PRESENTS Limón Company Ted Shawn Theatre August 8–12, 2018

FOUNDERS José Limón & ARTISTIC DIRECTOR Colin Connor EXECUTIVE DIRECTOR Juan José Escalante LEGACY DIRECTOR Carla Maxwell DANCERS Jacqueline Bulnes Alex McBride Terrence D. M. Diable Brenna Monroe-Cook Angela Falk* Jesse Obremski* Tanner Myles Huseman* Frances Samson David Glista Savannah Spratt Logan Frances Kruger Mark Willis

*Alumni of The School at Jacob’s Pillow

This program information is from Limón Dance Company's 2018 performance. Performances included in Jacob's Pillow Virtual Festival are marked by an asterisk on the left hand side below. PROGRAM

In José Limón’s Chaconne a lone dancer (and each of us) has the power to open up the space around. José Limón filmed on the Ted Shawn Theatre stage in 1948, then live, here and now. In my work Corvidae, the natural world surrounding us speaks through an invocation of those ubiquitous crows and ravens, unpredictable, totally present and untamable. The Moor’s Pavane (Limón) is the 1949 masterwork drawn from the early tale that became Shakespeare’s Othello in 1603. Elegance, formality, and rich carry this tragedy of the concerns that are front and center in today’s world. After the intermission, Kate Weare’s Night Light is a crisp and luminous world in which our more fragmented time-twelve individuals living intensely, in and out of twisting charged relationships, in our presently shifting lines between private and public. Limón returns us to Bach with A Suite from A Choreographic Offering, created in celebration of Doris Humphrey, Limón’s teacher and mentor. Together, the full diverse company of dancers closes the evening with this joyful and kaleidoscopic tapestry of community. Enjoy the show! – Colin Connor, Artistic Director

Chaconne (1942) José Limón STAGING Gary Masters & Colin Connor

MUSIC Johann Sebastian Bach, “Chaconne from Partita #2 in D Minor for Unaccompanied Violin” LIGHTING DESIGN Steve Woods, executed by Christopher Chambers * VIDEO José Limón filmed on the Ted Shawn Theatre stage in 1948 DANCERS (IN ORDER OF Mark Willis, Savannah Spratt, Jesse Obremski APPEARANCE) The Chaconne as a dance form originated in New Spain, now Mexico, as a robust dance. Both Bach’s music and Limón’s choreography combine an austere formality with powerful emotional implications. Chaconne was first performed December 27, 1942 at the Humphrey-Weidman Studio Theater in City by José Limón.

Corvidae (2016) CHOREOGRAPHY Colin Connor MUSIC , “Violin Concerto #1, 1st movement” LIGHTING DESIGN DK Kroth, executed by Christopher Chambers COSTUME DESIGN Colin Connor & Keiko Voltaire

DANCERS August 8 & 12 at 8pm, August 11 at 2pm August 9, 10 & 11 at 8pm * Jacqueline Bulnes Jacqueline Bulnes Terrence Diable Angela Falk Angela Falk David Glista Tanner Myles Huseman Tanner Myles Huseman Alex McBride Alex McBride Frances Samson Frances Samson Considered the most intelligent of birds, Corvids, especially ravens and crows, have been seen as messengers throughout the ages. Corvidae premiered in September 2016 by the Limón Dance Company at Hope College in Michigan. The Moor’s Pavane (Variations on a theme of Othello) CHOREOGRAPHY José Limón

STAGING & DIRECTION Carla Maxwell MUSIC Henry Purcell, arrangement by Simon Sadoff LIGHTING DESIGN Steve Woods, executed by Christopher Chambers COSTUME DESIGN Pauline Lawrence * THE MOOR Mark Willis THE MOOR’S WIFE Brenna Monroe-Cook HIS FRIEND Jesse Obremski HIS FRIEND’S WIFE Logan Frances Kruger

Considered a masterpiece of the art form, The Moor’s Pavane tells the legend of the hapless Moor, his wrongfully suspected wife, and the Moor's treacherous friend and his wife. These “Variations on a theme of Othello” use of the high Renaissance, as the four characters embody a tragedy in an old world setting of elegance and formality that speaks of racism and domestic violence with a timeless relevance. The Moor’s Pavane was first performed on August 17, 1949 at the American Dance Festival at Connecticut College by the José Limón Dance Company. – INTERMISSION – Night Light CHOREOGRAPHY Kate Weare

