderson Elena Dominguez Fabian Barnes Rodolphe Cassand Robert Garland Gregory Jackson Tai Jimenez Endalyn Taylor-Shellman Judith Rotardier Richard Witter Vince Collins Felicity de Jager Luis Dominguez Kellye Gordon Tassia Hooks Adam James Patrick Johnson Andre Levitt Rena Robinson Valencia Yearwood Andrea Bergquist Simone Cardoso Sophia Cannonier Lawrence de Maeyer Ivonne Labrada Calvin Shawn Landers Cedric Rouse Marjorie Oron Ramona Smith Connie Rotardier Ineke Rush American Express Travel Related Services Co., Inc. is proud to be the worldwide sponsor of Dance Theatre of Harlem. Dance Theatre of Harlem gratefully acknowledges the assistance of the New York State Council on the Arts, the National Endowment for the Arts, and the New York City Department of Cultural Affairs. All contributions are tax deductible. Major institutional support provided by the LILA WALLACE-READER'S DIGEST FUND. Funding for the orchestra for the New -
2020 Cinderella Study Guide – Northwest Florida Ballet 1
2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET 1 WELCOME The Northwest Florida Ballet is proud to present the 40th annual production of The Nutcracker with live music by the Northwest Florida Ballet Symphony Orchestra. This study guide contains a variety of information about the production as well as theater etiquette, ballet terminology and several activities to engage your students prior to attending the performance. On behalf of NFB, thank you for taking the time to introduce a beloved art form to your students. Ballet is a cultural experience like none other and we are so pleased you have taken the time to share it with the next generation. We appreciate your support and look forward to seeing you at the theater. CEO/Artistic Director: A native of Fort Walton Beach, Florida, Todd Eric Allen was Todd Eric Allen a scholarship student at the Joffery School of Ballet in New York City for five years. He also attended Virginia Intermont College where he was awarded the 1985 Dance Magazine Scholarship to the Choreographers Conference. Mr. Allen has danced with Louisville Ballet, Boston Ballet, and Les Grands Ballets Canadienes, and has performed as a guest artist and teacher throughout the United States. He has performed featured roles in ballets by Twyla Tharp, Mark Morris, Jiri Kylian, Nacho Duato, and James Kudelka, and has performed with the Broadway cast of Movin’ Out in New York City. Mr. Allen has been praised for his choreography work for Boston Ballet, Rhode Island Festive Ballet, Sarasota Ballet and NBA Ballet in Tokyo, Japan. Northwest Florida Ballet: Located in the Sybil Lebherz Center for Dance Education in beautiful downtown Fort Walton Beach, Fla. -
Black-Ballerina-Discussion-Guide.Pdf
1 WHAT’S MISSING? A STUDY AND DISCUSSION GUIDE FOR BLACK BALLERINA What’s Missing? The documentary film BLACK BALLERINA tells the story of several black women from different generations who fell in love with ballet. Six decades ago, Joan Myers Brown, Delores Browne, and Raven Wilkinson faced racism in their pursuit of careers in classical ballet. Today, young dancers of color continue to face formidable challenges breaking into the overwhelmingly white world of ballet. Moving back and forth in time, this lyrical, character-driven film presents a fresh discussion about race, inclusion, and opportunity across all sectors of American society. ___________________ WHAT IS CLASSICAL BALLET? What is known today as classical ballet began in the “...When a disgruntled military attempted at royal courts of France and developed through the noble houses one point to install a monarchy with George of the Italian Renaissance. In the 15th century, noblemen and Washington as king, he fiercely resisted.” women attended lavish dinners, especially wedding celebrations, Wilf Hey, “George Washington: The Man where dancing and music created elaborate spectacles. Dancing Who Would Not Be King,” 2000 masters taught the steps to the nobility and the court participated in the performances. In the 16th century, Catherine de Medici— an Italian noblewoman, wife of King Henry II of France, and a great patron of the arts—began to fund ballet in the French court. A century later, King Louis XIV helped to popularize and standardize the new art form. A devoted dancer, he performed many roles. His love of ballet led to its development from a party activity for members of the court to becoming a practice requiring disciplined professional training. -
