Past Guest Artists

Barnard/Columbia Dances at Miller Theatre 2020

Birthday Variations (1986) by Gerald Arpino
Restaged by Nicole Duffy

Nicole Duffy is a co-founder and Associate Artistic Director of the New York Dance Project. She danced with the Joffrey Ballet for over a decade, based both in New York and Chicago, where she danced works by Joffrey, Arpino, Ashton, Balanchine, Cranko, DeMille, Limon, Massine, Nijinska, and many others. She is a répétiteur for the Arpino Foundation, most recently staging Gerald Arpino's Suite St. Saens and Light Rain, and has taught both nationally and internationally including workshops in Florence, Italy and Rio de Janeiro, Brazil. At the Joffrey Ballet School, she taught ballet, pointe, repertory, and developed the curriculum for dance history. She currently serves as advisor to the ballet program at the Ballet Hispanico School of Dance.
Ms. Duffy was raised in Puerto Rico, where she began her training with Ana Garcia and Maria Carrera at Ballets de San Juan, dancing the classical repertory. She has a B.A. in Art History from Columbia University, and is currently a master's candidate at New York University's Gallatin School. Her writing has been published in The Massachussetts Review, Eye on Dance and the Arts, and the NYU journal Esferas.

Gerald Arpino was born in Staten Island, New York, and died in 2008 in Chicago. He received his early dance training in Seattle by Mary Ann Wells. He co-founded The Joffrey Ballet with Robert Joffrey in 1956 and served as Associate Director for many years. Upon Joffrey's death in 1988, Arpino succeeded him as Artistic Director. In 1995, he moved The Joffrey Ballet to Chicago.
A leading dancer with the company in its early years, Arpino choreographed his first work for the Joffrey, Ropes, in 1961. Shortly thereafter, he became the Joffrey's resident choreographer and to-date has created more than one-third of the Company's repertoire. His amazingly diverse work ranges from social commentary to pure dance gems. His ballets are in the repertoires of companies around the world. Arpino is the first choreographer commissioned to create a ballet honoring the Office of the American Presidency: The Pantages and the Palace Present Two-A-Day. He was the first American commissioned to choreograph a ballet for a city, San Antonio, Jamboree. In 1993, Arpino produced America's first full-evening rock ballet, Billboards, set to the music of Prince. In addition, Arpino is the only choreographer to have had four of his ballets performed at the White House.
Arpino served on numerous boards and councils including the national advisory council of the ITI/USA International Ballet Competition and the board of the Dance Notation Bureau. He was a member of the Arts Advisory Committee of the New York International Festival of the Arts. He served as an advisor to the Artists Committee for The Kennedy Center Honors. He was a member of the Board of The Chicago Academy For The Arts. Among many awards and tributes, he held honorary doctorates from The College of Staten Island, City University of New York, and Wagner College. He was a recipient of the 1974 Dance Magazine Award and the Vaslav Nijinsky Medal. He was honored twice by the Chicago Tribune as one of the "Chicagoans of the Year" for his important contribution to the arts in Chicago and the world.

Name by Name (2007) by Susan Marshall
Restaged by Luke Miller

Susan Marshall choreographs metaphoric worlds that often dwell at the intersection of several disciplines. Her work employs details of touch, initiation and gaze to explore the complexities of behavioral systems and of interpersonal relationships and patterns. The resulting dances are often densely woven, recursive, human in scale and speak to the negotiations of intimacy and questions of control, power, dependency and intention.
In recent years, Marshall’s dance-making has been driven by her collaborations with peer artists in other media. This has led to discipline-crossing work created collaboratively with visual artists Martha Friedman and Suzanne Bocanegra, composers David Lang and Jason Treuting, music ensembles Sō Percussion and Dither, and engineer Naomi Leonard. Marshall is drawn to the friction and meshing that arises when joining different art forms, each with their own unique histories, languages, processes and rules. Using the body as a way to bring these systems into dialogue, Marshall’s dances often expose the work involved in art making as both process and material.
The New York-based dance group Susan Marshall & Company has performed in theaters throughout the United States, Europe and Japan since 1985 with recent performances in NYC at Brooklyn Academy of Music, The Kitchen, New York Live Arts, Baryshnikov Arts Center, and Andrea Rosen Gallery and nationally at the Kennedy Center, the Center for the Art of Performance at UCLA, the Krannert Center, Gammage at Arizona State University, Montclair State University, the Dance Center at Columbia College Chicago, Swarthmore College, and American Dance Institute.
Marshall’s many awards include a MacArthur Fellowship, a Guggenheim Fellowship, and three New York Dance and Performance Awards (BESSIES) for Outstanding Choreographic Achievement. Marshall has also created dances for the Lyon Opera Ballet, Frankfurt Ballet, and Mikhail Baryshnikov. Her work has been in the repertory of Nederlands Dans Theatre, Hubbard Street Dance Chicago and Pacific Northwest Ballet, among others. Marshall directed and choreographed the dance/opera Les Enfants Terribles in collaboration with Philip Glass, and provided the choreography and stage direction for Glass's Book of Longing, and for music ensembles Asphalt Orchestra, and Eighth Blackbird.
Since 2009, Marshall has been a professor and the Director of Dance at Princeton University’s Lewis Center for the Arts.

Luke Miller a Bessie Award-winning artist, Miller joined Susan Marshall & Company in 2003 and has since collaborated in the making of Sleeping Beauty and Other Stories, Cloudless, Sawdust Palace, Frame Dances, Accidental Narratives, Flock Logic, Adamantine and Play/Pause. He has set the company’s repertory on numerous universities and professional companies including Dance Alloy, Hubbard Street, NYU, Hedwig, University of Maryland, Pacific Northwest Ballet, University of Washington and Netherlands Dance Theater. Miller assisted Susan Marshall in choreographing Asphalt Orchestra for the ‘09 Lincoln Center out of Doors Festival as well as For You, a solo created in ‘10 for Mikhail Baryshnikov. He has also performed in the work of Yanira Castro, Martha Clarke, Molissa Fenley, Keely Garfield, Neil Greenberg, Bill Young / Colleen Thomas, and Christopher Williams, among others. Miller currently teaches movement for actors at Tisch. He has curated live performance at Location One art gallery and continues to make his own work.

