Guest Artists and Audition Information

Spring 2015

Diane Coburn Bruning is an award-winning choreographer who has worked with dance, theater, and opera companies throughout the United States and abroad.  She has received a Guggenheim Fellowship, a two-year fellowship from the National Endowment for the Arts, two fellowships from the New York Foundation for the Arts, a McKnight National Fellowship, and most recently a 2014 Choreography Fellowship from the Virginia Commission on the Arts in addition to receiving support from Meet the Composer, the Harkness Foundation, New York State Council for the Arts, the David Howard Foundation, and The Carlisle Project.  She is the artistic director of Chamber Dance Project, which she founded in New York in 2000 as a project-based contemporary ballet company of dancers and musicians.  In 2013 the company relocated to Washington, D.C., where it presented an acclaimed first season at the Kennedy Center.

Audition is December 2, 5:30-7:30PM in Studio I.  Dancers must be available for two intensive rehearsal periods: January 14-18, 2015 and March 20-22.  Weekly rehearsals are scheduled for Fridays, 2:30-5PM


Originally from Anchorage, Alaska, John Heginbotham graduated from The Juilliard School in 1993 and was a member of the Mark Morris Dance Group from 1998-2012.  In 2011 he founded Dance Heginbotham, a Brooklyn-based performance group devoted to the presentation of his dance and theatrical work.  John has provided choreography for a variety of independent projects, including several operas and Isaac Mizrahi’s Peter and the Wolf  for the Guggenheim Works and Process Series, among others.  In July 2014, the Atlanta Ballet premiered his first ballet, Angel’s Share.  John is the recipient of the 2014 Jacob’s Pillow Dance Award.

Audition: Wednesday, January 21, 7:30-9PM







 

Marjorie Folkman, who is staging Gloria, is a graduate of Barnard College (‘91), where she majored in dance.  She was a member of the Mark Morris Dance Company from 1996-2007 and has taught Morris’ repertory at Phillips Academy/Andover, George Mason University, University of Massachusetts at Amherst, and currently at Barnard College, where she is now a Visiting Associate Professor of Professional Practice.  She is a fourth-year graduate student at Bard Graduate Center in New York, where she is exploring the intersection of visual, physical, and material culture with performance.

Mark Morris, one of America’s leading dancemakers, formed the Mark Morris Dance Group in 1980 and has since created close to 150 works for the company.  From 1988 to 1991 he was Director of Dance at the Théâtre de la Monnaie in Brussels, and in 1990 he founded the White Oak Dance Project with Mikhail Baryshnikov.  Much in demand as a ballet choreographer Morris has created eighteen ballets since 1986, and his work is in the repertory of companies worldwide.  He has also worked extensively in opera, directing and choreographing productions for the Metropolitan Opera, English National Opera, and other companies.  Noted for his musicality, he began conducting performances for his company in 2006 and recently served as Music Director for the Ojai Music Festival.  The recipient of numerous awards, fellowships, and honorary doctorates, he has taught at Princeton University and at the Tanglewood Music Center.  He is the subject of a biography, Mark Morris, by Joan Acocella.

Audition: Tuesday, January 20, 6:00-8:00PM

 

Jodi Melnick is a 2014 Doris Duke Impact Award recipient, a 2012 Guggenheim Fellow, a Jerome Robbins New Essential Works grantee (2010-11), a Foundation for Contemporary Arts 2011 Grants to Artists Award, and has received two Bessies.  Her choreography has been presented both nationally and internationally, most recently in New York at the BAM Fisher Theater. Melnick has collaborated with Trisha Brown and continues to work with the choreographers  Sara Rudner, Vicky Shick, Jon Kinzel, Susan Rethorst, and John Jasperse. She danced with Twyla Tharp Dance from 1991-94 and again in 2009, and with Mikhail Baryshnikov in Donna Uchizono’s Leap To Tall in 2006. Melnick teaches technique and composition at Barnard College, New York University (Experimental Theater Wing), Sarah Lawrence College, and the Trevor Day School.


Audition: Wednesday, January 21, 6:00-7:30PM

 

Fall 2014

Barnard/Columbia Dances at New York Live Arts
Now in its tenth season, Barnard/Columbia Dances at New York Live Arts (formerly the Barnard Project) will feature four new works by four women choreographers and the students of Barnard College and Columbia University.

Technical Rehearsals: Monday, November 17 and Tuesday, November 18 (times tba)

Dress Rehearsal: Wednesday, November 19 (time tba)

Performance Dates: Thursday, November 20 and Friday, November 21 at 7:30PM and Saturday, April 26 at 2PM and 7:30PM


Patricia Hoffbauer is a Brazilian-born choreographer, director, performer and educator. Besides creating her own work, she has developed a 10-year artistic collaboration with writer/performer George Emilio Sanchez with whom she has toured throughout the United States and Latin America. In 2002-03 Ms. Hoffbauer and Mr. Sanchez were the Viola Farber Artists-in-Residence at Sarah Lawrence College. At the end of that residency they presented Hoc Est Corpus/This Is A Body at Symphony Space in April 2003. Her last collaboration with Mr. Sanchez, Milagro, premiered at the Dance Theater Workshop in April 2004. Their collaborations and her individual work have been supported by the NEA, NYFA, NYSCA & The Rockefeller Foundation MAP Fund. Hoffbauer has taught at Wesleyan University, Virginia Commonwealth University, Miami Dade Community College, Sarah Lawrence College, Pratt Institute, Marymount Manhattan College and Yale University. She is currently on the faculty of Hunter College’s Dance Program and has a one-year appointment at Princeton University. Hoffbauer has been working with Yvonne Rainer and Raindears since 2002 when she first performed Three Seascapes at Jacob's Pillow.