STAGING & DIRECTION Kate Weare, Douglas Gillespie, Risa Steinberg MUSIC “A Song for Mick Kelly” from Victoire-Cathedral City, “Passacaglia for unaccompanied violin” from Heinrich Ignaz Franz Biber’s The Rosary Sonatas

LIGHTING DESIGN Clifton Taylor, executed by Christopher Chambers COSTUME DESIGN Fritz Masten DANCERS The Company – PAUSE –

Suite from a Choreographic Offering (For Doris Humphrey) CHOREOGRAPHY José Limón STAGING & DIRECTION Kurt Douglas MUSIC Johann Sebastian Bach, “A Musical Offering” LIGHTING DESIGN Christopher Chambers, after original concept DANCERS I. The Company * II. Jacqueline Bulnes, Jesse Obremski & The Company III. August 8 & 10 at 8pm, August 11 at 2pm August 9 & 11 at 8pm David Glista Tanner Myles Huseman Savannah Spratt Frances Samson

IV. August 8, 10 & 11 at 8pm August 9 at 8pm, August 11 at 2pm Brenna Monroe-Cook Logan Frances Kruger V. The Company In memory of Doris Humphrey, this work is based on variations and motifs from her dances. It was first performed by the José Limón Dance Company August 15, 1964 at the American Dance Festival. COMPANY ABOUT LIMÓN DANCE COMPANY as well as outstanding performers, José Limón Company since 2009, performing featured roles The Limón Dance Company (LDC) has been at among them. When physical disability ended in works by José Limón, Jiří Kylián, Rodrigo the vanguard of dance since its inception in her career as a dancer, Humphrey became the Pederneiras, and Kate Weare, and became the 1946, distinguishing itself as the first dance Artistic Director for José Limón and LDC, Company’s Rehearsal Director in 2017. As a group to tour internationally under the creating new works for him and teacher, Kruger has worked with students of all auspices of the State Department and the first choreographing for The Juilliard Dance Theater. ages and levels in North and South America, company to perform at Lincoln Europe, and Africa, and is currently on faculty Center in New York, as well as performing twice COLIN CONNOR (Artistic Director) was born in at the Limón Institute. Kruger also acts as a at The White House. Thematically, founder José London, England and is the fifth Artistic reconstructor of Limón’s dances and has staged Limón possessed a social awareness that Director in the Foundation’s 70-year history. works for the Limón Institute’s Professional transcended distinct groups to address how we Connor began dancing in Canada and was a Studies Program, DanceWave, and Vail all search for commonality, earning him a soloist with the Limón Dance Company for eight International Dance Festival. special place in American culture. With their years, guest performed with several other arresting visual clarity, theatricality, and companies, and toured extensively with his JAQUELINE BULNES (Dancer) is from Miami, rhythmic and musical life, his works continue to own work. Connor has always been committed trained with Edmundo Ronquillo of influence the evolution of the art form more to the idea that dancers are creative artists and Nacional de Cuba, and received a B.F.A. than 40 years after his passing. The Company that dancing is the act of drawing from a large (Honors) from New World School of the Arts. has developed a repertory of unparalleled range of influences, including musical, literary, Bulnes performed as soloist with the Martha breadth to complement the classics by its sensory, social and scientific, to bring attention Graham Dance Company and Dance Theatre of founders Humphrey and Limón. This oeuvre back to the visceral communicative power of Harlem (New York). As a choreographer, her represents 44 choreographers and 45 new the human body. Connor’s over 50 work has been shown at Torino Fringe Festival commissions/acquisitions by such luminaries as choreographic commissions span the worlds of (Italy), 'Mistero della Mente' Festival (Italy), , Doug Varone, Donald McKayle, contemporary, ballet, and companies, Cupar Arts Festival 2013/16 (Scotland), and the Murray Louis, Susanne