GWU Department of Theatre & Dance

SANTA CLAUS, a TRDA graduate?

2011-12-13T09:40:00.000-08:00

That's right! But his name isn't Kris Kringle, it's Jack Sanderson (BA, Theater 1984 – 1988).

BECOMING SANTA is the story of one man entering the culture and character of Santa Claus for a single season. We follow Jack as he bleaches his hair, goes to Santa School and tries to do everything that Santa is asked to do. He works as a sidewalk Santa, does home visits, a Polar Express Train and a parade. Along the way, Jack collects children's wishes, learns about the benefits of belief, the history and origin of Santa and the ordinary people keeping the Santa spirit alive.

http://www.washingtonpost.com/lifestyle/style/becoming-santa-theres-life-in-the-old-guy-yet/2011/12/07/gIQAXvoedO_story.html

Alan Wade gives lecture in China

2011-11-30T12:33:00.000-08:00

Alan Wade, professor of theatre, gave an invitational lecture on American Theatre and conducted an acting class at The Meishi Film Academy of Chongqing University, Chongqing, China, during the week of November 14th. Professor Wade also observed classes, was provided an orientation by the theatre and film design faculty, and toured two of the university's campuses. Chongqing University is a comprehensive institution of some 60,000 students on four campuses.

2011 Faculty Choice Award winner Dana Tai Soon Burgess

2011-11-01T10:38:00.000-07:00

Congratulations to our department Chair, Dana Tai Soon Burgess, for receiving the 2011 Service Excellence Celebration's Faculty Choice Award awarded by President Knapp and Provost Lerhman!

Tonight! TRDA presents Circle Mirror Transformation by Annie Baker

2011-10-13T11:42:00.000-07:00

Circle Mirror Transformation
by Annie Baker
Directed by Jodi Kanter

Who would think that a drama class in a small- town community center could forever change the lives of its students? Welcome to Shirley, Vermont, and the world playwright Annie Baker created for her five- character play Circle Mirror Transformation.

October 13, 14, 15 at 7:30 pm
October 16 at 2:00 pm

Students/Seniors $10
General Admission $15

Dorthy Betts Marvin Theatre
800 21st St. NW
Washington DC 20052

Purchase tickets online here: http://theatredance.gwu.edu/Season/mainstage.html

By METRO
If you are traveling by Metro to campus, exit at the stop marked Foggy Bottom/GWU. As you exit the station, you will be at 23rd and I Streets.

DANCE:FILMS – AN EXTRAORDINARY EVENING DANCE FILM SHORTS / NEW MEDIA / PERFORMANCE

2011-09-22T11:53:00.000-07:00

DANCE:FILMS – AN EXTRAORDINARY EVENING

DANCE FILM SHORTS / NEW MEDIA / PERFORMANCE

TZVETA by Anthony Gongora

Event: Friday October 21, 2011 8pm

ARTISPHERE

Presents

DANCE:FILMS

FILM TRAILERS, FILM DESCRIPTIONS, ARTISTS, PHOTOS:
http://www.maidadance.com/DANCEFILMS.html
Seven Film Shorts – Five Premieres
Filmmakers/Artists: Maida Withers, Anthony Gongora, Steve Hilmy,
Ludovic Jolivet, Ayo Okunseinde, Callister Slater
Dancers: Nathaniel Bond, Tzveta Kassabova, Giselle Ruzany

Friday, October 21, 2011 at 8:00pm
Artisphere – Dome Theatre
1101 Wilson Boulevard – Arlington, VA – Rosslyn Metro (blue & orange) – 2 blocks
$12; $10 Tickets by Phone: 888.841.2787

SEE THE LATEST IN DANCE WITH CAMERA

and DANCE PORTRAITS ON SCREEN

Review: The Asian American experience at the National Portrait Gallery

2011-08-15T07:45:00.000-07:00

See if you can spot Dept. Chair, Dana Tai Soon Burgess!
Visit page.