Audition information: Wednesday, September 3, 7:30-9p, Studio I
Course/Rehearsal Schedule: Rehearsal & Performance (3 pts.)
 Monday and Wednesday 6-8:30PM






Sam Kim uses the dance form to inquire into the very nature of what dance is.  Her dances often focus on the margins of culture and behavior, valuing the edges, while courting the danger inherent in rejecting dance’s heavy legacies.  At heart, Kim considers herself an outsider working in an outsider’s form—her choreographic practice is a means of deeply engaging in a personal game of brinkmanship.

Since 2002, Kim has created several, long, commissioned works presented as seasons in NYC:  Darling (Performance Space 122, 2009), dumb dumb bunny (The Kitchen, 2007), Cult (Dance Theater Workshop, 2007), AVATAR (Mulberry St Theater, 2006), Nobody Understands Me (Dance Theater Workshop, 2004), Placid Baby (Performance Space 122, 2003) and Valentine (Danspace Project at St. Mark’s Church, 2002). Kim has also created several shorter works since 1997.  Kim’s work has also been presented nationally by other progressive venues such as Highways Performance Space (LA), Studio 303 (Montréal), the Unknown Theater (LA) and Bryant Lake Bowl Theater (Minneapolis). 

Kim's work has been supported by grants from organizations such as the Lucky Star Foundation, the MAP Fund and the Bossak/Heilbron Charitable Foundation. Kim was a Spring 2010 Dance Theater Workshop Outer/Space Creative Resident, a 2007-09 Brooklyn Arts Exchange Dance Artist-in-Residence and a 2004-05 Movement Research Artist-in-Residence.  Kim has been awarded residencies at New York Live Arts Studio Series (2013-14), Movement Research (2013-14), Baryshnikov Arts Center (Fall, 2013) Djerassi Resident Artists Program (2013) Baryshnikov Arts Center (Spring, 2013) and The MacDowell Colony (2012) to develop Sister to a Fiend, her latest evening-length work.Kim has been deeply engaged with and responsive to the NYC downtown dance community through various leadership roles.  She served on the Artist Committee of the Board at Dance Theater Workshop (2006-2010).  She was also a member of the Artist Advisory Committee at Performance Space 122 (1999-2003).  In addition, Kim is a certified hatha yoga instructor and founder/moderator of Real Feedback, a workshop devoted to looking at choreography through a contemporary, critical lens.  She has taught classes and workshops in Los Angeles, Minneapolis and NYC.

In 1991, Kim moved to NYC to attend Barnard College, Columbia University where she earned a B.A. in English in 1995.  Kim began making dances at 19.  She has been committed to the dance form ever since and now lives and works in Brooklyn as a choreographer and performer.

Audition information: Thursday, September 4, 6:00-8:00p, Studio I
Course/Rehearsal Schedule: Rehearsal & Performance Tuesday and Thursday 6-8:30PM

 


Pam Tanowitz has been making dances since 1992 She founded Pam Tanowitz Dance in 2000, and has received commissions and residencies at  New York Live Arts, The Joyce Theater, The Kitchen, Dance Theater Workshop, Danspace Project, The Guggenheim Museum’s Works & Process program, Baryshnikov Arts Center. 

Tanowitz received a 2009 Bessie Award for the dance, Be in the Gray With Me, at Dance Theater Workshop. She was awarded a prestigious Guggenheim Fellowship in 2011. She is a 2013-14 Hodder Fellow at Princeton University. Additional awards include Jerome Robbins Foundation, NYFA BUILD, Joyce Theater Residency, and Foundation for Contemporary Arts, Grants to Artists Award. Tanowitz holds a BFA in Dance from the Ohio State University and an MFA in Dance from Sarah Lawrence College, where she was mentored by former Merce Cunningham principal dancer Viola Farber-Slayton.

Tanowitz has collaborated with several illustrious dancers, including New York City Ballet Dancers and American Ballet Theater Dancers. Tanowitz has set her work on The Julliard School. Purchase Dance Corp, Marymount Manhattan College, Oregon Ballet Theater  and The Ohio State University. She was on faculty for American Ballet Theater, ABT/Bermuda and taught at Hunter College, American Dance Festival, Sarah Lawrence College and Greenwich Academy.