Linke, Meredith Monk, and his works have been presented at “Cohan Collective” Residency (London), Jiří Kylián, and now Kate Weare. The José Limón numerous venues across the Americas and directed by Robert Cohan. She is movement Dance Foundation, encompassing the Company Europe. director for theatrical productions in Italy and and the educational and licensing Institute, was has re-staged 's and Jose KATE WEARE (Choreographer) creates dances awarded a 2008 National Medal of the Arts, the Limon's repertoire at Trinity Laban (London). that seek to merge the mind and the gut nation’s highest honor for artistic excellence. through the power and persuasiveness of the TERRENCE DONZELL MITCHELL DIABLE JOSÉ LIMÓN (Founder/Choreographer, moving body. Weare’s most recent premieres (Dancer) graduated from the Ailey/Fordham 1908-1972) electrified the world with his include new dances for Union Tanguera, B.F.A. program. Diable has performed works dynamic masculine dancing and dramatic Cincinnati Ballet, and Oberlin Dance Collective. choreographed by Paul Taylor, David Parsons, choreography. One of the 20th century’s most Weare has been awarded artistic residencies Martha Graham, Robert Battle, Aszure Barton, important and influential dance makers, he and commissioned for new work by the Matthew Rushing, Ohad Naharin, and Fernando spent his career pioneering a new art form and Brooklyn Academy of Music, The Joyce Theater, Melo. In 2011, Diable joined the Francesca fighting for its recognition. Born in Culiacán, Jacob’s Pillow Dance Festival, CalArts, Bates Harper Project and collaborated with the New Mexico in 1908, he moved to California in 1915, Dance Festival, and Djerassi. Weare is a 2014 Jersey Symphony Orchestra in 2012. Diable also and in 1928 came to New York where he saw Guggenheim Fellow, 2011 Mellon Foundation danced for the Steps Repertory and, most his first dance program. Limón enrolled in Doris Awardee, and 2009 Princess Grace Award- recently, has been assistant to Matthew Humphrey and Charles Weidman’s dance Winner for Choreography. Weare created Night Rushing on his commission of ODETTA for Alvin school and performed in several of their works Light for The Juilliard School’s Dance Division in Ailey American Dance Theater. from 1930 to 1940. In 1946, with Doris December 2014. Night Light has been in the ANGELA FALK (Dancer) earned her B.F.A. at The Humphrey as Artistic Director, Limón formed Limón Dance Company’s repertoire since Juilliard School under the direction of Lawrence his own company. Over the next 25 years, he September 2016. A graduate of the California Rhodes, receiving the school's highest award, established himself and his company as a major Institute of the Arts, Weare founded Kate the Joseph W. Polisi “Artist as Citizen” prize, for force of 20th century dance. Limón created a Weare Company in 2005. her work in the community. Falk has also total of 74 works, including The Moor’s Pavane, LOGAN FRANCES KRUGER (Dancer) hails from trained with The School at Jacob’s Pillow, San Concerto Grosso, and Missa Brevis. Atlanta, GA, trained with Annette Lewis and Francisco Conservatory of Dance, the Joffrey DORIS HUMPHREY (Founder/ Pamala Jones-Malavé, and received a B.F.A. Ballet, and Boston Ballet. Most recently, Falk Choreographer, 1895-1958) is recognized as a from The Juilliard School. Kruger has performed danced with Buglisi Dance Theatre under founder of American Modern Dance. Humphrey in theaters across five continents, working with Jacqulyn Buglisi’s direction. Falk grew up developed a distinctive movement approach choreographers such as Adam H. Weinert, dancing in the Bay Area at the California based on the body’s relationship to gravity and Jonah Bokaer, with the company Shen Wei Academy of Performing Arts. This is her first the use of weight. The company she formed Dance Arts, and with Damian Woetzel’s DEMO. season with the Limón Dance Company. with Charles Weidman produced great dances Kruger has been a member of the Limón Dance

