MFD 2 Participant Resource Packet
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Globalrelations.Ourcuba.Com Cleveland Ballet in Havana
GlobalRelations.OurCuba.com 1-815-842-2475 Cleveland Ballet in Havana In Cuba from Thursday February 27th to Monday March 2, 2020 Day 1 – Thursday :: Arrive Cuba, Iconic Hotel, welcome dinner and evening to explore Depart to Havana via your own arranged flights. You should plan arriving Havana by mid-afternoon. It may take you some time to clear Cuban Immigration, get your bag and go through Customs. You will be met in the arrival hall, after clearing Customs, by our Cuban representative holding a ‘Cuba Explorer’ sign to take you to your hotel. They will have your name and will be monitoring your flight arrival in case there is a delay. Your first tour activity will be the welcome dinner and your guide will finalize details with you on arrival to your hotel. On departure from Cuba you will be asked to be at the airport 3 hours in advance. Havana’s International Airport arrival hall does have bathrooms. They may not have seats or tissue. This is normal in Cuba, so you may wish to bring packets of tissues. It is suggested to use the restroom on your flight before landing. On arrival at Havana’s José Martí International Airport proceed through Immigration. Your carry-on will once again be scanned. Give your ‘Health’ form to the nurses in white uniforms after you go through Immigration & screening. The important question they may ask is if you have been exposed to Ebola. Collect your bags and go through Customs giving them your blue customs form. You will be welcomed at the airport exterior lobby after you exit Cuban Customs. -
Vision / Dance Innovations
2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
American Photographer Exhibits Photos of Cuban National Ballet
American photographer Exhibits Photos of Cuban National Ballet The future stars of the Cuban National Ballet, students of the famed National Ballet School in Havana are the subjects of an exciting new exhibition by American photographer, Rebekah Bowman. Curated by Roberto Chile and Rebekah herself, the exhibition will open next Monday October 27 at Havana's José Martí Memorial in Revolution Square, as part of activities of the International Ballet Festival of Havana, running October 28 to November 7. The images in medium and large format reflect many aspects of the daily ritual of classes and rehearsals at the National Ballet School. Commenting on the photographic display, Miguel Cabrera, Historian of the National Ballet of Cuba, said: "This exhibition, which we gratefully welcome, besides constituting a valuable testimony, is a tribute to the rich heritage of the institution, showcasing the inexhaustible yeast that nurtures the future of Cuban ballet." The National Ballet School in Havana was originally founded in 1931, but grew into the prestigious institution it is now in the 1960s, after Fidel Castro came to power and declared that art and education were for the people. Talented children from all over the island could get free ballet training; the school is open to every child. Since the '60s, the Cuban ballet style has been chiefly formed by prima ballerina assoluta Alicia Alonso, now 93, and her husband Fernando Alonso. According to Bowman, along with its rigorous attention to classical form and technical precision, “the Cuban style has borrowed elements from the then-dominant European schools, influenced by aspects of Cuba’s Spanish and Afro-Cuban cultural heritage, and adapted them to the Cuban dancer’s physiology to express a Latin sensibility and aesthetic.” Many of Cuban ballet school graduates are dispersed all over the globe in prestigious companies such as the San Francisco Ballet, the Royal Ballet, and the American Ballet Theater. -
“DANCE SERIES 01” in CARMEL March 23 & 24, 2018
SMUIN PRESENTS “DANCE SERIES 01” IN CARMEL March 23 & 24, 2018 Program includes: Requiem for a Rose by Annabelle Lopez Ochoa Fly Me to the Moon by Michael Smuin Serenade for Strings by Garrett Ammon SAN FRANCISCO, CA (22 February 2018) — Smuin, after a successful run of its annual holiday extravaganza The Christmas Ballet, returns to Carmel with Dance Series 01. Continuing its 24th season, this program includes Annabelle Lopez Ochoa’s critically lauded and transcendent piece Requiem for a Rose. Ochoa is an internationally acclaimed choreographer who creates contemporary dance works and also adapts her style for classical ballet companies. At its West Coast premiere with Smuin in fall 2017, San Francisco Classical Voice described the piece as “perfection!” Also on the program is Michael Smuin’s joyful tribute to Ol’ Blue Eyes, Fly Me to the Moon, hailed as “delicious” by the San Francisco Chronicle. This blend of ballet and popular dance is the embodiment of the smooth and stylish melodies that have inspired generations, including Sinatra’s renditions of “I’ve Got You Under My Skin” and “The Lady is a Tramp.” Rounding out the bill is the return of Garrett Ammon’s bold Serenade for Strings. Set to Tchaikovsky’s score of the same name, this work is a vibrant new interpretation of a piece inexorably tied to the iconic 1934 Balanchine ballet. Upon making its West Coast premiere with Smuin in October 2014, the San Francisco Chronicle noted that “the whole cast danced it vibrantly and flawlessly.” The Dance Series 01 program debuted in San Francisco last fall, with San Francisco Classical Voice describing the program as “terrific…in tune with the demand for ballets that aren’t the same old!” Dance Series 01 will be presented March 23-24 at the Sunset Center in Carmel. -