New Work by Abdul Latif

Abdul Latif (CBA ’19) is a choreographer, composer and writer-director from New York City who began as in independent producing artist over the course of his tenure as the inaugural Lincoln Center Education Artist-in-Residence of Lincoln Center Institute, Artist Mentoring Lab, where he was the founding Rockefeller Brothers Fund Fellow 2012-2014. Latif’s choreographic work with the Martina Arroyo Foundation Prelude to Performance and Harlem Opera Theater Company provided him the opportunity to set work in opera productions from 2014-2017. He broke out with his first choreographic commission, created for Joffrey Ballet/Winning Works in 2015. In 2016 Latif was commissioned to choreograph a work on principals of the Alvin Ailey American Dance Theater for the 22nd Fire Island Dance Festival in which his conceptualized set revolving design facilitated his first installation exhibition and artist residency with Alpha Development and through Wallplay Mgmt at Gallery 151. In 2017 Latif and the collective of multidisciplinary artist collaborating in partnership with Smoke&Mirrors Theater Company and the producers of HERE Arts received the Rauschenberg Foundation Prize and Artist for Social Justice Award for their 2019 Off-Broadway production of B.H.M. According to the United States of America. This same year he was a Dance Lab/New York, formerly Broadway Dance Lab Guest Choreographer in Residence, where he began his entry into the development of an adaptation for Anton Chekhov’s modern classic play The Seagull into a contemporary dance theater musical. In 2018 Latif was commissioned to create a work for the Joyce Theater Ballet Festival on the dancers of New York City Ballet performing in the Ashley Bouder Project. His contemporary ballet and modern dance performance background juxtaposed to his commercial theater and Broadway musical resume make Latif’s concert dance and theatrical works an amalgamation of immersive live performance presentations

New Work by Katiti King

Katiti King Ms. King is a dance educator who has been teaching, performing, and choreographing for over 30 years. She has trained with some of the more renowned dance artists in New York City, including Lynn Simonson, Milton Myers, Joan Peters, Jacquie Villamil, Sara Neece and Richard Gonzalez. She has been on the faculty of Barnard College since 1990 and Dance Space, Inc./Dance New Amsterdam since 1984. Ms. King has also taught at various notable NYC studios, including Joffrey Ballet and Alvin Ailey School. She has taught the art of Jazz Dance in Europe, Canada, Japan, and South America. In addition, she is a trained and skilled Body Worker that applies Simonson philosophy together with Somatic explorations. Her approach lays down a foundation for each individual student in the class to learn, experience, and explore how to best define their bodies.
Ms. King embodies a multitude of artistic experiences stemming from her parents who were both artists and educators. She was greatly influenced by her time in Puerto Rico. While her father was working with such great artists as Pablo Casals, Dizzie Gillespie, Max Roach and Martina Arroyo she was training at Ballet de Puerto Rico. These childhood experiences helped develop her sense of Jazz as Classical. Because of this she teaches Jazz within an historical, cultural, technical and pedagogical context. Her classes integrate various movement approaches from an African (Dunham Training), Afro-Carribean, East Indian, and Latin influence together with Western-Modern methodology.

FALL 2019
Barnard/Columbia Dances at New York Live Arts, November 21, 22 and 23, 2019

As a founder of Judson Dance Theater in 1962, Yvonne Rainer transformed the performing body, pioneering a task-oriented approach to movement that paralleled the earthbound aesthetic of minimalist sculpture. Her "Trio A" (1966) remains the quintessential "postmodern" dance. Her equally innovative films, which she began to create in 1972, reject linear narrative and identification with actors. In keeping with the goals of second-wave feminism, her films combine the personal with the political, including themes such as racism, gender and sexuality. Rainer received the prestigious MacArthur Fellowship in 1990. She returned to dance in 2000, producing works such as After Many a Summer Dies the Swan for Mikhail Baryshnikov's White Oak Dance Project, ongoing versions of "Trio A," explorations of the aging body, and witty homages to avant-garde figures Sergei Diaghilev, Igor Stravinsky and George Balanchine.

Bessie award-winning, critically-acclaimed dancer, teacher, and choreographer Davalois Fearon, has been lauded by colleagues as “unapologetic” and by critics as “electrifying.” Fearon was born on the island of Jamaica and raised in the Bronx, NY and is the founder and Artistic Director of Davalois Fearon Dance. She creates visual imagery that is fluid yet detailed, assertive yet thoughtful. Her choreography has been presented throughout New York City, by the Joyce Theater, The Metropolitan Museum of Art, Dance Enthusiast’s “Moving Caribbean in NYC,” the Bronx Academy of Arts and Dance, and the Inception to Exhibition Dance Festival, among others; as well as across the US and in Kingston, Jamaica. She has collaborated with internationally renowned poet Patricia Smith, multi-reedist Mike McGinnis, fashion photographer Nigel HoSang, and interdisciplinary artists Andre Zachery and Deborah Castillo.

Her dancing has given her recognition as one of the best performances by Dance Magazine, most memorable performances by Charmaine Warren, and a Bessie Awards nomination as a performer in “Platform 2016: the skeleton architecture, or the future of our world's” curated by Eva Yaa Asantewaa at Danspace. Fearon was recently listed as one of “Seven Up-and -coming Black Artists to Have on Your Radar” by Dance Magazine.

Fearon performed and taught around the world with the Stephen Petronio Company and at times staged company repertory from 2005-2017. Fearon created and implemented an education program for the Stephen Petronio Company, taught as an adjunct professor in the Long Island University Brooklyn Dance Program, and has been a guest professor at Princeton University Program in Dance, Purchase College Conservatory of Dance, and Hillsborough Community College Dance Program. She has also performed with Daniel Ezralow, Forces of Nature, Ballet Noir, Darrell Robinson, and Ballet International Africans. She holds an MFA from UWM and a BFA from the Purchase College Conservatory of Dance.

Artistic Statement
I am passionate about creating work that increases awareness about social and environmental issues that appeals to a wide range of audiences. To this end, my choreography explores topics related to the environment, race, gender, and sexuality, as well as abstract, movement-driven ideas. I translate words, images, emotions, and situations into my unique movement vocabulary, which is as rooted in my Jamaican immigrant background and my childhood in the Bronx as in my master’s level academic training and professional contemporary/postmodern dance background. My collaborations with multimedia artists help me take audiences on audio-visually thought-provoking journeys through the world’s most pressing issues.

Doug Varone Dancers Award-winning choreographer and director Doug Varone works in dance, theatre, opera, film, and fashion. He is a passionate educator and articulate advocate for dance. His work is known for its emotional range, kinetic breadth and the diversity of genres in which he works. His New York City-based Doug Varone and Dancers has been commissioned and presented to critical acclaim by leading international venues for three decades.

In the concert dance world, Varone has created a body of works globally. Commissions include the Limón Company, Hubbard Street Dance Chicago, Rambert Dance Company (London), Martha Graham Dance Company, Dancemakers (Canada), Batsheva Dance Company (Israel), Bern Ballet (Switzerland) and An Creative (Japan), among others. In addition, his dances have been staged on more than 75 college and university programs around the country.