College of Fine Arts FALL 2019
FALL 2019 College of Fine Arts FINE ARTS NEWS FINE ARTS Dean’s letter College of Fine Arts Richard C. Gipson Interim Dean [email protected] Joseph Butler Senior Associate Dean Opening in fall 2020, the new for Graduate Studies h,[email protected] TCU Music Center“ is certainly William Gibbons Associate Dean for Undergraduate Studies destined to become an integral part [email protected] Elyse Menger Robinson From of Fort Worth’s cultural fabric. Director of Development [email protected] the Dean Heather Hughston Marketing & Communication Coordinator [email protected] Greetings from the TCU College College of Fine Arts so very special. integral part of Fort Worth’s cultural of Fine Arts! For those of you who From traveling to New York Fashion fabric. It will house the world-class Van Lewis Glaser may not know, a year ago I was asked Week to working on a Toyota ad Cliburn Concert Hall at TCU as well Chair, Department to serve in the role of interim dean of campaign to researching the history as provide invaluable new resources of Design [email protected] the College of Fine Arts. Prior to that, I of American Sign Language in theatre, to support our award-winning band, ” Janace Bubonia served as director of the TCU School the College of Fine Arts is filled with orchestra and percussion programs. Chair, Department of of Music for 16 years. The 2018- creative minds who continue to enrich Fashion Merchandising Clearly, there is no shortage of [email protected] 19 academic year in the College of our campus and beyond. -
Mikko Nissinen Meredith Max Hodges Artistic Director Executive Director Hart Artistic Director’S Chair
Mikko Nissinen Meredith Max Hodges Artistic Director Executive Director Hart Artistic Director’s Chair Assistant Artistic Director Russell Kaiser Ballet Masters Shannon Parsley Larissa Ponomarenko Anthony Randazzo Resident Choreographer Jorma Elo Principal Dancers PAULO ARRAIS KATHLEEN BREEN COMBES ANAÏS CHALENDARD LIA CIRIO PAUL CRAIG ASHLEY ELLIS SEO HYE HAN LASHA KHOZASHVILI MISA KURANAGA JOHN LAM ERIS NEZHA PATRICK YOCUM JUNXIONG ZHAO Soloists ISAAC AKIBA MARIA BARANOVA RACHELE BURIASSI JI YOUNG CHAE RODDY DOBLE DEREK DUNN FLORIMOND LORIEUX DALAY PARRONDO IRLAN SILVA Second Soloists DIANA ALBRECHT HANNAH BETTES CORINA GILL LAUREN HERFINDAHL LAWRENCE RINES ADDIE TAPP Artists MARIA ALVAREZ DAWN ATKINS JESSICA BURROWS EKATERINE CHUBINIDZE DANIEL COOPER DANIEL DURRETT EMILY ENTINGH SAMIVEL EVANS CHYRSTYN FENTROY BRETT FUKUDA ANDRES GARCIA SAGE HUMPHRIES GRAHAM JOHNS MAMUKA KIKALISHVILI SEUNG HYUN LEE SO JUNG LEE ALEXANDER MARYIANOWSKI NINA MATIASHVILI ABIGAIL MERLIS DREW NELSON PATRIC PALKENS ALEC ROBERTS MICHAEL RYAN REINA SAWAI HALEY SCHWAN MATTHEW SLATTERY DESEAN TABER Associate Director of Boston Ballet II Peter Stark BOSTON BALLET II Olivia Behrmann Caroline Buckheit Tyson Clark Thomas Davidoff Derek Drilon August Generalli Thomas Harrison Catherine Livingston Christian Pforr Gabriela Schiefer Children’s Ballet Master Miranda Weese Principal Guest Conductor Beatrice Jona Affron Senior Principal Company Pianist Principal Solo Pianist Freda Locker Alex Foaksman E. VIRGINIA WILLIAMS, FOUNDER BOSTON BALLET 19 CLARENDON STREET, BOSTON, MA 02116 TEL 617.695.6950 FAX 617.695.6995 BOSTONBALLET.ORG Boston Ballet 2017 – 2018 Season Summary Obsidian Tear | Nov 3–12, 2017 This program of contemporary works features the North American premiere of Wayne McGregor’s Obsidian Tear, a co-production with The Royal Ballet, and Fifth Symphony of Jean Sibelius, a world premiere by Boston Ballet Resident Choreographer Jorma Elo. -
Miami City Ballet Announces 2021/22 New Company Members Promotes Damian Zamorano to Soloist