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. -
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. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
International Dance Day 2021 Event Report
International Theatre Institute ITI World Organization for the Performing Arts International Dance Day 2021 Event Report 29 April 2021 Online Celebration Under the patronage of UNESCO United Nations Educational, Scientific and Cultural Organization www.international-dance-day.org Content Introduction 3 Welcome Address by Tobias BIANCONE, Director General of ITI 4 Speech by Alberto GARCÍA CASTAÑO, President of International Dance Committee of ITI 5 Speech by Henrik NEUBAUER, First International Dance Day Message Author (1982) 6 International Dance Day 2021 Message Author, Friedemann VOGEL 7 International Dance Day 2021 Message 8 Online Celebration Programme 9 Main Celebration 10 Dance Performance Videos from ITI Centres and Members 11 Videos from Global Dance Community Luminaries and Past IDD Message Authors 16 Special Projects 17 Presentations 18 Promotion 19 International Dance Day: Worldwide Events 24 Event Participation 25 The Outcome 26 The Organizers 27 Expression of Gratitude 28 Participation List 29 2 www.international-dance-day.org Introduction International Dance Day IDD, an artistic day created by ITI and The Online Celebration went live on Thursday 29 April 2021, the Dance Committee of ITI, is to celebrate dance and to revel at 14h00 Paris Time, on the International Dance Day website the universality of this art form. Under current circumstances, www.international-dance-day.org. The main celebration when the world is still affected by isolation and lockdown, ITI contains a 4-hour video of dance performances from ITI wishes to use dance and the occasion of IDD to bring people Centres, the ITI Dance Committee, and the World Dance together, enhance exchange and build solidarity. -
Carmen Back on Cuban Stages
Carmen back on Cuban stages Carmen, one of the emblematic pieces of the Cuban National Ballet Company’s repertoire, is back on Cuban stages, after having been absent from the Cuban scene for 15 years. Under the general direction of company director, ballet legend Alicia Alonso, the famous piece by one of the founding fathers of Cuban ballet, Alberto Alonso, was staged at the National Theater on June 20, 21, and will be on 26, 27 and 28. The performance on the 26th specially celebrates another anniversary of the establishment of the Cuban University Students Federation, FEU, the 70th anniversary of entrance of the historical leader of the Cuban Revolution, Fidel Castro, into the University of Havana, and the 10th Congress of the Young Communist League. Along with Carmen are other pieces of the company’s repertoire, including Les Sylphides, choreographed by Alonso after Mikhail Fokin and Celeste, by Annabelle López Ochoa. Alberto Alonso’s Carmen was premiered in Moscow’s Bolshoi Theater in 1967, starring Maya Plisetskaya in the leading role. The piece was danced at Havana’s Grand Theater on August 1st 1967, with Alonso as Carmen. Alicia Alonso was an exceptional interpreter of the role. On this season of Carmen, premier dancers, Anette Delgado and Viengsay Valdés, are again playing and dancing the emblematic part, while Sadaise Arencibia is doing it for the first time. A cast of very young dancers are assuming the rest of the parts: Estheysis Menéndez, Ginett Moncho, Dayesi Torriente, Dani Hernández, José Losada, Víctor Estévez, Alfredo Ibáñez, Luis Valle and Leandro Pérez are dancing Don José, Escamillo, the bullfighter, Zúñiga and Fate, all of them supported by soloists and the corps the ballet. -
Jessica Lang
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 Kelly Ryan JESSICA LANG Since 1999, AmeriCan ChoreoGrapher JessiCa Lang has Created more than 100 works on companies worldwide including American Ballet Theatre, Alvin Ailey American Dance Theater, Pacific Northwest Ballet, BirminGham Royal Ballet (2013 ManChester Theatre Award nominee), the National Ballet of Japan and Joffrey Ballet, and her eponymous company Jessica LanG DanCe, amonG many others. Lang’s additional commissions include works for the Kennedy Center with the National Symphony OrChestra, Harris Theater and the ChiCaGo ArChiteCture Biennial (in collaboration with architeCt Steven Holl), the Dallas Museum of Art, and the Guggenheim Museum for its Works and Process series. For opera, Lang made her directorial debut creating Pergolesi’s Stabat Mater at the 2013 Glimmerglass Opera Festival, whiCh was presented at LinColn Center’s White Light Festival in 2017 performed by Jessica Lang Dance. In 2016, she choreoGraphed San Francisco Opera’s production of Aida, direCted by Francesca Zambello, which was presented at WashinGton National Opera and Seattle Opera during the 2017-18 season. Lang was ArtistiC DireCtor of JessiCa LanG DanCe from 2011 to 2019. Founded in 2011, the company had tremendous success touring and performing for audiences in more than 85 cities, presented by major venues including Lincoln Center for the Performing Arts, Los Angeles Music Center, The Kennedy Center, Harris Theater, New York City Center, Northrop Auditorium, Winspear Opera House, Tel Aviv Opera House, JaCob’s Pillow Dance Festival, BAM Fisher and Helikon Opera, amonG others. LanG is the reCipient of a 2018 Martha Hill Mid-Career Award, the 2017 Arison Award and a 2014 (more) LANG – Page 2 Bessie Award.