In opera, Doug Varone is in demand as both a director and choreographer. Among his four productions at The Metropolitan Opera are Salome with its Dance of the Seven Veils for Karita Mattila, the world premiere of Tobias Picker’s An American Tragedy, and Stravinsky’s Le Sacre du Printemps, designed by David Hockney. His Met Opera production of Hector Berloiz’s Les Troyens was broadcast worldwide in HD. He has directed multiple premieres for Minnesota Opera, Opera Colorado, Washington Opera, New York City Opera, and Boston Lyric Opera, among others. His numerous theatre credits include choreography for Broadway, Off-Broadway and regional theatres across the country. His choreography for 2012’s musical Murder Ballad at Manhattan Theatre Club earned him a Lortel Award nomination. Film credits include choreography for the Patrick Swayze film, One Last Dance. In 2008, Varone’s Bottomland, set in the Mammoth Caves of Kentucky, was the subject of PBS’s Dance in America: Wolf Trap’s Face of America. Most recently, he directed and choreographed MasterVoices’ production of Dido and Aeneas at New York City Center, starring Tony Award winners Kelli O’Hara and Victoria Clark, alongside the Company.

Varone received his BFA from Purchase College where he was awarded the President’s Distinguished Alumni Award in 2007. Numerous honors and awards include a John Simon Guggenheim Fellowship, an OBIE Award (for Lincoln Center’s Orpheus and Euridice), the Jerome Robbins Fellowship at the Boglaisco Institute in Italy, two individual Bessie Awards, two American Dance Festival Doris Duke Awards for New Work, and four National Dance Project Awards. In 2015, Varone was awarded both a Doris Duke Performing Artist Award and a Lifetime Achievement Award from the American Dance Guild. Varone teaches workshops and master classes around the world for dancers, musicians and actors. He is currently on the faculty at Purchase College, teaching composition and choreography.

Spring 2019
Barnard/Columbia Dances at Miller Theater, Friday, April 26 and Saturday, April 27

chameckilerner headshot chameckilerner is a 25 year long collaboration between Rosane Chamecki and Andrea Lerner. Their work has been presented in the US by The Kitchen, DTW, The Joyce Theater, Performance Space 122, Central Park SummerStage, Portland Institute for Contemporary Art, Mass MoCA, Diverseworks, Jacob’s Pillow, American Dance Festival, and has toured extensively throughout South and North America, as well as Europe.
chameckilerner is the recipient of various fellowships and grants including the Guggenheim Fellowship, The Foundation for Contemporary Arts, NYFA, NYSCA, NEFA, Jerome Foundation, Rockefeller MAP Fund, among others.
Their first short video, Flying Lesson won the Dance on Camera Festival at Lincoln Center. Other videos include The Collection, commissioned by Robert Wilson’s Watermill Center, Conversation with Boxing Gloves Between Chamecki and Lerner, commissioned by PERFORMA 09; Samba #2 and Eskasizer (a four-channel installation), commissioned by EMPAC, NY.
Most recently, chameckilerner finished a residency at YADDO and taught a Spring semester at Sarah Lawrence College. chameckilerner is are Artists in Residence at the Robert Rauschenberg Foundation in spring 2019

Neta Pulvermacher Headshot Neta Pulvermacher has choreographed over 86 works for The Neta Dance Company and other companies and institutions around the world. In New York, her company has been presented at Dance Theater Workshop, Danspace Project, The Joyce Theater, 92nd Street Y, as well as touring throughout the United States, Israel, Europe, Costa Rica and Canada. Neta is noted for her collaborations musicians, composers and directors, such as Roy Nathanson and The Jazz Passengers, John Zorn and Masada, Anthony Coleman, David Broza, Miri Ben Ari, Sarah Davis Buechner, the English rock band XTC, and film director Mira Nair among others. Her work has been supported by the National Endowment for the Arts, NYFA, The Jerome Foundation, Mary Flager Cary Charitable Trust, Maxine Greene Foundation and The Greenwall Foundation. Most recently Neta was invited for residencies at Salzburg Experimental Academy of Dance and in Tasmania (Australia), gave master classes at SUNY Purchase and in Beit Tzhaur in the Palestinian Territory. She currently creates interdisciplinary solo works. In 2018 she created and served as artistic director of a unique project in Hamiffal Jerusalem, entitled “Body, Site, Dance” – a full evening event combining original commissioned work by seven choreographers.
Neta was born in Kibbutz Lehavot Habashan, Israel, graduated from Juilliard and holds an M.A. from Teachers College and MFA from Hollins University. She is a professor at the Jerusalem Academy of Music and Dance and the artistic director of the Ben Gurion University Dance Company project in Beer Sheva. She currently serves as an affiliate faculty at the new UARTS International MFA in Dance. www.netacompany.org

Yin Yue Headshot Artistic Director YIN YUE of YY Dance Company is internationally recognized as a versatile performer and choreographer. She was the winner of Hubbard Street Dance Chicago 2015 International Commissioning Project, winner of the 2015 BalletX Choreographic Fellowship, and winner of Northwest Dance Project’s 5th Annual Pretty Creatives International Choreographic Competition in 2013. Through these high-profile successes, Yin was commissioned by all three widely-recognized companies as well as other companies and organizations namely Limon Dance Company, Alberta Ballet in Canada, Whim W’him, Bruce Wood Dance, Boston Dance Theater, 10 Hairy Legs, New Dialect, Balletto Teatro di Torino in Italy, Backhausdance, Tisch School of The Arts. She was also awarded First Place in Choreography at National Professional Dance Competition in Shanghai, China, 92Y Harkness Dance 2016-2017 Artist In Residence, Emerging Choreographer of 2015 at Springboard Danse Montreal, as well as a finalist at The A.W.A.R.D Show 2010! presented by New York The Joyce Theater Foundation. Yin Yue joined the BFA dance faculty of the Peabody Conservatory as artist-in-residence for the fall 2018 semester at John Hopkins University. She is also faculty at Peridance Center in NYC.

Mark Morris Headshot Mark Morris has been hailed as the “the most successful and influential choreographer alive, and indisputably the most musical.” (New York Times). In addition to creating over 150 works for the Mark Morris Dance Group, founded in 1980, he conducts orchestras, directs opera, and choreographs for ballet companies worldwide. Morris’ work is acclaimed for its ingenuity, musicality, wit, and humanity. Named a Fellow of the MacArthur Foundation in 1991, he has received eleven honorary doctorates to date, and a multitude of awards, including the Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, the Benjamin Franklin Laureate Prize for Creativity, the Cal Performances Award of Distinction in the Performing Arts, the Orchestra of St. Luke’s Gift of Music Award, and the 2016 Doris Duke Artist Award. In 2015, Morris was inducted to the National Museum of Dance in Saratoga Springs, New York. He opened the Mark Morris Dance Center in 2001 to provide a home for the dance group, rehearsal space for the dance community, programs for local children and seniors, and dance classes for students of all ages and abilities.

