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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another. -
2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
BEYOND BALLET a Town Hall on the State of Ballet and Diversity
FOR IMMEDIATE RELEASE MEDIA CONTACT: April 17, 2017 Gary Tucker 206.441.2426 [email protected] PACIFIC NORTHWEST BALLET Presents BEYOND BALLET A Town Hall on the State of Ballet and Diversity 7:00 pm, Wednesday, May 3, 2017 The Phelps Center 301 Mercer Street at Seattle Center Seattle, WA 98109 SEATTLE, WA – On Wednesday, May 3, 2017, Pacific Northwest Ballet (PNB) will host BEYOND BALLET, a Town Hall-style conversation which will investigate aesthetics, diversity, equity, and the efforts to redesign arts institutions. PNB, Spectrum Dance Theater, and Memoirs of Blacks in Ballet (MOBB) invite attendees to share their thoughts, feelings and experiences in a Town Hall format. Ballet—its aesthetics, lack of diversity and equity—is the springboard from which we begin to examine these issues in the theater and arts at large. This forum will be an open study group for organizations participating in the Seattle Office of Arts & Culture Racial Equity Learning Cohorts, part of the Race and Social Justice Initiative (RSJI), the City’s commitment to eliminate racial disparities and achieve racial equity in Seattle. BEYOND BALLET will take place at 7:00 pm on Wednesday, May 3, 2017 at PNB’s Phelps Center, 301 Mercer Street at Seattle Center. This is a free event, however space is limited and registration is required at PNB.org/BeyondBallet. Panelists for BEYOND BALLET include Peter Boal, Artistic Director of PNB; Donald Byrd, Artistic Director of Spectrum Dance Theater; Erica Edwards, Director of Community Engagement at The Joffrey Ballet; Kiyon Gaines, former PNB soloist and PNB School faculty member; and Andrea Long-Naidu, ballet instructor for Dance Theatre of Harlem and CityDance Conservatory. -
Nutcracker Dec 19 - Dec 28 / 2015
NUTCRACKER DEC 19 - DEC 28 / 2015 Choreography Galina Yordanova & Nina Menon | Music Pyotr Ilyich Tchaikovsky Centennial Concert Hall with the Winnipeg Symphony Orchestra 1 VAL CANIPAROLI’S A CINDERELLA STORY FEB 17 - 21 / 2016 At the Centennial Concert Hall PHOTO: David PHOTO: A Cinderella Story A Cinderella Former Principal Dancers Vanessa Lawson (1997 – 2013) and Jaime Vargas (2004 - 2010) in the 2009 Production of (2004 - 2010) in the 2009 Production Lawson (1997 – 2013) and Jaime Vargas Vanessa Principal Dancers Former TICKETS FROM $29!* *plus applicable taxes & fees RWB.ORG 204.956.2792 TABLEAU Under the distinguished Patronage of His Excellency The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. Governor General of Canada founders: GWENETH LLOYD & BETTY FARRALLY artistic director emeritus: ARNOLD SPOHR, C.C., O.M. founding director, school professional division: DAVID MORONI, C.M. founding director, school recreational division: JEAN MACKENZIE artistic director executive director ANDRÉ LEWIS JEFF HERD Jo- Ann Sundermeier, Dmitri Dovgosolets artists PHOTO: Réjean Brandt Photography AMANDA GREEN SOPHIA LEE JO-ANN SUNDERMEIER DMITRI DOVGOSELETS LIANG XING ISSUE NO. 197 YAYOI BAN YOSUKE MINO To advertise in future issues of this program, call Larah Luna 204.957.3471 SARAH DAVEY ELIZABETH LAMONT ALANNA MCADIE TRISTAN DOBROWNEY KOSTYANTYN KESHYSHEV JOSH REYNOLDS COVER: EGOR ZDOR Jo-Ann Sundermier, Dmitri Dovgoselets PHOTO: Réjean Brandt Photography KATIE BONNELL JAIMI DELEAU YOSHIKO KAMIKUSA CHENXIN LIU ANNA O’CALLAGHAN MANAMI TSUBAI DESIGN: Aleli Estrada SARAH PO TING YEUNG LIAM CAINES TYLER CARVER STEPHAN POSSIN PRINTING: Dave’s Quick Print THIAGO DOS SANTOS LUZEMBERG SANTANA RYAN VETTER EDITOR: Larah Luna JESSE PETRIE SAEKA SHIRAI AMY YOUNG PHILIPPE LAROUCHE YUE SHI Royal Winnipeg Ballet is a chartered non-profit corporation operated by a voluntary Board of senior ballet master music director & conductor Directors, David Reid, Chair. -
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. -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts, -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead. -
Guide to Dance 2019-2020 Study Guide
Dancers: Grace-Anne Powers and Leiland Charles | Photo: Jennifer Zmuda GUIDE TO DANCE 2019-2020 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2019 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ........................................................................................................................ -
Ballet Notes
