DOCSLIB.ORG

MEREDITH RAINEY Choreographer|Educator|Artist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MEREDITH RAINEY Choreographer|Educator|Artist MEREDITH RAINEY choreographer|educator|artist BIOGRAPHY Picture this: 15-year-old, African American teenager living in Fort Lauderdale with my single mother, sister and, on occasion, my brothers. Having the fortunate experience of witnessing my girlfriend dance. She was rehearsing a solo that she would be performing to audition for a position in the Dillard School of the Performing Arts. Now, not knowing anything about dance I said to her after she finished dancing, “That was really nice.” She then asked if I had any suggestions I then said (with great hubris), “Well, you know when that high note in the music came maybe you should have kicked instead of going to the floor.” This was my first choreographic act. Soon after this episode I applied for Dillard School of the Performing Arts myself, after some persuasion from my girlfriend and my guidance counselor. I got in and took ballet, Graham technique and jazz, as well as the other mandatory courses. Every class was a new and exciting challenge. I felt a new-found energy and possibility with every new step. At the top was ballet. I was really drawn to the rigor, discipline and the dedication to constant improvement. Needless to say, the ballet stuck. I worked really hard for the next two years in high school. I also took extra classes from Brenda Gooden, a former Pittsburgh Ballet dancer who was the head of the dance program at Pine Crest, a private school in the area. After graduating from high school, I auditioned for and joined the Fort Lauderdale Ballet in their 1984/85 season. I was quickly thrown into pieces, and I had to learn quickly to catch up to the level of the other two male dancers in the company. It felt a bit like trial by fire and fortunately my innate ability to kinesthetically incorporate choreography, technique, and corrections helped me progress quickly and solidify my position in the company. It was an unpaid position, but I got free classes and worked in the office for a very small fee. The spring of 1985 I auditioned for many summer programs at professional companies and landed at the Milwaukee Ballet summer program with a full scholarship. This was an exciting time with lots of firsts - first time away from home, living alone, flying on a plane, and most importantly a time of, finding and bringing into being my identity as an artist, performer, and gay man. At the end of the Milwaukee Ballet summer program, I was asked to stay for the following year as a trainee. Then a few months later I was asked to join the company as an apprentice--making me the first African American dancer in the Milwaukee ballet. In 1987 I was asked to join the newly formed Pennsylvania- Milwaukee Ballet, a joint venture that lasted two seasons. Upon its ending in 1989 I joined the Pennsylvania Ballet where I remained for the bulk of my performing career. I was promoted to soloist in 1999 and retired from the company in 2006. I continued to dance for two more years with Ballet X before truly leaving the stage in 2008. During those 17 years with Pennsylvania Ballet I was privileged also to perform with Dance Theatre of Harlem in the summer of 1997 as a demi-soloist, and with Complexions Contemporary Ballet as a guest artist from 2001 to 2002. My proudest moment performing as a guest artist was in “The River” by Alvin Ailey with the Alvin Ailey Dance Theater in a gala performance in Honor of Masazumi Chaya. Having seen the Ailey company for years and knowing the pride, honor, and prestige they bring to the African American experience in the United States and around the world, I felt truly blessed to have performed just once on the same stage with this company. I have had the pleasure of performing works by choreographers George Balanchine, Alvin Ailey, Mary Anthony, Paul Taylor, Lar Lubovitch, José Limón, John Butler, John Cranko, and William Forsythe. I have also originated roles with and for Jean Grand-Maître, Robert Weiss, Jorma Elo, David Parsons, Trey McIntyre, Kevin O’Day, Adam Hougland and Matthew Neenan. These choreographers and their work have influenced me as a performer, creator and educator. I was fully invested in the process of creating and sometimes re-creating works and also encouraged to be an engaged and a thoughtful movement collaborator. The evolution into choreography seemed a natural transition and it afforded me opportunities to continue in the field of dance. Upon retiring from the Pennsylvania Ballet in 2006, I realized the I needed to find my voice outside of the classical ballet world in which I had spent all of my career. To that end I spent two years as part of the Susan Hess Modern Dance Studio’s, “Choreographer’s Project”. Here, we took part in workshops, peer-to-peer critique and collaboration, open studio showings and Website: Meredithrainey.com | E-mail: [email protected] | Facebook: @MeredithRaineyDance Instagram: meredith_rainey_dance | Vimeo: meredithrainey MEREDITH RAINEY choreographer|educator|artist choreographic discussions/conversations with leaders in the field, such as Simon Dove. I was also paired with personal mentor Ralph Lemon for guidance. With some new skills and strategies learned, I hung out my shingle as a choreographer and to varying degrees I have been successful. I have created commissioned works for Ballet X, Brandywine Ballet, Delaware Ballet, Hubbard Street 2, Incoln Ballet (Ballet Clássico Nacional de Colombia), Pennsylvania Ballet and Phrenic New Ballet. I have made and continue to make works for higher learning institutions such as American University, Bryn Mawr College, Drexel University, Goucher College, Peabody Institute of the Johns Hopkins University, Swarthmore College, Temple University, and The University of the Arts. My work has been performed throughout North and South America and Europe, as a part of the Miami International Ballet Festival, the International Ballet Festival of Ecuador, the First and Second International Ballet Festival of Calí, (Colombia) and as a part of Incoln Ballet’s tour to Madrid, Spain. Having worked for many different companies and institutions and seeing how some of these organizations ran. I started to wonder how I might do it differently and what it might be like to run my own organization. Running a company was an idea that was always in the back of my mind. It became a serious possibility during the “New Edge” Residency that I was awarded in 2008 by the Community Education Center of Philadelphia (a wonderful time to start a company just before the great recession). During this residency I realized just how much I enjoyed bringing people together to work on a common goal. So, at the end of that collaborative process I started Carbon Dance Theatre. In a short amount of time Carbon Dance Theatre had taken flight, garnering critical acclaim in P. The company was presented in New York, NY; Baltimore, MD; and Pittsburgh, PA and was a resident company at Drexel University. For the next five years from 2009 -2013 everything I did was in service to the company. I learned quite a bit about myself and building an organization from the ground up. Welcome lessons in planning, listening, compromise, resilience, humility, and purpose helped me vision and shape an organization I was very proud of. These lessons were at times clear, easy, and affective while at other times disappointing, hard-fought and discouraging. As you may imagine this became increasingly depleting and I found myself longing a change. After some deep soul searching and lots of discussions with colleagues and loved ones, I decided to shutter Carbon Dance Theatre in 2014. I realized I desired more time to concentrate on artistic projects and teaching in higher education and less on managing Carbon Dance Theatre. Since then I have taught and created work for American University, Bryn Mawr College, Gaucher College, Muhlenberg College and Swarthmore College. I have also lead master classes in Chicago for Hubbard Street 2, in Washington D.C. for American University, and in Baltimore for Gaucher College. I am currently an adjunct professor at Drexel University and Master Lecturer at University of the Arts and truly grateful for the students and colleagues that I encounter and work with every day at these institutions. I feel real gratitude to still be in the field and discipline that I love. There have been lots of challenges, but I have had my fair share of awards and honors. In the past I have been awarded grants and fellowships from the PA Council on the Arts Fellowship Grant for Choreography in 1995 & 2002, the Mid Atlantic Arts Foundation Artist as Catalyst Grant in 2001, the Independence Foundation Fellowship in the Arts in 2002, a Pew Fellowship in the Arts Finalist in 2003, a Dance Advance Grantee in 2010, and The Joyce Theater Foundation’s The A.W.A.R.D. Show! Philadelphia 2011 winner. When I look back on where I started as a young kid in this field, we call DANCE. I didn’t know anything, I trusted that it was where I was supposed to be. I left home, found myself, traveled to foreign countries, danced for major companies, performed with amazing artists, started and closed my own company, created works that I am truly proud of, made great friends, married an amazing man, and taught some incredible students. Through DANCE I achieved things I didn’t imagine possible in 1985, that movement is a constant in my life and gives me life. Website: Meredithrainey.com | E-mail: [email protected] | Facebook: @MeredithRaineyDance Instagram: meredith_rainey_dance | Vimeo: meredithrainey MEREDITH RAINEY choreographer|educator|artist EDUCATION 2018 – 2019 University of the Arts, Philadelphia, PA (Master of Fine Arts – Dance) 1985 – 1986 Milwaukee Ballet School, Milwaukee, WI 1984 – 1985 Magda G.