Jacob’s Pillow is committed to providing an environment that cultivates the celebration of the art of dance and its positive impact on community. While in our theaters, please refrain from behavior that could disturb other patrons and performers during the performance. We ask that you: silence your cell phone; do not photograph or video record performances; keep your ticket with you at all times; observe that other than water, food and beverages are not allowed in the theaters; and please let a staff member know if you need help. Thank you for observing these House Rules so that everyone can have an enjoyable experience. We are so glad you are here. Enjoy the show! TANNER MYLES HUSEMAN (Dancer) was raised 2002-2007, Monroe-Cook was a dancer with MARK WILLIS (Dancer) was born in New York in Amherst, New Hampshire and first trained at the Limón Dance Company. In 2011, she earned City and is a graduate of Montclair State The Bedford Youth Performing Company and her M.F.A. from the University of Washington. University, where he received his B.F.A. in The Jeannette Neill Dance Studio. Huseman Monroe-Cook rejoined Limón in 2013 and now Dance and was the recipient of the Spirit of received his B.F.A. in Dance from The Boston divides her time between New York and Dance Award given by the Department of Conservatory in 2017. Huseman has also Seattle. Monroe-Cook has served on the Theatre and Dance. Willis joined the Limón trained at Springboard Danse Montréal, The faculties of Cornish College, Dance Fremont, Dance Company in the spring of 2015 and has School at Jacob's Pillow’s Contemporary PNB School, and the University of Washington. also had the pleasure of working with Douglas Program, Alonzo King LINES Ballet Summer She is certified in Pilates and the GYROKINESIS® Dunn and Dancers, ARCOS Dance, Christina Program, and The Rock School Summer method. Noel and The Creature, WHITE WAVE Dance, Program. Huseman has performed work by and JOIN Ensemble, among others. Willis has Crystal Pite, Annabelle Lopez Ochoa, Brian JESSE OBREMSKI (Dancer) trained at The Ailey taught and performed all over the U.S., South Brooks, Dwight Rhoden, Sidra Bell, Doug School, LaGuardia High School, and The Juilliard America, Europe, Africa, and Asia. His other Varone, Robert Mosses, and Tang Dao, among School. An Eagle Scout Rank recipient, "Dancer interests include choreographing, composing, others. Huseman has performed with to Watch" by Interview En L'air (2017), an singing and playing the trumpet. Commonwealth Ballet and Prometheus Dance alumnus of The School at Jacob’s Pillow, and as a guest artist and is a member of Wilder 2016 Jadin Wong Dance Awardee, Obremski DOMESTIC & INTERNATIONAL BOOKINGS Project. teaches and choreographs across America and Juan José Escalante, Executive Director Canada. Obremski has performed works by Kyle [email protected] DAVID GLISTA (Dancer) is currently based out Abraham, Robert Battle, Nacho Duato, Martha of Queens, NY, is a graduate of the Walnut Hill Graham, Ohad Naharin, Crystal Pite, and Paul PRESS REPRESENTATIVE School and The Boston Conservatory, and a Taylor, among others. Obremski also performs Audrey Ross current member of the José Limón Company with Diversity of Dance Inc., Brian Brooks 929.222.3973 and Foundation. As a dancer, actor, and Moving Company, Kate Weare Company, [email protected] educator, Glista has enjoyed the privilege of Buglisi Dance Theatre, and the Lar Lubovitch teaching and performing internationally on four Dance Company. The José Limón Dance Foundation, Inc. is supported continents, including a state department with public funds from the National Endowment for the Arts; New York State Council on the Arts with the sponsored tour to South Africa, Zambia, and FRANCES SAMSON (Dancer) is originally from Toronto, Canada. Samson is a former dancer support of Governor Andrew Cuomo and the New Madagascar in 2016 and most recently the York Legislature; and the Department 2017 Edinburgh FRINGE Festival. Prior to joining and guest artist with the Canadian of Cultural Affairs in partnership with the City Council. Limón, Glista was a member of Prometheus Theatre, performing Additional support is generously provided by the Dance, Anna Sokolow Theatre Dance Ensemble, works of José Limón, Colin Connor, Kevin Wynn, following institutions: Ambrosia Investments, LLC, and The People Movers. Glista spends his time Carol Anderson, and Ofilio Sinbadinho Portillo. Bloomberg Philanthropies; Booth Ferris Foundation; offstage working as a freelance theater Samson attended Ryerson University’s School Capezio Dance Foundation; Dubose and Dorothy electrician and is currently a resident lighting of Performance and has participated in summer Heyward Memorial Fund; Emma A. Sheaffer Charitable Trust; The Fan Fox and Leslie R. Samuel designer at Triskelion Arts in Greenpoint, studies with the Limón Dance Company, Hubbard Chicago, and Arts Foundation, Inc.; Google Ad Grants; The Harkness Brooklyn. Foundation for Dance; Henry and Lucy Moses Fund; Umbrella, as well as Kenny Pearl’s Emerging The Howard Gilman Foundation; The ALEX MCBRIDE (Dancer) is originally from Artist Intensive. Samson has appeared in such Foundation; Jody and John Arnhold; Material for the Lafayette, Louisiana where he began his early festivals as the Common Wealth Youth Dance Arts; Mesonix Investments Ltd; Mid-Atlantic Arts dance training under the direction of Brandi Festival in Glasgow, Scotland, and the José Foundation; Miriam and Arthur Diamond Charitable Holmes at The Dance Place and Mitzi & Limón International Dance Festival at the Joyce Trust; New Music USA; The O’Donnell-Green Music Shannon Heath at Lafayette Ballet Theater. Theater in New York City. and Dance Foundation; The Pierre and Tana Matisse McBride went on to receive his B.F.A. from The Foundation; Ronald McDonald House Charities – University of Arizona in Tucson. While in school, SAVANNAH SPRATT (Dancer) was born and NYTSA; Staples; U.S. Department of State; The Varnum De Rose Charitable Trust; and Withers McBride performed works by Limón, George raised in Rochester, Pennsylvania, where she began dancing at age three before attending Bergman LLP. Balanchine, and Ohad Naharin. Additionally, the Lincoln Park Performing Arts Charter School McBride has trained at the San Francisco to study dance. In the spring of 2016, Spratt Conservatory of Dance and River North Dance Cat graduated with a B.F.A. in Contemporary Dance Company in Chicago. McBride is also a member Cat from the University of North Carolina School of of Randy James' 10 Hairy Legs. Cat the Arts and joined the Limón Dance Company Cat BRENNA MONROE-COOK (Dancer) is originally later that same year following a brief Carat from Oak Park, Illinois. Monroe-Cook began her apprenticeship. Spratt has also had the honor Cat dance training at The Academy of Movement and joy of performing works by Merce Cat and Music and The Ruth Page Foundation. She Cunningham, Lucinda Childs, Doug Varone, Kate received her B.F.A. from The Juilliard School Weare, Shen Wei, Xan Burley, Anna Sperber, under director Benjamin Harkarvy. From and Helen Simoneau.