Marjorie Folkman Headshot Marjorie Folkman was a member of the Mark Morris Dance Group from 1996-2007 and has taught Morris’ repertory at Phillips Academy/Andover, George Mason University, Mount Holyoke College, and Barnard College where she is currently a Visiting Associate Professor of Professional Practice. Folkman has also performed with Martha Clarke’s off-Broadway revival Garden of Earthly Delights, the Repertory Understudy Group for the Merce Cunningham Dance Company, Sara Rudner (BC’63), Sally Hess (BC’62), and Richard Colton/Amy Spencer. Recent choreographic projects include The Event with graduate design students at The Yale School of Drama (2016) and Lost Spring at National Sawdust in collaboration with artists Kevork Mourad and Anais Tekerian (2017). A graduate of Barnard College where she majored in dance, Folkman holds an M.A. in American Studies from Columbia University, and is a Ph.D. candidate at the Bard Graduate Center for Design History/Material Culture in New York, where she is researching the intersection of European interwar visual culture and performance.

FALL 2018
Barnard/Columbia Dances at New York Live Arts, November 29, 30 and December 1, 2018

Photo by Annie Leibovitz (1997) Photo courtesy of the Merce Cunningham Trust.

Merce Cunningham (1919 – 2009) was a leader of the American avant-garde throughout his seventy-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant experimentation and collaboration with groundbreaking artists from every discipline, Cunningham expanded the frontiers of dance and contemporary visual and performing arts. Cunningham’s lifelong passion for innovation also made him a pioneer in applying new technologies to the arts.
Born in Centralia, Washington on April 16, 1919, Cunningham began his professional dance career at 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944 he presented his first solo show and in 1953 formed the Merce Cunningham Dance Company as a forum to explore his groundbreaking ideas. Together with John Cage, his partner in life and work, Cunningham proposed a number of radical innovations, chief among them that dance and music may occur in the same time and space, but could be created independently of one another. They also made extensive use of chance procedures, abandoning musical forms, narrative, and other conventional elements of dance composition. For Cunningham the subject of his dances was always dance itself.
An active choreographer and mentor to the arts world throughout his life, Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts (1990), the MacArthur Fellowship (1985), Japan’s Praemium Imperiale (2005), and the British Laurence Olivier Award (1985). Always forward-thinking, Cunningham established the Merce Cunningham Trust in 2000 and developed the precedent-setting Legacy Plan prior to his death, to ensure the preservation of his artistic legacy.

Dylan Crosman Head Shot — Photo by Damian Calvo

Dylan Crossman grew up in France and received his Bachelor’s degree from the Laban Centre in London. He has worked with numerous New York-based choreographers including Brian Brooks, Christopher Williams and Wally Cardona. Dylan joined the Merce Cunningham Dance Company in 2009, after 2 years as an understudy, and was a part of the Company’s final Legacy tour. Currently as a freelance artist, he works with Kimberly Bartosik, Sally Silvers, Ryan McNamara, Megan Williams and Pam Tanowitz. He is on faculty at the Cunningham Trust, SUNY Purchase and is a two-time Bessie recipient. Crossman Dans(c)e has been presented at numerous venues in New York City and around the country.

Jamie Scott Head Shot Jamie Scott is from Great Falls, Virginia and began her professional training at the Washington School of Ballet. She attended Barnard College, graduating in 2005. Jamie worked with Merce Cunningham as a member of the Repertory Understudy Group beginning in 2007 and joined the Merce Cunningham Dance Company in 2009. In 2012 Jamie began dancing with the Trisha Brown Dance Company. She has also worked with Kimberly Bartosik, Liz Gerring, Bill Young and Daniel Gwirtzman. Jamie teaches technique and repertory for both the Trisha Brown Dance Company and Merce Cunningham Trust. She is Merce Cunningham Fellow 2014 and 2016 and the recipient of a 2014-2015 Princess Grace award.

Adrienne Truscott is a Doris Duke Impact Artist (Dance) and FCA grantee (Theater/Performance Art). Her work has been presented across various venues and contexts: international comedy festivals, PS122, Joe’s Pub, The Kitchen, Boom Arts, NYLA, The Sydney Opera House, The Moth (podcast) and in curriculums at CalArts, NYU, University of Pennsylvania, and Princeton University. Her award-winning Adrienne Truscott's Asking For It: A One-Lady Rape About Comedy…is considered a critical impetus to evolving conversation about rape culture and continues to tour internationally. THIS was nominated for a Bessie for Outstanding Production. Wild Bore was nominated for a Green Room Award for New Writing for the Australian Stage and won for Best Ensemble.

David Dorfman Head Shot — Photo by Aundre Larrow

David Dorfman has been creating movement-based theater in and around NYC and internationally since 1981. He has received numerous fellowships and awards including a “Bessie” for DAVID DORFMAN DANCE’s community-based project Familiar Movements (The Family Project), a Guggenheim for his research on power and protest which led to DDD’s underground, NEA support, and recently a Lucille Lortel for choreographing INDECENT’s Off-Broadway run. Recent DAVID DORFMAN DANCE highlights include a 30th Anniversary Season at BAM’s Next Wave Festival with Aroundtown in November 2017, and a State Department sponsored trip to El Salvador to do work on violence prevention with young people. An avid fan of live music and collaboration, he continues his serio-comic work, Live Sax Acts, with Dan Froot. David is approaching his 15th year of full-time teaching at Connecticut College where DDD is Company-in-Residence.

Amy Hall Garner has choreographed and worked as a creative consultant on Law & Order: Trial by Jury, Dave Chappelle’s Show, and Kidz Bop Live! Amy has created numerous works for Ailey II, The Joffrey Ballet (Choreography of Color Award), The Juilliard School, Central Pennsylvania Youth Ballet, The Ailey School, and Columbia Ballet Collaborative. Her theatrical choreography credits include The Color Purple (Milwaukee Repertory Theatre) and Invisible Thread, associate choreographer (Second Stages). She has coached Grammy Award winner Beyonce and provided additional choreography for The Mrs. Carter Show World Tour. Recently, Mrs. Garner was selected by Artistic Director Robert Battle to participate in the 2017-2018 Alvin Ailey Dance Foundation New Directions Choreography Lab. She is an adjunct professor at New York University’s New Studio on Broadway at Tisch School of the Arts. Amy is a native of Huntsville, Alabama and a graduate of The Juilliard School.

SPRING 2018
Barnard/Columbia Dances at Miller Theatre, April 13 & 14, 2018

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, Donald Byrd, Bebe Miller, and Bill T. Jones/ Arnie Zane Dance Company among others. In 2005, she founded Colleen Thomas Dance. She is also co-director, choreographer, and performer with Bill Young/Colleen Thomas & Co, and the co-director and co-curator of the LIT (loft into theater) series at 100 Grand, which supports innovative and experimental work by both emerging and established artists in an up-close and personal setting. Her recent interests and research include political influences on the female body, international improvisation and choreographic work in Poland and Italy, as well as neuroscientific studies into improvisation. She is an Associate Professor of Professional Practice in Dance at Barnard College of Columbia University.