Read a recent review in the New York Times about Pam Tanowitz performances at the Joyce Theater:
Company website: http://pamtanowitzdance.org

Audition information: Wednesday, September 3, 6:00-7:30p, 305 Barnard Hall
Course/Rehearsal Schedule: Rehearsal & Performance (3 pts.)
Monday and Wednesday 6-8:30PM


Colleen Thomas is a New York based choreographer and performing artist.  She began her professional career with the Miami Ballet and went on to work with renowned contemporary choreographers such as Nina Wiener Dance Company, Donald Byrd/The Group, Bebe Miller Dance Company, Bill T. Jones/Arnie Zane Dance Company, and The Kevin Wynn Collection among others. She is the artistic director for ColleenThomasDance. In 1997 a creative collaboration with Bill Young evolved into an intimate company, Bill Young/ Colleen Thomas and Co., focused on rigorous physicality and dynamic partnering. Her work has been seen throughout the U.S, Europe, Asia, and South America.

Thomas is the co- director and a curator of the LIT series at 100 Grand. LIT supports the presentation of innovative work in an up-close and personal setting.  The series showcases works by emerging artists who are bringing fresh ideas to the form, as well as established artists who are experimenting with new directions. 

Thomas is currently an Associate Professor of Professional Practice at Barnard College of Columbia University.
Audition information: Tuesday, September 2, 6:00-8:00p, 305 Barnard Hall
Course/Rehearsal Schedule: Rehearsal & Performance (3 pts.)
Tuesday and Thursday 6-8:30PM

 

Spring 2014

Barnard-Columbia Dances at Miller
Technical Rehearsals: Tuesday, April 22 and Wednesday, April 23 (times tba)
Dress Rehearsal: Thursday, April 24 (times tba)
Performance Dates: Friday, April 25 at 7PM and Saturday, April 26 at 2PM and 7PM

 

Twyla Tharp’s Treefrog in Stonehenge (2013) New York Premiere

The Barnard Department of Dance is exceptionally proud to perform the New York premiere of a new Tharp work. See video about the work.

Since graduating from Barnard College in 1963, Ms. Tharp has choreographed more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length  ballets, four Broadway shows and two figure skating routines. She received one Tony Award, two Emmy Awards, nineteen honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor. Her many grants include the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences and an Honorary Member of the American Academy of Arts and Letters.

For more about Twyla Tharp, see here.

Audition information: Tuesday, January 21 (first day of Spring 2014 semester) at 4:10PM in Studio 305.

Dancers cast in this work are required to enroll in the following two courses:
Rehearsal & Performance (DNCE 3605, Section 2: 3 pts.)
Tuesday and Thursday 5:40-7:40PM and Fri. 3-5PM

Modern VI: Twyla Tharp Technique (DNCE 3336, Section 2: 1 pt.)
Tuesday and Thursday 4:10-5:25PM
Class taught by Rika Okamoto & Alex Brady
*Technique class is open to all advanced dancers (pending Instructor's permission at first class session).
 


Lamentation Variations with the Martha Graham Dance Company

“Perhaps no dance up to 1930 – certainly none that survives today – so thoroughly destroyed the conventional image of the dancer as did Lamentation.”
---Marcia B. Siegel, The Shapes of Change

Students participating in the Lamentation Variations project will learn American modern dance pioneer Martha Graham’s 1930 solo Lamentation and choreograph their own variations of the work following specific creative protocols devised by Janet Eilber, Artistic Director of the Martha Graham Dance Company and mentored by Graham Company Principal Dancer Miki Orihara, other Graham company members, and Barnard faculty. Select Variations will be produced in the Miller Concert. Students will also learn the chorus section to Graham’s masterpiece Night Journey (1947).

Martha Graham’s Lamentation (1930) excerpt
About the Lamentation Variations Project
Eilber on the Lamentation Variations Project

Audition information: No audition. All intermediate and advanced dancers (and/or experienced composition students) accepted into both of the following two courses by attending the first two class sessions (Jan. 22 and 27) may participate in the Lamentation Variations project and possibly perform and/or have their work produced at Miller.

Dancers involved in the Lamentation Variations project are required to enroll in the following courses:
Ensemble Dance Repertory (DNCE 2555: 3 pts.)
Monday and Wednesday 5:40-8PM

Modern V: Martha Graham Technique (DNCE 3333, Sec. 1: 1pt.) or Advanced Studio
Monday and Wednesday 4:10-5:25PM
*Technique Class is open to all intermediate and advanced dancers (pending Instructor's permission at first class session).

 

New contemporary work by Andrea Miller, Artistic Director of Gallim Dance

Born in Salt Lake City, Utah, Miller trained as a student and performer of Doris Humphrey’s works and solos, under the direction of Ernestine Stodelle and Gail Corbin. She went on to attend the Juilliard School where she received her BFA in Dance in 2004. After graduation, Miller left for Israel to join Ohad Naharin’s Batsheva Ensemble, where she originated roles in Naharin’s George & Zalman and resident choreographer Sharon Eyal’s Part II. In 2007, Miller returned to New York City and established Gallim Dance. Miller is also a founding collaborator of the Movement Invention Program (MIP), with Jill Johnson and Alexandra Wells; MIP, now in its fourth year, is dedicated to teaching improvisation. Miller is also resident choreographer at Dancewave, a pre-professional dance program based in Brooklyn, and she teaches master classes, workshops, and sets work on many conservatories and universities across the world.

Audition information:
Wednesday, December 11, 2013 at 10am-1pm in Studio 305. (Date and time subject to change. Please check Department website and Facebook page for updates.)

