A dancer-choreographer from NYC, Jody Sperling is the Founder/Artistic Director of Time Lapse Dance. She has created more than forty works including many expanding on the legacy of modern dance pioneer Loie Fuller. Sperling was choreographer, consultant, and coach for the French feature film and Fuller biopic “The Dancer.” In 2014, Sperling participated in a polar science mission as the first, and to date only, choreographer-in-residence aboard a US Coast Guard icebreaker. During the mission she danced on Arctic sea ice and made the award-winning dance film “Ice floe.” Current projects focus on deploying visual-kinetic narratives connecting choreography and climate science.
Jody will be teaching Composition: Site Specific and Experimental Methods (DNCE BC 3566) on Monday/Wednesday, 1:10pm in Studio I.
Seth Stewart Williams comes to the Barnard Department of Dance after a performance career in dance, followed by doctoral work in English literature at Columbia University, and specializes in the interrelation of dance and literature, especially 1500-1700. His research and interests include the history and theory of dance and theater; dance in the plays of Shakespeare and his contemporaries; performance, book history, and narrative theory; dance and theories of rights and race; and choreographic embodiments of lyric verse.
His current project, Virtual Motion: Dance and Mobility in Early Modern English Literature, studies the use of dance both to embody and to figure processes of political upheaval in which patterns of motion and migration predominate, from the spread of Protestantism, to colonization of the New World, to the emergence of political factions across the British Civil War. Recent fellowships in support of this work have come from Columbia University's Heyman Center for the Humanities and from New York University's Center for Ballet and the Arts. Additional projects consider the relationship of projectivist poetry to the choreography of Merce Cunningham, and of radical presses to the choreography of Amiri Baraka and Eleo Pomare.
During his performance career, Williams worked extensively with Sean Curran and with Donald McKayle, whose choreography he has set, and was for several years a supplemental dancer to the Mark Morris Dance Group. As a member of The New York Baroque Dance Company, he reconstructed early ballets from Feuillet notation. Preceding his doctoral study at Columbia, Williams received bachelor’s degrees in dance and comparative literature from the University of California at Irvine.
Seth will be teaching Western Theatrical Dance and Senior Seminar in fall 2017.
ANDREA WEBER was a dancer with the Merce Cunningham Dance Company from 2004 -2011, performing roles in over 25 works. Andrea is on faculty of the Merce Cunningham Trust, teaching Cunningham Technique® at New York City Center and the Joffrey Jazz and Contemporary Trainee program. She has also taught at SUNY Purchase, Brown University, Skidmore College, the American Dance Festival, ArcDanz Festival, NYU Tisch, ABT Studio Company, Salem State College and Dance New Amsterdam. Andrea has staged Pond Way for Ballett am Rhein and Ballet Vlaanderen, Suite for Five for the CNSMD in Lyon, RainForest for the Stephen Petronio Company, Sounddance at UNCSA, and How To Pass, Kick, Fall and Run for Boston Conservatory. She arranged and staged the Events for the Merce Cunningham: Common Time exhibit at both the Walker Arts Center and the Museum of Contemporary Art Chicago. Andrea has also danced with Coleman & Lemieux Compagnie, Dance Heginbotham, Jessica Lang Dance, Cornfield Dance, Jonah Bokaer, and Charlotte Griffin. Andrea will be teaching Modern VI on Tuesday/Thursday at 4:10p in fall 2017.
Molissa Fenley founded Molissa Fenley and Company in 1977 and has created over 85 dance works during her continuing career. Her choreography has been commissioned by the American Dance Festival, the Brooklyn Academy of Music’s Next Wave Festival, Dia Art Foundation, Jacob’s Pillow, Joyce Theater, The Kitchen, Lincoln Center, New National Theater of Tokyo, and New York Live Arts. Fenley has created many works on ballet and contemporary dance companies, most recently for Oakland Ballet and Pacific Northwest Ballet. She has been a Guggenheim Fellow, a Fellow of the American Academy in Rome, and a fellow of the Bogliasco Foundation, and the recipient of residencies at the Baryshnikov Art Center, Djerassi, and Yaddo, and two of two Asian Cultural Council residencies in Japan. Rhythm Field: The Dance of Molissa Fenley was published by Seagull Press in 2015.
Kevin Quinaou has most recently performed with the Nederlands Dans Theater (NDT1) and the Lyon Opera Ballet. He has worked and performed internationally, dancing in works by Maguy Marin, Jirí Kylián, Sasha Waltz, William Forsythe, Ohad Naharin, Crystal Pite, Susan Marshall, Merce Cunningham, and many other contemporary choreographers. He trained at the Paris National Conservatoire and later joined La Scala in Milan, where he danced in the corps de ballet. He is a certified ballet teacher (D.E.) in France and crafts ballet classes in a contemporary vein. He conducts workshops on improvisation and the techniques of the choreographers with whom he has worked.
Ellie Kusner is a NYC-based dance teacher, Pilates instructor, and Bessie award-winning performer. She received her early dance education at Boston Ballet before going on to earn her BA from Barnard College. In 2013, she received an MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in London. She occasionally lectures on dancer heath and wellness and has presented her scientific investigations of dance both nationally and internationally. She has taught at numerous prestigious institutions including Boston Ballet and American Ballet Theatre’s JKO School. Currently, she teaches at Barnard College, Hofstra University, Mark Morris Dance Center, and the Juilliard School. Her first editorial byline appeared in the August/September 2016 issue of Pointe Magazine.