Dance Production: The Visual Element and Collaboration. Led by Chris Ham and joined by Maida Withers

2011-07-13T11:06:00.000-07:00

Dance Production: The Visual Element and Collaboration
Wednesday, July 20, 2011
Time: 6:00-8:00 PM
Free!!!

Location:
Tenley-Friendship Neighborhood Library
4450 Wisconsin Ave. N.W.,
Washington, DC 20016
*Metro Accessible- Redline to Tenleytown

Join the Eureka Dance Festival for an open lecture/discussion exploring the visual elements of production for Dance and the collaboration efforts of both Choreographers and Designers. Led by Chris Ham and joined by Maida Withers.

What are the Elements of Design? What Elements of Design should you consider when putting together choreography? How do you make those Elements of Design come together successfully? What vocabulary or terminology does a Choreographer need to communicate those Elements of Design with a Designer?

Come join the Discovery!!

Paris: Modernism and the Arts, Then and Now (current blog)

2011-06-21T10:15:00.000-07:00

The George Washington University, Department of Theatre and Dance, Summer Study Abroad
Visit the blog:
http://parismodernism2011.wordpress.com/

Today the students arrived!

Dana Tai Soon Burgess & Company: Welcome back event at the Mongolian Embassy

2011-05-25T07:20:00.000-07:00

This month, The Ambassador hosted my dance company and those who traveled to Mongolia in March a welcome back event at the Mongolian Embassy here in Washington, DC.

Left to right: GW dance teacher Kelly Southall, GW dance alumna Sarah Halzack, His Excellency Khasbazary Bekhbat the Ambassador of Mongolia to the US, GW dance teacher Connie Lin Fink and myself. -Dana Tai Soon Burgess

Former undergraduate dance student at GW celebrates his 60th birthday

2011-05-16T08:30:00.000-07:00

Jeffrey Strum, dancer in Washington, DC and former undergraduate dance student at The George Washington University, celebrated his 60^th birthday on Saturday, May 14, 2011.

Michelle Ava, Michael Kasper, Maida Withers, and other GW associates traveled to DC to celebrate this important occasion by attending a party in his honor in Silver Spring, Maryland.

2011 C.A.S.T. AWARD NOMINEES!

2011-03-25T12:19:00.000-07:00

THE PAUL PARADY MEMORIAL THEATRE AND DANCE AWARD

Eleanor Aubrey, Daniel Bandong, Amanda Demczuk, Corinne Haynes, Sharon Strich, Adalia Tonneyck

Presented to a student who made an outstanding contribution to the Department of Theatre and Dance and its various production activities. The award includes a permanent plaque to be displayed in the Department, a cash prize, and a plaque presented to the recipient.

KEVIN PETER HALL MEMORIAL THEATRE AND DANCE AWARD

Lorna Mulvaney, Madeline Ruskin

An annual acting award for a current student who plans to enter the acting profession, presented to a graduating senior whose commitment to excellence and whose perseverance as an actor is representative of the legacy of inspiration that Kevin remains to all of us. The award includes a permanent plaque to be displayed in the Department, and a cash prize, an acting book, and a plaque to be presented to the recipient.

THE TODD ANDREW MUSSER THEATRE AND DANCE AWARD

Rachel Johnson, Lizzy Marmon, Elyse Steingold

For excellence in theatre. Presented to the undergraduate student who has done the most in the current season to bring joy to the community through sheer determination and dedication, particularly in his or her contribution as a performer in a musical. The award includes a permanent plaque to be displayed in the Department, and a cash prize, and a plaque to be presented to the recipient.

THE HERBERT M. PRICE MEMORIAL THEATRE AND DANCE AWARD

Daniel Bandong, Lizzy Marmon, Alexandra Pinel

This award is given to the student who shows the same love Herb had for the Performing Arts. It includes a permanent plaque to be displayed in the Department, a cash prize, and a plaque presented to the recipient.

NANCY DIERS JOHNSON THEATRE AND DANCE AWARD

Elizabeth Barnett, Jamie Garcia, Jessica Mann, Annika Moller, Alexandra Pinel

Given to a senior dance major or minor who has demonstrated outstanding capabilities as a choreographer through two or more dance works created for the Mainstage concerts. The recipient must exhibit a complete understanding of the elements of choreography as well as sets, costumes, and lighting, and be particularly active in their senior year. The award includes a permanent plaque to be displayed in the Department, a cash prize, a book about dance, and a plaque to be presented to the recipient.