Ballet Notes Mozartiana & Other Dances & In The Upper Room June 15 - 19, 2011 Aleksandar Antonijevic in In The Upper Room. Photo by Bruce Zinger. Orchestra Violins Bassoons Benjamin BoWman Stephen Mosher, Principal Concertmaster JerrY Robinson LYnn KUo, EliZabeth GoWen, Assistant Concertmaster Contra Bassoon DominiqUe Laplante, Horns Principal Second Violin Celia Franca, C.C., Founder GarY Pattison, Principal James AYlesWorth Vincent Barbee Jennie Baccante George Crum, Music Director Emeritus Derek Conrod Csaba KocZó Scott WeVers Karen Kain, C.C. Kevin Garland Sheldon Grabke Artistic Director Executive Director Xiao Grabke Trumpets David Briskin Rex Harrington, O.C. NancY KershaW Richard Sandals, Principal Music Director and Artist-in-Residence Sonia Klimasko-LeheniUk Mark Dharmaratnam Principal Conductor YakoV Lerner Rob WeYmoUth Magdalena Popa Lindsay Fischer JaYne Maddison Trombones Principal Artistic Coach Artistic Director, Ron Mah DaVid Archer, Principal YOU dance / Ballet Master AYa MiYagaWa Robert FergUson WendY Rogers Peter Ottmann Mandy-Jayne DaVid Pell, Bass Trombone Filip TomoV Senior Ballet Master Richardson Tuba Senior Ballet Mistress Joanna ZabroWarna PaUl ZeVenhUiZen Sasha Johnson Aleksandar AntonijeVic, GUillaUme Côté*, Violas Harp Greta Hodgkinson, Jiˇrí Jelinek, LUcie Parent, Principal Zdenek KonValina, Heather Ogden, Angela RUdden, Principal Sonia RodrigUeZ, Piotr StancZYk, Xiao Nan YU, Theresa RUdolph KocZó, Timpany Bridgett Zehr Assistant Principal Michael PerrY, Principal Valerie KUinka Kevin D. Bowles, Lorna Geddes, -
University of Oklahoma Graduate College Second and Trainee Companies in the United States
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SECOND AND TRAINEE COMPANIES IN THE UNITED STATES: AN ANALYSIS OF PAST AND PRESENT MISSIONS A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF FINE ARTS IN DANCE By TYE ASHFORD LOVE Norman, Oklahoma 2016 SECOND AND TRAINEE COMPANIES IN THE UNITED STATES: AN ANALYSIS OF PAST AND PRESENT MISSIONS A THESIS APPROVED FOR THE SCHOOL OF DANCE BY ______________________________ Mr. Jeremy Lindberg, Chair ______________________________ Mr. Ilya Kozadayev ______________________________ Mr. Robert Bailey © Copyright by TYE ASHFORD LOVE 2016 All Rights Reserved. Acknowledgements I first want to thank my extraordinary committee members who without their inspiration in class and in life this document could not be possible, chair Jeremy Lindberg, as well as Ilya Kozadayev and Robert Bailey. I also want to thank the faculty of the University of Oklahoma School of Dance for their continuous support throughout my career, and valuable guidance from Dean Mary-Margaret Holt. I am also lucky to have the best family you could ask for, and their support is priceless. The phone call from home everyday is something I always look forward to. Thank you so much Mom and Dad! I also want to salute my amazing wife who is my biggest fan, thesis editor, best friend, and greatest love. I want to dedicate this document to my late mentor, John Magnus. John inspired many, including myself, to pursue a career in dance with his incredible passion and knowledge of guiding dancers. A passion I hope to pass down to future generations. -
Hubbard Street Dance Chicago
Friday and Saturday, January 18 –19, 2019, 8pm Sunday, January 20, 2019, 3pm Zellerbach Hall Hubbard Street Dance Chicago Artistic Director Glenn Edgerton Executive Director David McDermott Rehearsal Director Jessica Tong Founding Artistic Director Lou Conte Director of Production Scott Nelson Head Carpenter Stephan Panek and Director of Stage Operations Head of Audio Jason Natali Head Electrician Sam Begich Stage Manager and Head of Props Julie Ballard Wardrobe Supervisor Jenni Schwaner Ladd Company Manager Abby Olson Director of Youth, Education, Kathryn Humphreys and Community Programs Director of Artist Training Alexandra Wells Director of Finance and Operations Belina Mizrahi Director of Marketing Andy Sheagren Director of Development Katie Tuttle Hubbard Street Dancers Craig D. Black Jr., Jacqueline Burnett, Rena Butler, Alicia Delgadillo, Kellie Epperheimer, Michael Gross, Elliot Hammans, Alysia Johnson, Myles Lavallee, Adrienne Lipson, Florian Lochner, Ana Lopez, Andrew Murdock, David Schultz, Kevin J. Shannon, Connie Shiau Hubbard Street Dance Chicago dedicates these performances to the memory of our beloved friend and colleague Claire Bataille, who was a founding member of Hubbard Street Dance Chicago and Director of the Lou Conte Dance Studio. This performance is made possible, in part, by Patron Sponsors Susan Marinoff and Tom Schrag. Major support provided by The Bernard Osher Foundation. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. PROGRAM A Friday, January 18 at 8pm; Sunday, January 20, 3pm Jardí Tancat Choreography Nacho Duato Music María del Mar Bonet Set Design Nacho Duato Costume Design Nacho Duato Lighting Design Nicolás Fischtel Staging Africa Guzmán, Pablo Plantino, Penny Saunders One of the first dance companies in the United States to perform work by global choreographer Nacho Duato, Hubbard Street pays tribute to its two-decade relationship with the Spanish-born artist by reviving his plaintive, pastoral Jardí Tancat (1983), set to Cata lan music recorded by vocalist María del Mar Bonet i Verdaguer.