Mark Morris has been hailed as the “the most successful and influential choreographer alive, and indisputably the most musical.” (New York Times). In addition to creating over 150 works for the Mark Morris Dance Group, founded in 1980, he conducts orchestras, directs opera, and choreographs for ballet companies worldwide. Morris’ work is acclaimed for its ingenuity, musicality, wit, and humanity. Named a Fellow of the MacArthur Foundation in 1991, he has received eleven honorary doctorates to date, and a multitude of awards, including the Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, the Benjamin Franklin Laureate Prize for Creativity, the Cal Performances Award of Distinction in the Performing Arts, the Orchestra of St. Luke’s Gift of Music Award, and the 2016 Doris Duke Artist Award. In 2015, Morris was inducted to the National Museum of Dance in Saratoga Springs, New York. He opened the Mark Morris Dance Center in 2001 to provide a home for the dance group, rehearsal space for the dance community, programs for local children and seniors, and dance classes for students of all ages and abilities.

Marjorie Folkman was a member of the Mark Morris Dance Group from 1996-2007 and has taught Morris’ repertory at Phillips Academy/Andover, George Mason University, Mount Holyoke College, and Barnard College where she is currently a Visiting Associate Professor of Professional Practice. Folkman has also performed with Martha Clarke’s off-Broadway revival Garden of Earthly Delights, the Repertory Understudy Group for the Merce Cunningham Dance Company, Sara Rudner (BC’63), Sally Hess (BC’62), and Richard Colton/Amy Spencer. Recent choreographic projects include The Event with graduate design students at The Yale School of Drama (2016) and Lost Spring at National Sawdust in collaboration with artists Kevork Mourad and Anais Tekerian (2017). A graduate of Barnard College where she majored in dance, Folkman holds an M.A. in American Studies from Columbia University, and is a Ph.D. candidate at the Bard Graduate Center for Design History/Material Culture in New York, where she is researching the intersection of European interwar visual culture and performance.

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, his work has been presented at American Ballet Theatre, ABT Studio Co., Washington Ballet, Sacramento Ballet, and other regional dance companies. He has been the recipient of several grants and fellowships, as well as being produced by the Guggenheim Museum’s Works & Process in NYC. Reeder has been a guest teacher at universities, colleges, and conservatories such as Juilliard, Goucher, Emory and numerous national dance academies. Reeder was rehearsal director for the Cedar Lake Contemporary Ballet from 2014-2015. He also served as the coordinating director for Dance Bermuda, adjunct guest director for Vassar Repertory Dance Theatre, and resident choreographer for Manhattan Youth Ballet and BalletNext. Reeder’s choreography was most recently seen in Rock and Roll Man: The Alan Freed Story, a musical theater work-in-progress at Buck’s County Playhouse

Lacina Coulibaly was born in Burkina Faso. His professional dance career, deeply rooted in traditional African dances, later merged with contemporary influences to create a uniquely African choreographic expression. In 1995, Lacina created the Cie Kongo Bâ Teria with Souleymane Badolo and Ousseni Sako. Their creations, Frères sans stèles (1999),Vin Nem (2001) and Hydou Bye (2004) toured the world and won international awards, including the award of 3rd place at SANGA, and Les Rencontres Choréographiques. Vin Nem (2001) toured more than 30 cities in Europe in 2002 and throughout the United States in 2004 on the Movement (R)Evolution tour. The company Cie Kongo Bâ Teria was recently featured in the documentary film Movement (R)Evolution Africa (2007). Lacina has danced and choreographed with other international dance companies, such as Salia ni Seydou, Faso Danse Theatre, and TchéTché and assisted in projects with Urban Bushwomen and choreographer Nora Chipaumire (Dark Swan). He has also collaborated with individual artists, such as Emily Coates, Amy Sullivan, Wendy Jehlen, Kota Yamakazi and Seydou Coulibaly. He has worked as guest lecturer and artist-in-residence at schools and universities including Brown University, New School, University of Florida, Cornell University, UCLA, Ohio State University, Sarah Lawrence College and EDIT in Burkina Faso.
He is currently in artistic director of Compagnie ArtistiqueHakili sigi and guest lecturer at Yale University.

FALL 2017
Barnard/Columbia Dances at New York Live Arts, November 30, December 1, & 2

LUCINDA CHILDS began her career at the Judson Dance Theater In New York in 1963. Since forming her dance company in 1973, she has created over fifty works, both solo and ensemble. In 1976 she was featured in the landmark avant-garde opera Einstein on the Beach by Philip Glass and Robert Wilson, for which she won an Obie Award and she subsequently appeared in a number of Wilson’s productions which include, I Was Sitting on my Patio This Guy Appeared I Thought I Was Hallucinating, Quartett, by Heiner Muller, Wilson and Glass’s opera White Raven, Wilson’s video project Video 50,Maladie de la Mort by Marguerite Duras opposite Michel Piccoli. She also appeared in Wilson’s production of Arvo Part’sAdams Lament, and collaborated on the movements and spoken text for Letter to a Man, based on Nijinsky’s diaries and performed by Mikhail Baryshnikov.
In 1979 Childs choreographed one of her most enduring works, Dance with music by Philip Glass and film décor by Sol LeWitt, which continues to tour internationally and has been added to the repertory of the Lyon Opera Ballet where she has recently choreographed Beethoven’s Grande Fugue. In 2015 she revived Available Light, created in 1983 with music by John Adams and a split-level set by architect Frank Gehry which was presented last year at the Festival d’Autumne. In the fall of 2016 the Thaddeus Ropac Gallery in Pantin presented her choreographic scores in an exhibit titled “Nothing Personal” in collaboration with the Centre Nationale de la Danse where she has donated her archive.
Since 1981 she has choreographed over thirty works for major ballet companies which include Paris Opera Ballet and Les Ballet de Monte Carlo. In the past twenty years she has directed and choreographed a number of contemporary and eighteenth-century operas which include Gluck’s Orfeo ed Euridice for the Los Angeles Opera, Mozart’s Zaide for La Monnaie in Brussels, Stravinsky’s Le Rossignol et Oedipe, Vivaldi’s Farnace, and Handel’s Alessandro, and John AdamsDr. Atomic for the Opera du Rhin. Her production of Jean Baptiste Lully’s Atys premiered in Oper Kiel in 2014 and her production of Jean-Marie Leclaire’s Scylla and Glaucus premiered there in the spring of 2017.
Childs is the recipient of numerous prestigious awards, including the 2017 Venice Biennale de la Danse Golden Lion Award and the 2017 Samuel H. Scripps/American Dance Festival Award. She holds the rank of Commander in France’s Order of Arts and Letters.