June 14, 2021 FOR IMMEDIATE RELEASE CONTACT MIAMI CITY BALLET Amber Dorsky [email protected] | 305.929.7000 x7189 Miami City Ballet Announces 2021/22 New Company Members Promotes Damian Zamorano to Soloist (Miami Beach, FL) – Miami City Ballet (MCB) warmly welcomes nine new dancers to the company, bringing this season’s roster to 53. Under the artistic leadership of Lourdes Lopez and with a growing repertoire of over 130 works that honor the masters while opening pathways for emerging choreographers, MCB is one of the most celebrated and critically acclaimed ballet companies in the country. Adding to MCB’s diverse roster for the 2021/22 season is Steven Loch, formerly of Pacific Northwest Ballet, who joins as principal. Plus, eight dancers will join the corps de ballet, including Mary Kate Edwards and Juliet Hay, both recent graduates of Miami City Ballet School (MCB School), one of the country’s most prestigious ballet academies. MCB School alumnus Andrei Chagas also returns after appearances on Broadway and in film. Five more dancers from some of the world’s top training grounds will also soon be seen rehearsing in MCB’s sun-drenched studios: Lily Maulsby and Matilda Solis from School of American Ballet, and Andrew Larose and Ethan Rodrigues, both of whom trained at Canada’s National Ballet School and the European School of Ballet in Amsterdam, and Sean Miller of Sarasota Cuban Ballet School. MCB is also thrilled to also announce the promotion of Damian Zamorano to the rank of soloist. MCB’S 36th season of dance will be announced in mid-July. -
A Historical Perspective the Evolution of Historically Black Ballet Companies— from Katherine Dunham to Arthur Mitchell
Black Swans Shattering the Glass Ceiling: A Historical Perspective the Evolution of Historically Black Ballet Companies— From Katherine Dunham to Arthur Mitchell The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Jackson, La'Toya Princess. 2019. Black Swans Shattering the Glass Ceiling: A Historical Perspective the Evolution of Historically Black Ballet Companies— From Katherine Dunham to Arthur Mitchell. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004127 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use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
DANCE for a CITY: FIFTY YEARS of the NEW YORK CITY BALLET New-York Historical Society Exhibition Curated by Lynn Garafola April 20 - August 15, 1999
DANCE FOR A CITY: FIFTY YEARS OF THE NEW YORK CITY BALLET New-York Historical Society Exhibition Curated by Lynn Garafola April 20 - August 15, 1999 The labels, wall texts, and reflections complement the volume Dance for a City: Fifty Years of the New York City Ballet published by Columbia University Press in 1999. Edited by Lynn Garafola, with Eric Foner, and including essays by Thomas Bender, Sally Banes, Charles M. Joseph, Richard Sennett, Jonathan Weinberg, and Nancy Reynolds, the book, unlike most exhibition catalogues, does not include a checklist. In revisiting this material, I wanted to evoke the experience of walking through six large galleries on the ground floor of the New-York Historical Society, with the reader enjoying by suggestion and as an act of imagination the numerous objects on display tracing the long history of the New York City Ballet. As I prepare this for publication on the Columbia University Academic Commons nearly two decades after the exhibition was dismantled, I thank once again the many lenders who made it possible. I also remain deeply grateful to the exhibition designer, Stephen Saitas, for his guidance and for creating an installation of haunting beauty.—Lynn Garafola Introductory Text Founded in 1948 by George Balanchine and Lincoln Kirstein, the New York City Ballet is universally recognized as one of the world's outstanding dance companies. This exhibition traces its development both as an artistic and social entity. The story begins with the fateful encounter of the two men in 1933, when Kirstein, an arts maverick and patron extraordinaire, invited the twenty-nine-year-old Russian-born choreographer to establish a company and a school in the United States.