THE AL KINCAID THEATRE AND DANCE AWARD

Ashley Chen, Mackenzie Garrity, Michael McManus, Aaron Pollon

Presented to the freshman or sophomore who has demonstrated a commitment to excellence in design and/or technical production.

The award includes a permanent plaque to be displayed in the Department, a gift certificate for art supplies, and a plaque to be presented to the recipient.

THE ELIZABETH BURTNER THEATRE AND DANCE AWARD

Justin Balsamo, Carolina Leon, Lydia Mokdessi, Annika Moller

Presented to a student for excellence as a performer in dance as a creative art.

The award includes a permanent plaque to be displayed in the Department, a cash prize, and a plaque to be presented to the recipient.

THE TIM EVANS MEMORIAL THEATRE AND DANCE AWARD

Jenny Bernson (Costume Design – Anyone Can Whistle) Paula Wang (Set Design – Oleanna)

Derek Jones (Lighting Design – The Tempest) Jessika Watson-Tetting (Set Design – The Tempest)

Adalia Tonneyck (Costume Design – The Tempest)

Presented to a student for design excellence on a Subscription Season production.

The award includes a permanent plaque to be displayed in the Department, a cash prize, and a plaque to be presented to the recipient.

THE MAIDA WITHERS DANCE CONSTRUCTION COMPANY INNOVATION AWARD

Alexandra Pinel

Presented to a dance student daring to walk the tightrope between originality and risk in performance art and the formality of the theater stage - initiatives recognized as unique and not easily categorized. Leadership qualities may also be given consideration.

The award includes a permanent plaque to be displayed in the Department, a cash prize, and a plaque to be presented to the recipient.

BRADLEY WILLIAM SABELLI DESIGN AWARD

Jonathan Rushbrook, Adalia Tonneyck, Paula Wang

Presented to a junior, senior, or graduate student who has consistently demonstrated in studio or stage assignments originality, ingenuity, creativity, productivity in achieving the Design Concept. The award includes a plaque to be displayed in the Department, a cash prize, and a plaque to be presented to the recipient.

Visit:
http://theatredance.gwu.edu/Cast/castawards.html

GW DEPARTMENT OF THEATRE AND DANCE PRESENTS FOURTH ANNUAL NEW PLAYS FESTIVAL

2011-03-24T15:52:00.000-07:00

NEW PLAYS FESTIVAL

Directed by Jodi Kanter. The department's fourth annual showing of student written one-act plays.

This year’s plays include Voices on the Edge by Nathan Wilson, Spumoni by Conor McCaffrey and Luvolution by Julie Braunschweiger.

March 25, 26 and April 1, 2 at 7:30 pm and March 27 and April 3 at 2:00 pm General admission is $15 for the general public. Admission for students and senior citizens is $10. Tickets are available online at theatredance.gwu.edu, by calling (202) 994-0995 or by visiting the box office on the night of the performance. The box office is located next to the Dorothy Betts Marvin Theatre, on the first floor of the Marvin Center.

The Mongolia Dance Diary: Day 1

2011-03-21T13:25:00.000-07:00

George Washington University’s Dana Tai Soon Burgess, chair of the department of theater and dance and founder of Washington’s premiere Asian-American contemporary dance company, Dana Tai Soon Burgess and Co., travels this week to the Mongolian capital, Ulaanbaatar, to lead master classes in contemporary American dance. Go to the blog

GW Department of Theatre & Dance presents the fourth annual NEW PLAYS FESTIVAL

2011-02-23T15:32:00.000-08:00

The Department’s fourth annual New Plays Festival of student-written one-acts will be directed this year by Jodi Kanter, GW professor of theater. This year’s plays include “Voices on the Edge” by Nathan Wolfson, “Spumoni” by Conor McCaffrey and “Luvolution” by Julie Braunschweiger.