Load more

Recommended publications
  • Class Descriptions
    The Academy of Dance Arts 1524 Centre Circle Downers Grove, Illinois 60515 (630) 495-4940 Email: [email protected] Web Site: www.theacademyofdanceartshome.com DESCRIPTION OF CLASSES All Class Days and Times can be found on the Academy Class Schedule ______________________________________________________________________________________________________________________________________________________________________________________________________________________________ BALLET PROGRAM AND TECHNIQUE CLASSES Ballet is the oldest formal and structured form of dance given the reverence of being the foundation of ALL The Dance Arts. Dancers build proper technical skills, core strength and aplomb, correct posture and usage of arms, head and foremost understand the basics in technique. Students studying Ballet progress in technique for body alignment, pirouettes, jumps, co-ordination skills, and core strength. Weekly classes are held at each level with recommendations for proper advancement and development of skills for each level. Pre-Ballet Beginning at age 5 to 6 years. Students begin the rudiments of basic Ballet Barre work. Focus is on the positions of the feet, basic Port de bras (carriage of the arms), body alignment, and simple basic steps to develop coordination skills and musicality. All this is accomplished in a fun and nurturing environment. Level A Beginning at age 6 to 8 years. Slowly the demanding and regimented nature of true classical Ballet is introduced at this level with ballet barre exercises and age/skill level appropriate center work per Academy Syllabus. When Students are ready to advance to the next level, another Level-A Ballet or B-Ballet class will be recommended per instructor. Level B Two weekly classes are required as the technical skills increase and further steps at the Barre and Center Work and introduced.
    [Show full text]
  • Sufjan Stevens Yarn/Wire
    BAM 2015 Winter/Spring Season #Sufjan Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer Round-Up Sufjan Stevens Yarn/Wire BAM Harvey Theater Jan 20—25 at 7:30pm Running time: one hour and 15 minutes, no intermission Season Sponsor: Viacom is the BAM 2015 Music Sponsor The Steinberg Screen at the BAM Harvey Theater is made possible by The Joseph S. and Diane H. Steinberg Charitable Trust Major support for Round-Up provided by The Frederick Loewe Foundation Major support for music at BAM provided by: Frances Bermanzohn & Alan Roseman Pablo J. Salame Round-Up FILM Director, Composer Sufjan Stevens Cinematographer Aaron Craig Cinematographer Alex Craig Co-Producer Lisa Moran Co-Producer We Are Films COMPANY Sound Mix Dan Bora Lighting Seth Reiser Stage Manager Mary-Sue Gregson Production Management Lisa Moran Live Projection & Design Josh Higgason Round-Up was filmed at the Pendleton Round-Up in eastern Oregon, September, 2013. Additional footage was shot in Brooklyn and upstate New York, July 2014. Courtesy We Are Films Courtesy We Are Films Who’s Who SUFJAN STEVENS was born in Detroit and WE ARE FILMS raised in northern Michigan. He attended Hope Alex and Aaron Craig discovered their passion for College in Holland, MI, and the masters program filmmaking in their early teens. With camcord- for writers at the New School for Social Research ers in hand, willing neighbors as actors, and the in New York City.
    [Show full text]
  • Strive Level 1-3 Ballet Audition Study Guide
    Strive Level 1-3 Ballet Audition Study Guide General Questions Level 1-3 1. Name and explain the basic 5 focuses, in the correct order for every level. Posture, Placement, Positions, Preparations, and Transitions. 2. In what ways is ballet class “progressive” (i.e. building on itself)? • We begin working in small positions and gradually make them bigger. • We balance on two legs before we balance on one. • We start with the leg low and then as we warm up, we begin to lift higher. • While transitioning, we move through the five levels in order (don’t skip). • In the lower levels, we work slowly and increase speed as we get stronger in our technique. • In the beginning of the barre, we work slowly and gradually increase our speed. • In the lower levels, we work facing the barre and at the higher levels we work with one hand on the barre. As we progress we add the arms (Port de bra), and head and shoulders (Eppaulment) to the movement of the legs. 3. What are the basic ways of moving in ballet? Rise, Fall, Turn, Jump, Turning while jumping, Gliding, Floor Work. 4. What are the five “progressive” levels we travel through? Plie, Straight legs, Demi-pointe, Full pointe, and Release or Jump 5. What five ways do we learn (Hint: Use your five senses)? Watching, Listening, Feeling, Smelling, and Tasting. 6. How do these ways of learning constitute a 100% effort? Watching = 25%, Listening = 25%, Doing = 25%, and our energy = 25% 7. Name, in order, the seven points of isolation to think about when working on posture.