KATIE DORN is a graduate of the University of North Carolina School of the Arts, where she earned a high school diploma and B.F.A. in Contemporary Dance. In 2006 she completed her M.F.A. from the Hollins University/American Dance Festival M.F.A. program. That same year, she received the Martha Hill Young Professional Award as an outstanding young performer. Since moving to NYC Katie has worked with the Metropolitan Opera Ballet, Gus Solomons Jr., Carlos Soto, and Robert Wilson & Philip Glass on the revival of the opera, "Einstein on the Beach." She performed James Lee Byars's "The Mile Long Paper Walk"- a solo that was re staged by Lucinda Childs for the Marron Atrium at the MoMA in NYC in August 2014. Katie has been dancing for Lucinda Childs since 2009 and has set Ms. Childs' work on students at the University of Michigan, the University of North Carolina School of the Arts, and on the Lyon Opera Ballet. She is currently creating and co-producing "Dance Journal NYC," a podcast, with Jesse Anders, which will debut later this year.

SHARON MILANESE is a teaching and performing artist based in New York City. She holds a BFA in Dance Performance from Southern Methodist University, is a certified Pilates instructor, and teaches professional ballet classes worldwide. Sharon has performed with New York Theatre Ballet, Cortez and Company Contemporary/Ballet, Verb Ballets, Ramon Oller and the Peridance Ensemble, Corbindances, Liz Gerring Dance Company, Heidi Latsky Dance, Motley Dance, Patricia Hoffbauer, Dusan Tynek Dance Theater, and Robert Wilson & Philip Glass in the opera, "Einstein on the Beach." Sharon is a dancer and the rehearsal director for the Lucinda Childs Dance Company.

Okwui Okpokwasili is a Brooklyn-based performance maker. Her work includes two Bessie Award winning productions: Pent-Up: a revenge dance and Bronx Gothic. She is the 2015-17 Randjelovic/Stryker New York Live Arts’ Resident Commissioned Artist, culminating in the work, Poor People’s TV Room. Okpokwasili frequently collaborates with directors Peter Born and Ralph Lemon, appearing in Come Home, Charley Patton (for which she won a Bessie Award), HYCS and Scaffold Room. Residencies and awards include MANCC’s Choreographic Fellowship (2012, 2016); NYFA Fellowship in Choreography (2013); LMCC’s Extended Life Program (2013-2016); The Foundation for Contemporary Arts’ Artist Grant in Dance (2014), Wesleyan ICPP Artist in Residency. Her work has been supported by Creative Capital, the MAP Fund and NEFA.

Claudia Schreier has been commissioned by many companies and organizations including Vail International Dance Festival, New York Choreographic Institute, Ballet Academy East, and The Ailey School. She is the 2017 Virginia B. Toulmin Fellow at the Center for Ballet and the Arts at NYU and received a B.A. from Harvard University in 2008. Since 2015, Claudia Schreier & Company have presented several full-evening length performances of her choreography, featuring dancers from New York City Ballet, American Ballet Theatre, and Dance Theatre of Harlem. Ms. Schreier has served as rehearsal assistant to Damian Woetzel for performances at the White House, Jazz at Lincoln Center and NY City Center. Her awards include the 2017 Lotos Foundation Prize and the 2008 Suzanne Farrell Dance Prize. In July 2017, Claudia Schreier & Company will make its debut at the Joyce Theater.

Called ‘mesmerizing’ by VOGUE and recently championed as ‘vastly gifted’ by Deborah Jowitt, Shannon Gillen has had an extensive career as a dancer and choreographer in NYC and Europe. She was a member of the Johannes Wieland Company based at Staatstheater Kassel in Germany; won commissions from Mainfranken Theater Würzburg, the International Solo-Tanz Theater Festival in Stuttgart (3rd Prize Dance) and the TIF Theater in Kassel; and was selected as a THINK BIG choreographer-in-residence at Staatsoper Hannover. Upon returning to the States, Shannon founded VIM VIGOR DANCE COMPANY as the home for her collaborative choreographic and educational endeavors. The company's creative and educational work has been commissioned in NYC, California, Michigan, Canada, Panama, Chile, and Germany. Additional projects for Shannon include commissions from fashion label PHELAN for New York Fashion Week, Springboard Danse Festival in Montreal, Hubbard Street 2, and BEACH SESSIONS in NYC; notable festivals and venues where her work has been seen include New York Live Arts, Judson Church, PULSE Fair at Art Basel, Bryant Park Presents, NYC’s River to River Festival, the Joyce Theater, and Jacob’s Pillow. Dedicated to contemporary dance theater education, Gillen is on faculty at SUNY Purchase College, teaches at the B12 workshops in Berlin, The Juilliard Summer Program, MIP at the Baryshnikov Arts Center, and with VIM VIGOR’s summer intensive: focused on floorwork, partnering, improvisation, composition and acting. She is a graduate of the Juilliard School and earned her MFA from Tisch School of the Arts at NYU and maintains close creative relationships with both conservatories. Visit www.vimvigordance.com to learn more.

SPRING 2017
Barnard/Columbia Dances at Miller, April 21 & 22, 2017

Antonia Franceschi is a Time Out Award Winner for Outstanding Achievement in Dance.
She attended The High School of Performing Arts for Drama and during her junior year was cast in the film Grease and as the lead in the film Fame. Ms. Franceschi danced with Makarova and Company as a soloist, and was partnered by Sir Anthony Dowell in Bach Sonata by Maurice Béjart before joining The New York City Ballet. In London, Ms. Franceschi produced Four Programs of The New York Ballet Stars and has choreographed for both British and American companies. Recently she formed her own Neo-classical company 'AFD Just Dance.' She has taught for The Royal Ballet, Richard Alston, DV8, New York Theatre Ballet and Alvin Ailey American Dance Theater and The Juilliard School. She is featured in several dance films for British TV and received a Grant for POP8 for The Lion and Unicorn Theatre.

Receiving his early training in Washington, D.C., Kevin Wynn continued his studies at Cal Arts and the Conservatory of Dance at Purchase College. Mr. Wynn danced with the José Limón Dance Company, Dianne McIntyre’s Sounds in Motion Dance Company, Mel Wong, Daniel Nagrin, Jacques d’Amboise, Kazuko Hirabayashi, and Warren Spears. His work has been produced by the Joyce Theater, Lincoln Center Out-of-Doors, the Harkness Dance Festival and Symphony Space, and been commissioned by Ailey II, Kristina de Chatel Dance Company, Singapore Dance Ensemble, Dallas Black Dance Theater, San Diego Dance Theater, Houston Met, The Open-End Theater of Rome, DRA, London Contemporary Dance Center, Amsterdam Dance Academy and NYU’s Tisch School of the Arts. Mr. Wynn has received fellowships and grants from the NEA, NYSCA, and the Harkness Foundation. Mr. Wynn is currently an associate professor at Purchase College (COD) and faculty at the Alvin Ailey/Fordham University BFA program.