Dancers cast in this work are required to enroll in the following course:
Rehearsal & Performance (DNCE 3605, Sec. 1, 3 pts.)
Monday and Wednesday 6:15-8:45PM

N.B. Cast will also be required to attend an intensive rehearsal period before semester begins on Jan. 15-17 (Wed.–Fri.) from 11am-5pm. Barnard students cast in this work have been pre-approved to stay in dorms (without housing fees) beginning Tuesday, Jan. 14.

Andrea Miller and members of the Gallim Company will teach an advanced contemporary class (Modern V, DNCE 3333, Sec. 2: 1pt.) on Tuesday and Thursday, 10:10-11:25amStudents cast in the work are strongly encouraged to take this technique class, which is open to all advanced dancers, pending Instructor's permission at first class session.

 

New ballet by Robert La Fosse

Principal Dancer for both American Ballet Theater and New York City Ballet, Tony Award-nominated performer, and Barnard Dance Department faculty member Robert LaFosse will create a new ballet for the Miller concert.
For more about Robert La Fosse, see here.





Audition information:
Tuesday, January 21 or Thursday, January 23 (for students unable to attend first audition or for those asked to attend a call back) at 6PM in Studio 1. Audition will take place en pointe.

Dancers cast in this work are required to enroll in the following course:
Rehearsal & Performance (DNCE 3605, Sec. 3: 3 pts.)
Tuesday and Thursday 6:00-8:30PM

 



________________________________________________________________________________________________________

Fall 2013 Artist Biographies

Recognized as a leading choreographer of his generation in South Africa, Boyzie Cekwana has toured throughout the world and received prestigious prizes in Africa and Europe, including First Prize for Rona at the Third Platform III of African Contemporary Dance in Madagascar in 1999. His choreography is in the repertoire of companies such as Ballet de Lorraine, Scottish Dance Theatre, and The Washington Ballet (commissioned with The Kennedy Center for its celebrated African Odyssey Festival).

Soweto born choreographer-dancer Ntsikelelo "Boyzie" Cekwana is known for creating visceral dance works informed by a seemingly ceaseless interest in questions of the human condition. This interest is driven by a world view which Cekwana calls "the Third World prism"- a view made real by its persistent definition of the world as a boundaried, racialised and complex puzzle.

In 1997, he formed his own company, Floating Outfit Project, to break away from the strict forms of traditional African dance and the work of South African ballet companies. Based in Durban, South Africa, the company is structured engage in collaborative projects with both artists and nonartists throughout the world. To date these have included projects with The Fantastic Flying Fish (Durban, South Africa), La Camionetta (Montpellier, France), Davis Freeman-Random Scream (Brussels, Belgium), Eager Artists Theatre Company (Durban, South Africa) and Gladys Agulhas' ATW (Johannesburg, South Africa). Most recently, Cekwana has been collaborating with choreographer Panaibra Gabriel from Mozambique on the INKOMATI project, and to develop the South-South Think Tank, a group working to promote artists and circulate their work within the Southern Hemisphere.

 

Lance Gries is an independent dancer, choreographer and teacher. From 1985-1992 he was a member of the Trisha Brown Dance Company.  His work with that company has been honored with a New York Dance and Performance “Bessie” Award and a Princess Grace Foundation Award.

Since 1990, he has created and presented solo and group choreography in various venues in New York City such as The Kitchen, Danspace, Judson Church, La MaMa Experimental Theater and The State Theater, as well as cities throughout Europe, Australia and South America. Among these works are “Stain: The Eleventh Hour”, “Druthers Knot”, “Organum”. “FLOOD” and “Geogphagy is the Compulsion to Eat Earth.”   His most recent solo evening, “Etudes for an Astronaut” was nominated for a 2011 New York and Performance “Bessie” Award.

Mr. Gries is a renowned teacher, having taught workshops and master classes throughout the world.   In 1994 he was a "founding teacher" of PARTS in Brussels, Belgium and continues as a visiting teacher there as well as guest teaching for many other dance companies and institutions in Europe and New York City

Lance recently premiered “The FIFTY Project”  (recipient of a Princess Grace Special Project Grant.)  In celebration of his fiftieth birthday this year, invited fifty dancers from around the world to meet him individually in a fifty -minute open dance, a video installation of these intimate meetings was presented at La MaMa Galleria and the video archive is touring in various configurations.   He is currently choreographing a trio, “Immanent Field,” with Juliette Mapp, Jimena Paz  and Diane Madden to be to be presented  by Danspace in March, 2014. 

 

ANNIE-B PARSON (CHOREOGRAPHER AND CO-DIRECTOR) founded Big Dance Theater in 1991 with Molly Hickok and Paul Lazar. She has choreographed and co- created over 15 works for the company, ranging from pure dance pieces, to adaptations of plays and literature, to original works combining wildly disparate materials. Her work with Big Dance has been commissioned by the Brooklyn Academy of Music, The National Theater of Paris/ Chaillot, The Japan Society, The Walker Art Center, and has performed in scores of other venues.