Brian Reeder began his training at Central Pennsylvania Youth Ballet in the state of his birth. His professional career as a dancer was largely spent with New York City Ballet, American Ballet Theatre, and William Forsythe’s Ballet Frankfurt. As a choreographer, he has created work for ABT, ABT Studio Company, Washington Ballet, Pacific Northwest Ballet, Colorado Ballet, Sacramento Ballet, and other regional dance companies. The recipient of several grants and fellowships, he has been produced as well by the Guggenheim Museum’s Works & Process. Reeder has been a guest teacher at colleges, universities, and conservatories including Juilliard, Goucher, and Emory, and at numerous national dance academies. He has also served as the coordinating director for Dance Bermuda, adjunct guest director for Vassar Repertory Dance Theatre, resident choreographer for both Manhattan Youth Ballet and BalletNext, and rehearsal director for Cedar Lake Contemporary Ballet.
Gillian Lipton holds a Ph.D. in Performance Studies from New York University. Her research interests include dance and social justice, American theatrical dance, ballet, and archive theory and practice. Lipton is currently funded by the Ford Foundation to work with dance pioneer Arthur Mitchell on his archives and related research projects at Columbia University. She has danced with Douglas Dunn, acted as dramaturge at Dance Theater Workshop (now New York Live Arts), and collaborated on performance projects at the Museum of Modern Art including Yoko Ono: One Woman Show, James Lee Byars: ½ an Autobiography, and Lygia Clark: The Abandonment of Art. She has taught at New York University and Queens College. A participant in the Mellon Postdoctoral Program in Dance Studies, she has been published in The Drama Review and Performance Research.
Victoria Phillips received her Ph.D. at Columbia University in the Department of History where she studied United States cold war cultural diplomacy and foreign policy, and modern choreographer Martha Graham. At present she is completing her book, The Dance of American Diplomacy: Martha Graham and the Cold War. At Columbia University, she teaches in the Department of History and the European Institute. Her articles have appeared in numerous publications, and she serves on the editorial board of editor for American Communist History. She has curated exhibitions for the Centre National de la Danse, the Library of Congress, and has lectured at colleges, universities, and government agencies.
Jenna Riegal, originally from Iowa, has been a New York-based dancer, performer, and teacher since 2007. She holds an M.F.A. in Dance Performance from the University of Iowa and a B.A. in Theatre Arts from the Maharishi University of Management. Since moving to New York, Jenna has performed with Michel Kouakou, Carolyn Dorfman Dance Company, Shaneeka Harrell, Tania Isaac Dance, and johannes weiland. She has toured nationally and internationally with David Dorfman Dance, Alexandra Beller/Dances and Bill Young/Colleen Thomas & Company. In 2011 Jenna joined the Bill T. Jones/Arnie Zane Dance Company. Jenna teaches contemporary technique at Gina Gibney Dance Center, Mark Morris Dance Center, and 100 Grand Dance. She has taught master classes at the Juilliard School, Arizona State University, Bard College, Connecticut College, University of Maryland, Barnard College, SUNY Purchase, and the University of Iowa as well as the American Dance Festival, Bates Dance Festival, and Joffrey Ballet School.
Leigh Schanfein is the Research Associate at the Harkness Center for Dance Injuries, NYU Langone Medical Center, as well as a freelance dancer, choreographer, and teacher. Leigh received her M.S. degree in kinesiology with a specialization in biomechanics from Purdue University, and her B.S. degree in animal physiology and neuroscience with a minor in dance from the University of California San Diego. She has presented her research at meetings of the International Association for Dance Medicine and Science since 2007, the Performing Arts Medicine Association since 2014, and received multiple awards for her research with dancers. Her work has focused on the mechanisms by which humans control balance and how sensory feedback is integrated for the control of posture, and has expanded to include dance injury epidemiology. Leigh has taught courses in health, motor development, biomechanics lab, and stress at Purdue University, and anatomy at Peridance Capezio Center. In addition to scientific and artistic endeavors, Leigh is also a contributor to Dance Informa Magazine.
Stacy Matthew Spence, is a choreographer, teacher, and dancer based in New York City. His work, which has been performed on stage as well as in buildings, museums, and galleries, has been presented by Danspace Project, Tisch School of the Arts at New York University, EDge at the London Contemporary Dance School, the University of New Mexico, and the OtherShore Dance Company in New York. From 1997-2006 he was a member of the Trisha Brown Dance Company, contributing to the creation of Brown’s opera L’Orfeo and seven other new pieces. He continues to work with the company teaching classes as well as restaging Brown’s choreography. Spence received his M.F.A. from New York University’s Tisch School of the Arts and was awarded a 2015-16 Workspace Artist in Residence by the Lower Manhattan Cultural Council.
Stacy will be teaching Modern V: Trisha Brown technique and Ensemble Repertory: Trisha Brown in fall 2015. It is highly recommended to take the Modern V technique class with the Ensemble Repertory course for an immersive Trisha Brown Dance experience. Stacy will be teaching Modern V: Trisha Brown technique in spring 2016 and will be staging excerpts of Brown’s 1995 M.O. for the April Barnard/Columbia Dances at Miller concert.