    [Show full text]
  • J. Tillman Release Date: 09/22/2009 CD UPC Year in the Kingdom 6 56605 46022 2
    a WESTERN VINYL release WV068 || Format: CD J. Tillman Release Date: 09/22/2009 CD UPC Year In The Kingdom 6 56605 46022 2 WESTERN VINYL WWW.WESTERNVINYL.COM [email protected] SELLING POINTS - Josh will embark on his first US tour in years in November. In September he’ll tour the EU - Josh has released several critically acclaimed records and has toured in Europe and throughout 1. Year In The kingdom the US. 2. Crosswinds 3. Earthly Bodies - Features artwork by acclaimed designer and 4. Howling Light illustrator Mario Hugo 5. Though I Have Wronged You 6. Age Of Man PRESS QUOTES 7. There Is No Good In me “This is no mere side-project. His first proper UK release is a treat, at times conjuring the beautiful, stark bleakness of Nick Drake, 8. Marked In The Valley elsewhere not afraid to crank things up, as on the distortion heavy 9. Light Of The Living ‘New Imperial Grand Blues’. Best of all is the upliftingly redemptive ‘Above All Men’.” – Q Magazine “An existentialist’s songs cycle, Vacilando…’s lonely songs reinforce each other with an impeccable internal logic, fashioning its own little world-weary universe, wherein less is more, simple guitar strums signal seismic shifts in mood, shadows bump into one Year In The Kingdom unravels some kind of galactic wilderness. Tillman's 6th another. Like Neil Young’s On the Beach or Jason Molina’s Songs:Ohia incarnation, it’s best heard late at night, alone, lights album lyrically borders on mystic; proffering a transcendent union, an down low, one last glass of wine in the wings.” – Uncut effortlessness.
    [Show full text]
  • Basic Principles of Classical Ballet: Russian Ballet Technique Free Download
    BASIC PRINCIPLES OF CLASSICAL BALLET: RUSSIAN BALLET TECHNIQUE FREE DOWNLOAD Agrippina Vaganova,A. Chujoy | 175 pages | 01 Jun 1969 | Dover Publications Inc. | 9780486220369 | English | New York, United States Classical Ballet Technique Vaganova was a student at the Imperial Ballet School in Saint Petersburggraduating in Basic Principles of Classical Ballet: Russian Ballet Technique dance professionally with the school's parent company, the Imperial Russian Ballet. Vaganova —not only a great dancer but also the teacher of Galina Ulanova and many others and an unsurpassed theoretician. Balanchine Method dancers must be extremely fit and flexible. Archived from the original on The stem of aplomb is the spine. Refresh and try again. A must Basic Principles of Classical Ballet: Russian Ballet Technique for any classically trained dancer. Enlarge cover. Can I view this online? See Article History. Jocelyn Mcgregor rated it liked it May 28, No trivia or quizzes yet. Black London. The most identifiable aspect of the RAD method is the attention to detail when learning the basic steps, and the progression in difficulty is often very slow. En face is the natural direction for the 1st and 2nd positions and generally they remain so. Trivia About Basic Principles This the book that really put the Vaganova method of ballet training on the map-a brave adventure, and a truly important book. Helps a lot during my russian classes. Through the 30 years she spent teaching ballet and pedagogy, Vaganova developed a precise dance technique and system of instruction. Rather than emphasizing perfect technique, ballet dancers of the French School focus instead on fluidity and elegance.