Her awards include a 2012 USA Artists Grant in theater, a 2007 Guggenheim Fellowship in Choreography, 2002 and 2010 BESSIE awards, two Lucille Lortel nominations (2011, 2012), and NYFA Fellowships in 2005 and 2000. BDT received an OBIE in 2000 and the first Jacob's Pillow Dance Award in 2007. She has been nominated for the CalArts/ Alpert Award seven times. Ms. Parson was a YCC choreographer at The American Dance Festival where she worked with composer Richard Einhorn to create City of Brides.

Outside of Big Dance, Ms. Parson created choreography for David Byrne in 2012 for his world tour with St. Vincent, and for his 2008/09 Brian Eno world tour . She will work again with Byrne on HERE LIES LOVE at the Public Theater in 2013. She directed and choreographed for the string quartet ETHEL in their first foray into dance at the Winter Garden. She created two works for The Othershore dance company that were seen at Ringling Festival and BAC. Her dances are featured in the film Ride, Roar, Rise about David Byrne. She choreographed for Nico Muhly's new opera Dark Sisters, Sarah Ruhl'sOrlando, Futurity at ART, and The Broken Heart at TFNA.

Since 1993 Parson has been an instructor of choreography at New York University's Experimental Theater Wing. She has also taught nationally and internationally including Tokyo and Spoleto, Italy. She was featured in BOMB magazine, and wrote a piece for Dance USA on the state of dance/theater in the U.S. As an artist curator, she has curated shows including: the Merce Cunningham memorial, Dancer Crush at NYLA and Sourcing Stravinsky at DTW. Parson tours a lecture on abstraction called "The Structure of Virtuosity" to universities and for audience development.

 

 

Hailed by Ms. Magazine’s end of the century issue as “a choreographer making great leaps forward into the 21st century” Donna Uchizono is the Artistic Director of Donna Uchizono Company, a New York-based company established in 1990. Since her choreographic debut in 1988, Uchizono rapidly emerged from the “downtown scene” as a choreographer known for her spicy movement, wit and rich invention.

In addition to being a Guggenheim Fellow and a “Bessie” award winner, Uchizono has been recognized by many awards, most recently with a 2005 Alpert Award in Dance. Uchizono’s work has been supported by the Rockefeller MAP Fund, the National Dance Project, the National Endowment for the Arts, three New York Foundation for the Arts Fellowships, the New York State Council on the Arts, Creative Capital Foundation, Altria Group, Inc., the Jerome Foundation, the Dance Magazine Seed Grant, the Joyce Mertz-Gilmore Foundation, Arts International, Metropolitan Life Foundation/ADF Commission, the National Performance Network, the Suitcase Fund, the Harkness Foundation for Dance, the Mary Flagler Cary Charitable Trust, the Greenwall Foundation, Meet the Composer, and the Bossak Heilbron Charitable Foundation.

Uchizono’s work is characterized by its numerous collaborative projects including quietly goes a giant jane, made in collaboration with Visual Artist David Hammons, Composers "Butch" Morris and James Lo, and Lighting Designer Stan Pressner. Uchizono recently created a new work for Mikhail Baryshnikov, commissioned by the Baryshnikov Dance Foundation. Her project Low, a collaboration with Composer Guy Yarden, received a “Bessie” (New York Dance and Performance Award) for both Uchizono and Yarden. Uchizono’s interest in original and live music for performance is evidenced by her collaborations with composers and her former role as co-director and -curator of “Bread to the Bone”, a live music/dance series at The Knitting Factory in New York. Uchizono was the choreographer for Pulitzer Prize winning playwright Paula Vogel’s The Long Christmas Ride Home for the Trinity Repertory Company and the Long Wharf Theater. She was commissioned by COBAI, a coalition of independent choreographers and dancers in Argentina, to create a piece for COBAI and Donna Uchizono Company in collaboration with the musicians of the Tobas Indians, the indigenous people of Argentina.

Since 1980 she has regularly taught workshops and classes in the U.S., Europe, and South America. She has participated in festivals and teaching institutions in Spain, Switzerland, Denmark, France, Portugal, Belgium, Slovenia, Argentina and Romania. In the U.S., Uchizono has been a guest choreographer at various universities and colleges, including Temple University, Barnard College, Bryn Mawr, Sarah Lawrence College, Weslyan University, California Institute of the Arts, UCLA, and the University of Minnesota, and currently teaches and is the Artistic Director of the New Media Art & Performance MFA program at Long Island University (Fort Green campus). Uchizono is a member of the Artist Advisory Board at Danspace Project at St. Mark’s Church, where she was a founding member and Chair from 1990-1995, setting up a forum for artists to discuss issues.