SPECIAL THANKS to these institutions for their generous support: Arnhold Foundation; The Arison Arts Foundation; The Barr Foundation; The Barrington Foundation; Blue Cross Blue Shield of Massachusetts; The Boston Foundation; Chervenak-Nunnallé Foundation; Doris Duke Charitable Foundation; FACE Foundation; The Feigenbaum Foundation; Ford Foundation; Howard Gilman Foundation; Gladys Krieble Delmas Foundation; Harkness Foundation for Dance; William Randolph Hearst Foundation; The Leir Charitable Foundations in memory of Henry J. Leir and The Leir Charitable Trusts, in memory of Henry J. and Erna D. Leir; Massachusetts Cultural Council, a state agency; MassDevelopment; The Andrew W. Mellon Foundation; Mertz Gilmore Foundation; New England Foundation for the Arts; National Endowment for the Arts; Onota Foundation; Jerome Robbins Foundation; The Shubert Foundation; The Robert and Tina Sohn Foundation; The Spingold Foundation; Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable Foundation and Surdna Foundation; The Velmans Foundation; Weissman Family Foundation; and Jacob’s Pillow Corporate Sponsors and Business Partners. As June 4, 2018.

PILLOWNOTES by Maura Keefe The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance.

When calling a photograph of José Limón to mind, it might be of him with his back arched, coiling energy to burst forth in the role of a toreador, a bullfighter. It might be his long body covered in a velvet tunic, dancing as the Moor with passionate suspicion around the woman called His Wife. In a close up, one studies the planes of his face, the broad brow, the prominent cheekbones that hearken back to his ancient lineage of indigenous Mexicans.

But no matter how rich and toned the photograph is that comes to mind, Limón in stillness does not do justice to Limón. He was a man of action, of artistry, of expression. He had no intention of being a dancer, not at first. He came to New York identifying himself a painter, with the intention of becoming immersed in a community of visual artists. Seeing a performance by the extraordinary German dancer Harald Kreutzberg changed his passion. Limón wrote years later that until that performance, he had never realized that a “man could, with dignity and a towering majesty, dance.” It was then that he decided to become a dancer. And part of his legacy is based in his response to Kreutzberg. Limón, too, brought to the stage a sense of masculinity and power and grace.