    [Show full text]
  • Dossier De Presse
    DOSSIER DE PRESSE ÉDITO Depuis 1974, le Sporting Monte-Carlo accueille les Il y a des artistes incontournables qui sont liés à notre plus grandes stars, c’est sa marque de fabrique. Ses histoire musicale. C’est pourquoi nous nous devions soirées exceptionnelles autour d’un dîner-spectacle de recevoir JOHNNY HALLYDAY pour deux concerts. ont marqué des générations. Chaque année, il nous Cette année, nous créerons un nouveau spectacle : faut maintenir cette tradition, mais aussi la JAKE AND ELWOOD – THE BLUES BROTHERS STORY. renouveler, la faire évoluer pour rester dans l’air du C’est un bel hommage à la musique afro-américaine temps et regarder l’avenir. que nous rendrons à travers ce show spécialement imaginé pour cette saison d’été. Pour cette édition 2015, nous avons voulu présenter un plateau artistique qui nous amènera vers d’autres Programmer le Monte-Carlo Sporting Summer Festival sons, d’autres styles, d’autres tendances de la dans ce lieu mythique qu’est la Salle des Étoiles est un musique et de la performance. Une large place sera travail de longue haleine, et le travail de toute une ainsi faite aux concerts debout, qui nous permettent équipe, celle de la Direction Artistique du groupe d’accueillir un nouveau public, et de rajeunir l’image Monte-Carlo Société des Bains de Mer. Nous sommes du Festival. très fiers de pouvoir vous présenter le plus beau des festivals d’été et participer ainsi à l’animation estivale Un concert exceptionnel de TONY BENNETT & de cette belle Principauté de Monaco. LADY GAGA ouvrira cette saison le 4 juillet, une rencontre entre deux grandes voix du jazz et de la pop, un duo que nous ne pouvions imaginer tant il semble à l’opposé, et qui se retrouve sur un répertoire intemporel, symbole de l’histoire du Sporting Monte-Carlo.
    [Show full text]
  • Asthmatic Kitty Records ! ! Sufjan Stevens Enjoy Your Rabbit
    Asthmatic Kitty Records ! ! Sufjan Stevens Enjoy Your Rabbit Catalog / AKR003 Release Date / June 10, 2014 Genre / Alternative DESCRIPTION / Originally released in 2001 before Michigan and Illinois, Sufjan Steven’s Enjoy Your Rabbit foretells his 2010 electronic Age of Adz. Though overlooked by many, there are fans who regard Enjoy Your Rabbit as Sufjan’s greatest work. Departing from the singer-songwriter format of his debut Asthmatic Kitty Records album, A Sun Came, Rabbit is a collection of fourteen colorful instrumental compositions combining Sufjan’s noted gift for melody ! with electronic sounds to create an unusually playful and human- not to mention humane- electronic experience. Great for dancing, driving, writing, cooking, LP BOX LOT / 25 painting, running, walking, and of course, eating LP PACKAGING / Wide single jacket Chinese food, Rabbit features nearly eighty minutes of LP UPC / 656605919614 music that will truly soothe the savage breast, whatever LP RETURNABLE / No that means. GENRE / Alternative QUOTES / FORMAT / 2xLP “This may just be Sufjan Stevens' Magnus Opus. Forget Michigan, Seven Swans, Illinois . Enjoy Your RETURNABLE / No Rabbit is a masterclass in doing everything that logic tells music not to do.” – Sputnik Music EXPORT RESTRICTIONS / None “Sufjan Stevens proves himself adept of both long and TRACK LISTING / short forms; downtempo and high BPM; glitches, Disc 1 / Side A scratches and ambient drones; blips, bleeps and 1. Year of the Asthmatic Cat 0:24 bloops.” – Pitchfork 2. Year of the Monkey 4:20 3. Year of the Rat 8:22 4. Year of the Ox 4:01 “The underlying guiding principle is wide-eyed 5.
    [Show full text]
  • Winter Performances Delivered an Exciting and Varied Program
    Spring 2014 Winter Performances Delivered an Exciting and Varied Program Those who attended HARID’s Winter Performances last December 14 and 15 were treated to a varied program that included classical ballet, character dance, and modern dance. Classical Divertissements showcased Alex Srb © Alex the students’ classical ballet technique in a series of variations from The Fairy Doll, Don Quixote, and Paquita. Faculty member Svetlana Osiyeva choreographed the opening adagio and finale, which seamlessly tied the various solo dances together with beautiful ensemble work. Srb Alex © Classical Divertissements HARID’s premiere of Krakowiak, a Polish character dance from the opera ‘A Life For the Tsar’, was immaculately staged by Bertha Valentin. Seven couples paraded and danced elegantly in striking, burgundy costumes on loan from Canada’s Royal Winnipeg Ballet. Modern-dance teacher Danielle Armstrong created another engaging new work for the performances. Alex Srb © Alex Silver Lining, set to Bach’s ‘Goldberg Variations’ featured several of HARID’s advanced students, along with an ensemble of younger dancers. Their movements created a mood of simple pleasure and happiness, which was enhanced by Paul Safran’s stage lighting. HARID’s holiday tradition, Divertissements from The Nutracker, Act II, once again served as the program finale. Impressive new choreography by faculty member Donald Tolj added much excitement to Arabian Coffee, Chinese Tea, and the Russian Trepak. Waltz of the Flowers was— as always—beautifully staged by Victoria Schneider, and Svetlana Osiyeva’s staging Alex Srb © Alex of the Grand Pas de Deux demonstrated the elegance and purity that is unique to IN THIS ISSUE classical ballet.