In addition, the festival will feature two evenings of staged readings of student written plays directed by Allyson Currin Stokes: “Holding Penelope’s Hand” by Marielle Mondon; “Postcards from Vienna” by Tay Tufenkjian; “Running from the Border” by Micah Lubens; “Rain” by Elizabeth Lothian. Readings will take place March 28 and 29 at 7:30 p.m. in Betts Theatre (two plays per night, order to be announced).

March 25, 26 and April 1, 2 at 7:30 pm
and March 27 and April 3 at 2:00 pm

General admission is $15 for the general public. Admission for students and senior citizens is $10. Ticket reservations are available online at theatredance.gwu.edu, by calling (202) 994-0995 or by visiting the box office on the night of the performance. The box office is located next to the Dorothy Betts Marvin Theatre, on the first floor of the Marvin Center.

The George Washington University

Dorothy Betts Marvin Theatre, Marvin Center 1^st floor

800 21^st Street, NW

Washington, D.C. 20052

(Foggy Bottom-GWU Metro Station, Blue and Orange lines)

Buy tickets online: http://theatredance.gwu.edu/Season/mainstage.html

GW DEPARTMENT OF THEATRE AND DANCE PRESENTS STEPHEN SONDHEIM’S MUSICAL ANYONE CAN WHISTLE

2011-02-23T15:26:00.000-08:00

GW’S DEPARTMENT OF THEATRE AND DANCE PRESENTS

STEPHEN SONDHEIM’S MUSICAL

‘ANYONE CAN WHISTLE’

EVENT: The George Washington University Department of Theatre and Dance (TRDA) and the Department of Music present ‘Anyone Can Whistle,’ the fourth theatre production of the 2010-2011 TRDA MainStage Season.

WHEN: Feb. 24, 25, 26, 2011 7:30 p.m.;
Feb. 27, 2011; 2:00 p.m.

WHERE: The George Washington University

Dorothy Betts Marvin Theatre, Marvin Center 1^st floor

800 21^st Street, NW
Washington, D.C. 20052

(Foggy Bottom-GWU Metro Station, Blue and Orange lines)

COST: General admission is $15 for the general public. Admission for students and senior citizens is $10. Ticket reservations are available online here, by calling (202) 994-0995 or by visiting the box office on the night of the performance. The box office is located next to the Dorothy Betts Marvin Theatre, on the first floor of the Marvin Center.

BACKGROUND:

Stephen Sondheim’s musical, "Anyone Can Whistle" is directed by Leslie Jacobson, GW’s own director of the academy of classical acting and professor of theatre. Music direction by Patrick O’Donnell (Department of Music). Choreography by Jan Taylor.

"Anyone Can Whistle" is presented through special arrangement with Music

Theatre International (MTI). All authorized performance materials are also

supplied by MTI, 421 West 54th Street, New york, NY 10019 Tel.: (212)

541-4684 Fax: (212) 397-4684 www.MTIShows.com

BUY TICKETS ONLINE HERE

The South Africa Project: February 4 at 7:30 pm

2011-01-25T12:46:00.000-08:00

EVENT: GW’s Department of Theatre and Dance, in collaboration with GW’s Departments of Music, Africana Studies and Women’s Studies, the Multi-Cultural Students Association, as well as St. Andrew’s Episcopal School and The Seekers Church, present The South African Project: Window on Winterveldt. The benefit performance features youth performers from the Bokamoso Youth Center of Winterveldt, South Africa.

WHEN: Friday, Feb. 4, 2011, at 7:30 p.m.

Rehearsal: Thursday, Feb. 3, 2011 at 7:45 p.m.

WHERE: The George Washington University

Dorothy Betts Marvin Theatre, Marvin Center 1st Floor

800 21st Street, NW, Washington, D.C.

(Foggy Bottom-GWU Metro Station, Blue and Orange lines)

COST: Admission is $10 for students and senior citizens, and $30 for the general public.

Ticket reservations are available by emailing kirkak@gwu.edu, by calling 202-994-0995 or by visiting the box office on the night of the performance. The box office is located next to the Dorothy Betts Marvin Theatre, on the first floor of the Marvin Center.