It was a stroke of luck for all involved that there were very few places or teachers in New York who would train a male modern dancer in 1928. Limón showed up, ready to learn, at the Humphrey-Weidman Studio. Doris Humphrey was to be a profound influence on Limón in his development as a dancer, as a choreographer, and as an artistic director. Humphrey was a driving force for the development of the form of modern dance—not only as choreographer, but as a spokesperson as well. In addition to the works she made for the stage that developed Limón’s raw talent, she mentored him on the art and craft of choreography. She called for a development of a style based in one’s own experience, stating in her 1932 article “What Shall We Dance About?” that “there must be implicit some attitude toward the meaning of existence,” in a dance. And further, that “no man can dance convincingly like any other man whose experience lies outside his own.”

Limón took these lessons to heart. During his choreographic career, Limón made more than ninety dances. But his reputation as a choreographer is based primarily on what dance writer Deborah Jowitt refers to as a “baker’s dozen” of works. While some of Limón’s choreographic investigations were in the realm of pure dance, some of his most enduring works explore his own experiences. His early years living in Mexico and Mexico’s colonial relationship to Spain became if not the subject of dances, then certainly imbued throughout the dancing. Perhaps his most well-known work is The Moor’s Pavane (1949). Brilliant in both its form and content, The Moor’s Pavane is a distillation of narrative and character down to their essences. Taking inspiration from Shakespeare’s Othello, Limón focused on four pivotal figures for this quartet, with Limón creating the role of the Moor. When the piece premiered, New York Times critic John Martin wrote Limón "definitely made a place for himself among the best of them." Performed brilliantly by the original cast, the piece endures, performed today not only by the Limón Company, but ballet companies as well. Former company member Gary Masters, who has staged The Moor’s Pavane for a variety of companies, noted in an interview with SFGate, that “Ballet dancers…work with a 400-year-old technique that retains that sense of the nobility of the body. In fact, that quality is built into the technique. No wonder they gravitate to the piece." He went on to explain in that it is Limón that makes it successful, stating. "The choreography is the thing. No matter where the dancers come from, a maturity of spirit and life are what count. The humanity of the dance holds up."

In 1972, at only sixty-four, Limón died. It is remarkable to consider that the company, formed in 1946, has now existed longer since his death than with him as the artistic director. Certainly, the company endures because of the timelessness of Limón’s choreography. But, more than that, it is the sense of purpose and commitment to modern dance that Limón learned from Doris Humphrey and handed on to his dancers that is the backbone and life spirit of the company. Carla Maxwell, a principal dancer in Limón’s time, was artistic director from 1978-2016. Her vision for the company, respecting its roots and imagining its growth, kept the company current. Maxwell was awarded a “Bessie,” a New York Dance & Performance Award, for “finding a creative present in the context of a revered past, and thereby offering choreographic opportunity to multiple generations of artists; for inspired leadership and artistic accomplishment.”

In 2016, choreographer and former Limón company member Colin Connor was named as the Artistic Director, the first man to hold the position since Limón. One feels a sense of legacy in reading Leona Baker’s comment from Style Weekly, “[Connor’s] work marries the best elements of classical form with the freedom and expressiveness of modern dance…The overall feeling for the observer is one of exhilaration and awakening.” That could have been written about Limón and Connor. As a choreographer, Connor has remarked that he is “fascinated by the idea of bodies falling through time.” With his leadership of the Limón Company, his statement becomes a metaphor for the of new repertory to the classic works, bodies across decades dancing together. In their 2018 Pillow season, the company dances the works of Limón, Connor, and Kate Weare. Dance writer Wendy Perron observed that Weare's work brings a sense of newness to the company. “Perhaps, under the direction of new artistic director Colin Connor, the definition of humanity in the Limón company is changing. Weare's angular moves and sharp interactions challenged the dancers to inhabit another mode of expression.”

Limón often told his dancers: “You will know me by doing my dances.” We, in the audience, discover him for ourselves and have the privilege of knowing him by seeing his works, and the ways his dances and legacy continue to inspire 21st century choreographers and dancers.

©2018 Maura Keefe & Jacob’s Pillow Dance Festival Dance writer Maura Keefe has led audience programs at various venues around the country and is the Associate Director of Theatre, Dance, and Performance Studies at the University of Maryland, College Park, where she was named the Dorothy G. Madden Professor of Dance in 2018.