 



Spring 2013 Artist Biographies

Faye Driscoll is a Bessie-award winning choreographer and director who strives to investigate new forms of theatrical experience aimed to provoke feeling, stimulate the senses and activate the mind. She is interested in expanding ideas of what dance is and creating work that is both entertaining and socially and politically engaged. Driscoll has been called "a startlingly original talent" by the New York Times and "the most promising performing artist of her generation" by the Weekly Standard. She has choreographed four evening-length works with commissions from The Kitchen, The Wexner Center for the Arts, Dance Theater Workshop, American Dance Festival and HERE Arts Center. Her work has been supported by a National Dance Project NEFA production and touring award, a Jerome Foundation grant, multi-year support from the Greenwall Foundation and a LMCC Fund for Creative Communities grant. Driscoll has received commissions from the Zenon Dance Company and Barnard College, and was a 2011 Choreographic Fellow at the Maggie Allesee National Center for Choreography, and a recent Artist-in-Residence at the Baryshnikov Arts Center and Headlands Center for the Arts. She has collaborated extensively with theater artists including Young Jean Lee, Cynthia Hopkins, Taylor Mac, Jennifer Miller and NTUSA. Her video work was exhibited in Younger than Jesus, the first of several signature triennials at the New Museum. Driscoll has been an adjunct professor at Bard College and NYU’s Playwrights Horizon’s Theater School. Her work has toured to the Wexner Center for the Arts, the Fusebox Festival, and UCLA, and has upcoming tours to the Institute of Contemporary Art/Boston, CounterPULSE, the Wexner Center for the Arts, the American Dance Festival, and The Yard. Driscoll’s work deals with the daily narratives of human experience in unpredictable and complex ways. She seeks to unhinge the viewer from their comfort zone in order to unearth parallel possibilities for being. She does this by laying bare the “id” while simultaneously embracing humor, seduction and rigor.
 

Francesca Harper blends original choreography, dance, music and film to create groundbreaking works that are category-defying. Harper was raised in New York City, where she studied at the School of American Ballet, the Joffrey Ballet School, The Ailey School, and under Madame Darvash and Barbara Walczak. After performing with the Dance Theater of Harlem, she danced as a principal in William Forsythe’s Ballet Frankfurt from 1994-1999. Since returning to the States in 2000, Harper has performed in several Broadway productions including FosseThe ProducersThe Frogs, and The Color Purple. She played the role of Helene opposite Molly Ringwald in a national tour of Sweet Charity, and the role of Judith originated by Judith Jamison in a revival of Sophisticated Ladies. As a singer and lyricist Harper has released singles in Europe and Japan. In November 2003, her single “Would I?” was released on Powerhouse Records. In 2006, she released her debut solo album Modo Fusion with 10 original tracks of soul-inspired R&B and electronica. Francesca also recently worked as a ballet consultant for the feature film, "Black Swan," by Oscar Nominated Director Darren Aronofsky, starring Natalie Portman, who went on to win an Oscar for her work.

Harper’s choreographic career began while still in Germany, where she choreographed a full evening work for the Holland Dance Festival. She has since choreographed works for the Alvin Ailey American Dance Theater, Ailey II, Dallas Black Dance Theater, Oakland Ballet, Hubbard Street II, Tanz Graz, Point Park University, University of Richmond, and her own company The Francesca Harper Project, which has become the platform for her own artistic vision: classical dance forms deconstructed and fused with cutting-edge text, music, film and video. Her original hybrid work was first seen in 2000 at the Cherry Lane Theatre, as part of 50 minutes with Harriet and Phillis, a collaboration with Pulitzer Prize-winning writer Margo Jefferson and composer Paul Miller a.k.a. DJ Spooky. She premiered her critically-acclaimed one-woman show The Fragile Stone Theory at the 2002 Jacob’s Pillow Dance Festival. Francesca’s work, Documotion : ONE - Rave, was requested to be performed at the 50th Anniversary of the Alvin Ailey American Dance Center at the Apollo Theater by Judith Jamison. Her Company was also honored to perform excerpts from William Forsythe's work, Limb's Theorem, at the Denise Jefferson Celebration at the Apollo Theater in November, 2010.

The Francesca Harper Project debuted in August 2005 with the sold-out premiere performance of MODO FUSION at The Ailey Citigroup Theater, New York City, and went on to perform a week-long run of MODO FUSION during the 92nd St Y Harkness Dance Festival in March 2006. Company members have also been active performers in MODO FUSION LOUNGE (the music-based cabaret version of MODO FUSION), performing alongside Harper at venues such as Makor and Bowery Poetry Club in New York City. The Francesca Harper Project has been featured at The Joyce Theater, Solstice: Dancing at the Crossroads in Times Square, sponsored by Dancers Responding to AIDS, The Apollo Theater, New York City Center, The Ailey Citigroup Theater, the Holland Dance Festival. Harlem Stage, Bloomberg Culture Series, Central Park Summerstage and Venice Biennale.
 

 

Heidi Henderson, the artistic director of elephant JANE dance, was the 2000 and 2005 recipient of the Rhode Island State Council on the Arts Choreography Fellowship for excellence in the field.

Her work has been performed at the South Bank Centre in London, in New York City, and at many venues in New England including Jacob’s Pillow Inside/Out Festival. Her piece “Skirt” was selected for inclusion in the New England Choreographer’s Showcase at the International Festival of Arts and Ideas at Connecticut College. In 1997, she was invited to perform two solos in The International Festival of Dance in Taegu, Korea.

Heidi has danced in the companies of Bebe Miller, Nina Wiener, Peter Schmitz, Sondra Loring, and Paula Josa-Jones. She has been on the faculty at the Bates Dance Festival, DanceSpace Inc. in NYC, NYU’s Tisch Dance Summer Festival, Amherst College, Colby College, Hampshire College, The University of Massachusetts at Amherst and Roger Williams University.