Hailing from Curaçao, Dutch Caribbean, Gabri Christa has choreographed and performed with Danza Contemporanea de Cuba, DanzAbierta and the Bill T. Jones/Arnie Zane Dance Company. Her choreography has been presented at Central Park Summer Stage, Lincoln Center Out of Doors, Symphony Space, PS122, DTW, and internationally. Awards include the Guggenheim for Choreography, Jerome Foundation grants, an ABC television award in for “High School,” and Pangea Day Festival’s “One of the World’s 100 Most Promising Filmmakers.” Christa’s “One Day At A Time” (2016) won best film at the Canadian Diversity Film Festival and best Short Documentary at Harlem’s International Film Festival. Current dance projects include “The Invitation” and collaborative work with Burnt Sugar Danz Conduction. Christa’s writing has been published in The Scholar & Feminist and Caribbean Dance; from Abekua to Zouk. Teaching credits include Princeton University and Connecticut College. Christa is an Associate Professor of Professional Practice at Barnard College.

Marjorie Folkman was a member of the Mark Morris Dance Group from 1996-2007 and has taught Morris’ repertory at Phillips Academy/Andover, George Mason University, Mount Holyoke College, and Barnard College where she is currently a Visiting Associate Professor of Professional Practice. Folkman has also performed with Martha Clarke’s off-Broadway revival of "Garden of Earthly Delights," the Repertory Understudy Group for the Merce Cunningham Dance Company, Sara Rudner (BC’63), Sally Hess (BC’62), and Richard Colton/Amy Spencer. Recent choreographic projects include The Event with graduate design students at The Yale School of Drama, Paul’s Case/Prototype Festival and Oresteia/Bard Summerscape. A graduate of Barnard College where she majored in dance, Folkman holds an M.A. in American Studies from Columbia University and is a Ph.D. candidate at Bard Graduate Center in New York, where she is researching the intersection of European interwar visual culture and performance.

FALL 2016
Barnard/Columbia Dances at New York Live Arts December 1, 2 & 3

Sasha Waltz was born in Karlsruhe, Germany, and studied dance and choreography in Amsterdam and New York. In 1993 she cofounded her company, Sasha Waltz & Guests, with Jochen Sandig in Berlin. From 2000–2005 Waltz served as an artistic director of Berlin’s Schaubühne am Lehniner Platz. With her company she collaborates with a wide range of institutions including municipal theaters, opera houses, and museums. The development of innovative forms of performance and creation in choreographic musical theater has become the most significant focus of her work. The recipient of numerous honors, she was awarded the rank of Officer in France’s Order of Arts and Letters in 2010 and the Order of Merit of the Federal Republic of Germany in 2011. Since 2013 she has been a member of the Academy Arts, Berlin.

Jennifer Archibald, founder and artistic director of the Arch Dance Company and program director of ArchCore40 dance intensives, is a graduate of the Ailey School and the Maggie Flanigan Acting Studio. She has choreographed for the Atlanta Ballet, Ailey II, Cincinnati Ballet and will create new works for Ballet Memphis, Cincinnati Ballet, and Kansas City Ballet in 2016-17. She is the recipient of a Joffrey Academy of Dance Winning Works Choreographic Competition award and of a fellowship from the Alvin Ailey company’s New Directions Choreography Lab. She is on the faculty of the Barnard College Department of Dance and the Yale School of Drama. She has completed residencies and led master classes at leading academic institutions around the globe. To learn more about Jennifer Archibald and the Arch Dance Company, visit www.jenniferarchibald.com.

Joanna Kotze received the 2013 “Bessie” Award forEmerging Choreographer. Her work has been presented at the Baryshnikov Arts Center, Danspace Project, Bard College, Jacob’s Pillow, New York Live Arts, Movement Research, and the National Arts Centre in Ottawa. She has received commissions from Toronto Dance Theatre, Ririe-Woodbury Dance Company, Zenon Dance, and the James Sewell Ballet and has created works on students at the New School, Purchase College, Southern Utah University, and Miami University. She danced with Wally Cardona from 2000-2010 and has worked extensively with Kimberly Bartosik and Netta Yerushalmy. Kotze is on faculty at Movement Research and Gibney Dance and has taught at New York University, the New School, and American Dance Festival. Originally from South Africa, she has a BA in Architecture from Miami University, visit www.joannakotze.com

David Thomson has worked as a collaborative artist in the fields of music, dance, theater, and performance with such artists as Bebe Miller, Trisha Brown (1987-1993), Susan Rethorst, Remy Charlip, Ralph Lemon (1999-2010), Sekou Sundiata, Tracie Morris, Meg Stuart, Dean Moss/Layla Ali, Alain Buffard, Deborah Hay, Tere O’Connor, Yanira Castro, Beth Gill, Marina Abramović, Yvonne Rainer, and Maria Hassabi, among others. His own work has been presented by The Kitchen, Danspace Project at St Mark's Church, Dance Theater Workshop, Roulette, and Movement Research at Judson Church. Thomson is a Bessie award-winning artist and U.S.A. Ford Fellow, and has received support from the Jerome Foundation, MAP Fund, Lower Manhattan Cultural Council, Gibney Dance Center, Baryshnikov Arts Center, MacDowell Colony, and Yaddo. He holds a B.A. in Interdisciplinary Studies from SUNY-Purchase. www.davidhamiltonthomson.com/wordpress/

Spring 2016
Barnard / Columbia Dances at Miller Theatre
Performance Dates: April 15 & 16

Gemma Bond got her first taste of choreography at age 13 when she competed in the Royal Ballet's Sir Kenneth MacMillan Choreographic Competition. She returned to choreography after joining American Ballet Theatre in 2008. Since 2010 she has created three ballets for ABT's Choreographic Institute in addition to works for New York Theatre Ballet, Intermezzo Ballet Company, and the Hartt School. In 2014 she was awarded a fellowship grant from the New York Choreographic Institute (an affiliate of New York City Ballet) that enabled her to create The Giving. Inspired by Shel Silverstein's The Giving Tree, the ballet had commissioned music by Lori Scacco and used two ABT dancers, Christine Shevchenko and Sterling Baca. In 2016 Bond will have her first solo choreographic evening at Danspace/St. Mark’s Church, a collaboration with nine ABT dancers.

Chase Brock is Artistic Director of the Brooklyn-based dance company The Chase Brock Experience. Since forming his company in 2006 he has commissioned six scores and made twenty-seven dances, including American Sadness (2009), The Four Seasons (2008), Junk and Lies (2009), Mirror Mirror (2010), Mission: Implausible (2008), Slow Float (2007), Splendor we only partially imagined (2015), The Song That I Sing; Or, Meow So Pretty (2014) and Whoa, Nellie! (2010), premiering at the Joyce SoHo, Abrons Arts Center, Dance New Amsterdam, Fire Island Dance Festival, and many other venues. His Broadway credits include Spider-Man Turn Off the Dark (2011) and Picnic (2013). He has choreographed the dances in the Metropolitan Opera’s production of Roméo et Juliette and in HBO’s Last Night Tonight with John Oliver in addition to creating the video game Dance on Broadway.