    [Show full text]
  • Ballet West Student In-Theater Presentations
    Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected].
    [Show full text]
  • Nostalgia in Indie Folk by Claire Coleman
    WESTERN SYDNEY UNIVE RSITY Humanities and Communication Arts “Hold on, hold on to your old ways”: Nostalgia in Indie Folk by Claire Coleman For acceptance into the degree of Doctor of Philosophy December 20, 2017 Student number 17630782 “Hold on, hold on to your old ways” – Sufjan Stevens, “He Woke Me Up Again,” Seven Swans Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................................................. Claire Coleman Acknowledgements This thesis could not have been completed without the invaluable assistance of numerous colleagues, friends and family. The love, respect and practical support of these people, too many to name, buoyed me through the arduous privilege that is doctoral research. With special thanks to: The Supers – Dr Kate Fagan, Mr John Encarnacao and Associate Prof. Diana Blom My beloved – Mike Ford My family – Nola Coleman, Gemma Devenish, Neale Devenish, and the Fords. The proof-readers – Alex Witt, Anna Dunnill, Pina Ford, Connor Weightman and Nina Levy. My choir families – Menagerie, Berlin Pop Ensemble and Dienstag Choir Administrative staff at Western Sydney University Dr Peter Elliott Ali Kirby, Kate Ballard, Carol Shepherd, Kathryn Smith, Judith Schroiff, Lujan Cordaro, Kate Ford and the many cafes in Perth, Sydney and Berlin
    [Show full text]
  • Intermediate Ballet Technique UF Fall 16
    INTERMEDIATE BALLET TECHNIQUE (MAJORS) 2 CREDITS FALL 2016 Tuesday/Thursday 8:45 – 10:15 G-6, McGuire Pavilion (we will rotate spaces all semester) INSTRUCTOR OF RECORD: Assistant ProFessor Elizabeth Johnson [email protected] *Email Policy: Use ONLY your UFL.EDU email account For e-mail correspondence related to class. Please include your name & class in the subject line or within the body of all correspondence. Syllabi are posted at CFA website under: Student & Parents: http://arts.ufl.edu/syllabi/ Lab Fees can be located at: http://registrar.ufl.edu/soc/201608/all/theadanc.htm Office: Room 234, Nadine McGuire Theatre & Dance Pavilion Office Hours: Mondays and Wednesdays: 1-3 PM, Fridays by appointment Office Phone: 352-273-0522 RECOMMENDED READING: Inside Ballet Technique: Separating Anatomical Fact From Fiction in the Ballet Class By Valerie Grieg COURSE DESCRIPTION: DAA 3208 Credits: 2; can be repeated with change in content up to 6 credits. Prereq: audition. Intermediate ballet technique with discussion oF terminology and theory. STUDENT PROGRESSION IN BALLET DANCE TECHNIQUE: This inFormation addresses the standards utilized by the dance area For assessing student progression through three levels oF ballet: Basic, Intermediate, Advanced. The program’s approach to ballet is in context to the UF BFA degree program, relying on traditional training standards along with the awareness oF the stylistic and technical diversity oF the UF dance program. Using the objectives stated in this syllabus, the dance program assesses student progress through three levels of ballet dance technique: basic, intermediate, and advanced. You are graded and considered For the next level according to your achievement oF the criteria as determined by your instructor.
    [Show full text]
  • Guide to Dance 2018-2019 Study Guide
    GUIDE TO DANCE 2018-2019 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 ©2018 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 ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
    [Show full text]