Heidi is a contributing editor at Contact Quarterly: A Journal of Moving Ideas. She has recently published Growing Place, a book of interviews with artists from the Bates Dance Festival.

Heidi received her B.A. from Colby College and her M.F.A. from Smith College.

At Connecticut College, Henderson teaches Modern Technique, Improvisation, Dance Anatomy/Kinesiology and Dance Writing.

 

BILL YOUNG (winner of recent Guggenheim and NY Foundation for Arts Awards) discovered dance through contact improvisation while studying music at Oberlin College.  He showed early work in San Francisco while dancing with Margaret Jenkins, and later moved to New York City where he danced with Douglas Dunn, Randy Warshaw, and Merce Cunningham (on video). 

In 1988 he established Bill Young and Dancers, which has been presented in New York City at the Joyce Theater, DTW, The Kitchen, Danspace Project, PS 122, Movement Research, Symphony Space and the 92nd St. Y (among others), and on repeated international tours, including performances in Austria, Estonia, Germany, Hungary, Poland, Canada, Italy, Czechoslovakia, Russia, Hong Kong, Taiwan, Finland, Mexico, Brazil, Peru and Venezuela.

Now an international group of artists (with recent and current dancers hailing from the US, Greece, Germany, Africa, China, Albania and Venezuela), the company has received support from the Guggenheim Foundation, NYSCA, the NEA, New York Foundation for the Arts, Foundation for Contemporary Performance Arts, the Mary Duke Biddle, Joyce Mertz-Gilmore, Harkness and Greenwall Foundations, the Mary Flagler Cary Charitable Trust, Artslink, the Suitcase Fund, the State Dept., the Fund for US Artists at International Festivals, and the Trust for Mutual Understanding.

Bill has created over 70 works; his commissions include new works for the Estonian National Opera Ballet, the Zenon Dance Company, Bratislava Dance Theater, the Madach Theater (Budapest), DanceArt Hong Kong, the Core Performance Group (Atlanta), the Wildspace Dance Company (Milwaukee), Compagnie de Danse L'Astragale (Montréal), Teória de Gravedad (Mexico), and Pennsylvania Dance Theater.  He has taught in Universities and Festivals in the US, Europe, Latin America and Asia, and has served as a panelist for Artslink, DTW, ACDFA and NYFA.


Fall 2012 Artist Biographies

Nora Chipaumire was born in Mutare, Zimbabwe and currently lives in New York City.  She has studied dance in many parts of the world including Africa (Senegal, Burkina Faso, Kenya, and South Africa), Cuba, Jamaica and the U.S.  A graduate of the University of Zimbabwe's School of Law, she holds an M.A. in Dance and M.F.A. in Choreography and Performance from Mills College (CA).

Ms. Chipaumire is a 2011 United States Artist Ford Fellow. She is also a two-time New York Dance and Performance (aka “Bessie”) Awardee: in 2008 for her dance-theater work, Chimurenga, and in 2007 for her body of work with Urban Bush Women, where she was a featured performer for six years (2003-2008) and served as Associate Artistic Director (2007-2008). 

Her works include Visible (2011), commissioned by Harlem Stage and created in collaboration with Jawole Willa Jo Zollar for an international cast of independent performers; I Ka Nye (You Look Good) (2010), created and performed with choreographer Souleymane Badolo and musician Obo Addy; Silence/Dreams (2010), created and performed with Fred Bendongue and named one of the ten best dances of 2010 by the New York Times dance critics; lions will roar, swans will fly, angels will wrestle heaven, rains will break, gukurahundi (2009), created and performed with the legendary musician, Thomas Mapfumo (selected as Best Dance Concert of 2011 by Pittsburgh Post-Gazette); Marriage between zones 3, 4 and 5 (2009) which premiered at the Flea Theater in NYC; Becoming Angels, (2009), a commission for Dance Alloy (Pittsburgh, PA); bismallah (2009), a commission for The Barnard Project (NYC); A Hidden Duet (2009), a collaboration with Jawole Willa Jo Zollar; Poems (2007) an evening of solos; and Chimurenga, her first work to tour nationally.  She is featured in several films, including Dark Swan (dir. Laurie Coyle, 2011); the award-winning, Nora (dir. Alla Kovgan & David Hinton, 2008); and the documentary Movement (R)evolution Africa (a story of an art form in four acts) (dir. Joan Frosch & Alla Kovgan, 2006).

She is currently working on MIRIAM, an evening-length dance theater piece commissioned by the Brooklyn Academy of Music for presentation at BAM’s Next Wave Festival 2012. For more information about this project, please visit www.mappinternational.org.

 

Beth Gill is a Queens-based artist, who makes contemporary dance and performance in New York City. She has accumulated a body of work that critically examines issues relating to the fields of contemporary dance and performance studies, through an ongoing exploration of aesthetics and perception. Ranging from short-term improvised structures to long-term choreographed performances, her work has been commissioned by The Kitchen, Dance Theater Workshop, The Chocolate Factory Theater and Dixon Place as well as performed internationally.