Matthew Brookoff is a New York- based choreographer who has directed the Brookoff Dance Repertory Company since 2000 and has received commissions from the Staten Island Ballet and Performance Mix NYC. His work has been broadcast on Metro Arts 13 Television. As a performer he has danced in the companies of Lynn Shapiro, Mark DeGarmo, Eva Dean, and Rachel Thorne Germond. Matthew holds an MA in Performance Studies from New York University and an MFA in choreography from the University of North Carolina, Greensboro, where he taught ballet and contemporary dance, co-edited the dance appreciation reader Intersections: Dance, Place and Identity and developed an online dance appreciation course with faculty members Ann Dils and Robin Gee. His dance writing has been published in Dance Magazine and Ballet Review.

Tricia Brown Trisha Brown, from Aberdeen, Washington, is the most widely acclaimed choreographer to emerge from the postmodern era. After graduating from Mills College, Brown first came to public notice when she began showing her work with Judson Dance Theater in the 1960s. Along with like-minded artists, Brown began pushing the limits of what was considered appropriate movement for choreography, exploring dances for alternative spaces, including rooftops and walls, and in so doing radically transformed modern dance. In 1970 she formed the Trisha Brown Dance Company and since 1961 has created over 100 dance works, including several operas. An accomplished visual artist, she is represented by Sikkema Jenkins & Co. in New York City.
Among her numerous honors, Brown was the first woman choreographer to receive the MacArthur Foundation Fellowship “Genius Award.” She has been awarded two John Guggenheim Fellowships, the New York State Governor’s Arts Aware, National Medal of Arts, and Commandeur des l’Ordre des Arts et des Lettres by the French Government. She served on the National Council on the Arts from 1994-97. In 2011 she received the Dorothy and Lillian Gish Prize and a New York Dance and Performance “Bessie” for Lifetime Achievement and in 2015 the Honors Award given by Dance/USA.
Stacy Spence will be staging the work.

Loni Landon attended the High School of Performing Arts in New York City and received her BFA from the Juilliard School. She has performed with Aszure Barton, Ballet Theater Munich, Tanztheater Munich, and the Metropolitan Opera. The winner of a 2013 Prince Grace Choreography Fellowship, she has created work for BODYTRAFFIC, Keigwin & Company, Juilliard, School, Whim W’him Seattle Contemporary Dance, LEVYdance, American Dance Institute, Northwest Dance Project, Hubbard Street II, Ballet X, Ballet Austin, SUNY Purchase College, Marymount College, and Princeton University. Her company, Loni Landon Dance Projects, has performed at the Joyce Theater, Jacob’s Pillow Inside/Out Series, and elsewhere. With Gregory Dolbashian, she is the founder of The Playground, an initiative designed to give emerging choreographers a place to experiment and engage with a new community of dancers.

Fall 2015
Barnard/Columbia Dances at New York Live Arts
November 19, 20 and 21

Alexandra Beller is Artistic Director of Alexandra Beller/Dances, currently celebrating its thirteenth anniversary. A member of the Bill T. Jones/Arnie Zane Dance Company from 1995-2001, she has presented her choreography at Dance Theater Workshop, 92nd St. Y, Aaron Davis Hall, Danspace Project at St. Mark's, Abron’s Art Center, P.S. 122, and Jacob’s Pillow as well as at the Open Look Festival in St. Petersburg and Bytom Festival in Poland. She has been a visiting artist at DanceArt in Hong Kong, D-Dance Festival in Korea, and Henny Jurriens Stichting in Amsterdam. Recent projects include the premiere of two evening-length works – “other stories” at ICA in Boston and “milkdreams” during a two-week season at La Mama in New York – in addition to several university residencies.

Molissa Fenley founded her dance company in 1977 and has created over eighty dance works during her continuing career. She considers herself a choreographer presenting work that invites the imagination of the viewer: the work is humanist, abstract, conceptual, and inventive. Fenley’s work has been presented throughout the United States, South America, Europe, Australia, India, Indonesia, Japan, Singapore, Korea, Taiwan, and Hong Kong. She is a Guggenheim Fellow, a Fellow of the American Academy in Rome, a Fellow of the Bogliasco Foundation, and a recipient of two Asian Cultural Council residencies in Japan. She is Danforth Professor of Dance at Mills College. Rhythm Field, a series of essays written by Fenley and her colleagues, was published earlier this year.

Marjorie Folkman, who is staging Canonic 3/4 Studies, is a graduate of Barnard College (‘91), where she majored in dance. She was a member of the Mark Morris Dance Group from 1996-2007 and has taught Morris’ repertory at Phillips Academy/Andover, George Mason University, Mount Holyoke College, and currently at Barnard College, where she is now a Visiting Associate Professor of Professional Practice. Recent choreographic projects include Paul’s Case/Prototype Festival and Oresteia/Bard Summerscape. She holds an M.A. in American Studies from Columbia University and is a fourth-year Ph.D. student at Bard Graduate Center in New York, where she is exploring the intersections of interwar visual and material culture with performance.

Mark Morris, “the most successful and influential choreographer alive, and indisputably the most musical” (The New York Times), formed the Mark Morris Dance Group in 1980 and has since created more than 150 works for the company. He was Director of Dance at Brussels’ Théâtre Royal de la Monnaie from 1988-1991 and in 1990 founded the White Oak Dance Project with Mikhail Baryshnikov. Much in demand as a ballet choreographer, Morris has created eighteen ballets since 1986. He also works extensively in opera, directing and choreographing at the Metropolitan Opera and the Royal Opera Covent Garden, among others. In 1991 he was named a Fellow of the MacArthur Foundation. Morris opened the Mark Morris Dance Center in 2001 to provide a home for his dance group, rehearsal space, community programs, and dance classes for students of all ages and abilities.

Caitlin Trainor, Artistic Director of Trainor Dance, addresses wide-ranging topics with curiosity, verve and humor in her interdisciplinary work. At the heart of her creative practice is a desire to explore ideas through movement and collaboration. Her recent partnerships include fashion designer Christian Siriano and computer scientist Apoorv Agarwal with the TEDx presentation Artificial IntelliDance. Performance credits include the Metropolitan Opera Ballet, Seán Curran, Amy Marshall, Tina Croll and site-specific choreographer Stephan Koplowitz. She has taught and performed internationally, including at Dance City (Newcastle, England), Montclair State University, American College Dance Festival, and Sarah Lawrence College. Caitlin has created new work on Nacre Dance Company (Albany, NY), Marked Dance Project (NJ), the students of Providence College (RI), Murray State University (GA), and Kennesaw State University (GA). During her recent tenure in the U.K., Caitlin co-founded Fresh, an ongoing forum for the development, sharing and discussion of new work for regional dance artists and audiences. Trainor Dance will be performing at The Yard and Jacob’s Pillow Inside/Out in summer 2015.