BACKGROUND:

George Washington University (GW) theater professor Leslie Jacobson and colleague Roy Barber from St. Andrews Episcopal School in Potomac, Md., have worked with the youth from Bokamoso in Winterveldt, South Africa, since 2003. Often accompanied by several GW students on undergraduate fellowships, Ms. Jacobson and Mr. Barber develop plays and songs that address social problems of the Winterveldt community. Since 2004, youth from the Bokamoso Youth Center have traveled to the U.S, stayed with GW students, attended classes and performed at the university to benefit the Bokamoso Youth Center Scholarship Fund.

Eleven South African youth will stay with GW undergraduate students in their residence halls, attend classes and events and meet with GW administrators and alumni. The South African youth will rehearse for the performance on Thursday evening. The plays and poems the youth will be performing will come from works they developed with Ms. Jacobson and Mr. Barber, and GW alumni Elizabeth Acevedo, Scout Seide, Caroline O'Grady, Betsey Perlmutter and Margaret Artz. This year, a play created by the Bokamoso drama director will be added to the program.

About Winterveldt, South Africa and the Bokamoso Youth Center

Created under the Apartheid regime in the early 1950s, the rural township of Winterveldt, South Africa, is plagued with extreme poverty, a 25 percent HIV/AIDS infection rate and a lack of education. The community is actively working to heal and restore its population, with contributions from various civic and religious organizations and private individuals. One of the most effective community organizations, the Bokamoso Youth Center, works with at-risk youth to bring focus and hope to their lives through school and various training programs.

Alan Wade directing G. K. Chesterton's Magic at The Washington Stage Guild

2011-01-20T11:50:00.000-08:00

Magic by G.K. Chesterton at The Washington Stage Guild.
Directed by Alan Wade
January 6-30, 2011.
www.alan-wade.com �

DC Theatre Scene review
buy tickets here

TRDA guest artist, Jodi Melnick, gets surprise grant!

2011-01-11T06:59:00.000-08:00

LIKE other choreographers awarded grants through the Jerome Robbins Foundation’s New Essential Works Program, Jodi Melnick never applied. And like the others, she received the news out of the blue, delivered in the form of a call — in her case on Skype — by the program’s ebullient director, Damian Woetzel.

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Andrea Mohin/The New York Times

Damian Woetzel with Jodi Melnick.

“I was like, ‘Are you kidding me?’ ” Ms. Melnick said. “I really didn’t believe it. So I’m getting this grant money — it’s $10,000 — and listen to this: If I want to work with other dancers, I could probably get another five and if I want to work with a bigger group, I could probably get more than that and then get a matching grant.”

She laughed in gleeful disbelief. Even though Ms. Melnick focuses on the solo form and is not planning to create a spectacle “with big overhead,” as she put it, having the option to do so is rare. New Essential Works, which finances the development of new dances, was created by the Jerome Robbins Foundation in the fall of 2009 in response to the financial crisis. Allen Greenberg and Daniel Stern, a trustees at the foundation, and Christopher Pennington, its executive director, were concerned about the prospect of a lost period of choreography.

Many of the grants pair a choreographer with a dance company, but Ms. Melnick’s award was the first to sponsor an individual choreographer without a specific project in mind. So far most awards have benefited struggling ballet companies and choreographers whose work might otherwise have fallen through the cracks.

The program provides about $250,000 a year with grants generally ranging from $10,000 to $35,000. Eleven grants have been awarded, with at least five pending. (In 2010 the Jerome Robbins Foundation gave away about $1.8 million.)

Mr. Woetzel makes decisions about grants with Mr. Greenberg, Mr. Pennington and Mr. Stern. “Some of this is about companies in need,” Mr. Woetzel said. “Some of it is about choreographers who perhaps need more work or it would be nice to see taking a step forward that otherwise they might not be able to take.”