Beth is a 2012 Foundation for Contemporary Art Fellowship recipient. In 2011 she was awarded two New York State Dance and Performance “Bessie” Awards for Outstanding Emerging Choreographer and the Juried Award for the choreographer exhibiting some of the most interesting and exciting ideas happening in dance in New York City today. Her most recent work Electric Midwife was named one of the ‘Best Dances of 2011,’ by Time Out New York, as was her previous work what it looks like, what it feels like for 2008.

Beth is one of seven choreographers profiled in Michael Blackwood’s documentary New York Dance: States of Performance, which premiered in the Lincoln Center Dance on Film Festival in 2010. The documentary continues the focus of his two highly regarded previous documentaries: Making Dances: Seven Post-Modern Choreographers (1980) & Retracing Steps: American Dance Since Postmodernism (1988).

As a contemporary artist her work has received attention and fueled responses within academia. Most recently her work has been included and taught within the University of Illinois’ Dance Department’s curriculum, and published in MIT’s distinguished performance journal The Drama Review.

Gill’s mission is to use the experience of dance, theatrical design and sound within the framework of live performance to shift the way we see, sense and understand the space around us. Her choreographic body of work uses a timeless and rigorous investigation of form as an entryway into explorations of contemporary dance ideologies, which seek to reflect contemporary societal concerns.


Juliette Mapp is a New York based dancer, choreographer and teacher.  Her teaching is influenced by her twenty-year study of the Alexander Technique both in England in the United States and her on-going studies of Kinetic Awareness with its creator, Elaine Summers. Juliette's somatic teaching is also inspired by her studies of Skinner Releasing with its creator, Joan Skinner.  Juliette's teaching is catered to the individual student and she is invested in helping each dancer uncover their full physical and personal potential through movement.  Juliette has taught throughout the United States, Europe, Asia, and Latin America.  She has been on the faculty of Hunter College, George Washington University, Fordham University, and most recently was a guest teacher at Bard College.  Juliette danced for choreographers Deborah Hay, John Jasperse, Vicky Shick, Jennifer Monson, Stephanie Skura, Orjan Andersson, Pat Graney and others. Juliette's choreography has been presented in New York at Danspace Project and the former Dance Theater Workshop, now New York Live Arts.  Juliette curated the critically acclaimed 2010 Dancespace Project Platform, "Back to New York City". Juliette has received two New York Dance and Performance Awards (i.e. "Bessie's), one in 2002 for her dancing, and another for her choreography, in 2008.

 

Reggie Wilson (Artistic Director, choreographer and performer) founded his company, Reggie Wilson/Fist & Heel Performance Group, in 1989. Wilson draws from the movement languages of the blues, slave and spiritual cultures of Africans in the Americas and combines them with post-modern elements and his own personal movement style to create what he calls “post-African/Neo-HooDoo Modern dances.”
His work has been presented nationally and internationally at venues such as Dance Theater Workshop, Jacob’s Pillow Dance Festival, Yerba Buena Center for the Arts (San Francisco), UCLA Live (Los Angeles), The Flynn (Burlington, VT), Contemporary Arts Center (New Orleans), Dance Umbrella (Austin, TX), Summerstage (NYC), Linkfest and Festival e’Nkundleni (Zimbabwe), Dance Factory (South Africa), Danças na Cidade (Portugal), and Festival Kaay Fecc (Senegal), The Politics of Ecstasy (Berlin, Germany).
Wilson has traveled extensively: to the Mississippi Delta to research secular and religious aspects of life there; to Trinidad and Tobago to research the Spiritual Baptists and the Shangoists; and also to the Southern, Central, West and East of Africa to work with dance and performance groups as well as various religious communities.
Wilson is a graduate of New York University, Tisch School of the Arts (1988, Larry Rhodes, Chair) He has studied composition and been mentored by Phyllis Lamhut; Performed and toured with Ohad Naharin’s NY-based company before forming his own Fist and Heel Performance Group.  He has lectured, taught and conducted extended workshops and community projects throughout the US, Africa, Europe and the Caribbean.  He has served as visiting faculty at several universities including Yale, Princeton and Wesleyan Universities.  He is the recipient of the Minnesota Dance Alliance’s McKnight National Fellowship (2000-2001).   Wilson is also a 2002 BESSIE-New York Dance and Performance Award recipient for his work ‘The Tie-tongued Goat and the Lightning Bug Who Tried to Put Her Foot Down‘ and a 2002 John Simon Guggenheim Fellow. He has been an artist advisor for the National Dance Project and Board Member of Dance Theater Workshop.  Most recently, in recognition of his creative contributions to the field, Wilson was named a 2009 United States Artists Prudential Fellow and is also the 2009 recipient of the Herb Alpert Award in Dance.
His collaborative evening-length work, The Good Dance – dakar/brooklyn had its World premiere at the Walker Art Center in November 2009 and NY premiere at the Brooklyn Academy of Music in December 2009 followed by a ten city US tour.   Presently he is working on theRevisitation an evening of works to be presented at New York Live Arts March 14th- 17th.  His work (project) Moseses Project will be part of the BAM Next Wave Festival 2013.