This year New Essential Works will collaborate with Yaddo to recommend candidates for choreographic residencies. One word that Mr. Woetzel continually returns to in describing the program is relevance. “That’s what is so wonderful about the New program,” he said. “It is about filling a need. It is about everything, from economics to art, and it’s about today, so that’s great. It’s not based on the high-mindedness of ‘this is the utopic way things should be.’ ”

Mr. Woetzel, a former principal with New York City Ballet, isn’t the type to wait around for things to happen. As the artistic director of the Vail International Dance Festival and a member of the President’s Committee on the Arts and the Humanities, he has connections and is often able to finagle matching grants. Mr. Woetzel’s networking efforts, frequently in tandem with the Rockefeller Brothers Fund and the Knight Foundation, generally benefit smaller ballet companies outside New York.

The first sponsored work, Matthew Neenan’s “At the Border,” choreographed for the Pennsylvania Ballet, will also be performed by Nevada Ballet Theater in March. Jessica Lang’s “Solo in Nine Parts,” created for Kansas City Ballet, will be shown at Eugene Ballet and Alaska Dance Theater in April.

In the case of Oregon Ballet Theater, which presented a new work by Emery LeCrone in April, Christopher Stowell, the company’s artistic director, was impressed by the program’s immediacy.

“It’s the kind of thing that can sometimes take three years to develop,” he said. “This happened very fast. We didn’t have a brand new work in the season for the first time in many years, and they wanted to make a difference. One thing that was interesting is that they would only fund something that we would add to that season.”

At Sacramento Ballet the choreographer Brian Reeder presented “Market Crash” in April. The work, set to a score by Eric Moe, explores the notion of panic and anxiety and will be done by the company again in May. “It wasn’t like, ‘We need for you to make an opener or a closer for us,’ ” Mr. Reeder said. “It was more, ‘Make what you want.’ I felt very free and open, and that’s not always the case.”

New Essential Works also has a partnership with the Baryshnikov Arts Center, where, during the fall, three contemporary choreographers — Stefanie Batten Bland, John Heginbotham and Elena Demyanenko, all chosen by Mikhail Baryshnikov — were granted five-week residencies and $10,000 each. The center’s executive director, Stanford Makishi, said the center also provided technical and administrative support.

“The goal was very much in the spirit of what the New Essential Works program was doing with regional ballet companies,” he said. “We wanted to potentially lift the careers of these people.”

The center hosted several showings of the choreographers’ work throughout the fall. On Sunday afternoon they will present dances created during their residencies as part of the Association of Performing Arts Presenters showcase. This year the residency program will focus on Broadway dance.

“The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things,” Mr. Woetzel said. “I think there’s a role to be played in the idea of: What is a Broadway choreographer today? How do you become a Broadway choreographer? What are the skill sets?”

In many ways Mr. Woetzel, armed with curiosity, is still developing his eye for choreographers.

“In ballet class Stanley Williams used to say, ‘I don’t see it,’ and it was so frustrating because you wanted to say: ‘That’s a brisé. I just did it.’ ”

Mr. Woetzel said he experienced a similar sensation when watching dances. “Is it blurry?” he asked. “Is it in focus? Has this been thought through? Does it make sense, or does it make sense that it doesn’t make sense? I just want to have experiences that matter in the theater.

“There’s a part of me that just loves dancing,” he continued. “I could sit and watch the Nicholas Brothers all night, happily, on one level, but then I’m also dying to see Jodi just stand there and move her arm over the course of 20 minutes. There are no rules.”

This article has been revised to reflect the following correction

Correction: January 10, 2011

An earlier version of this article misstated the name of a dance company in the Northwest. It is Oregon Ballet Theater, not Oregon Dance Theater.

Former TRDA guest artist luciana achugar 2010 Newsletter

2010-12-28T07:10:00.000-08:00

Dear Friends,

I write you at the close of what has been an unforgettable year for me both personally and artistically. From the presentation of Franny & Zooey (2007) at the American Realness Festival last January 2010 at Abrons Arts Center to the premiere of a new work commissioned by the Zenon Dance Company at The Southern Theater in Minneapolis this Fall, this year has been filled with many significant opportunities for me to continue my work.

Most importantly, this year, we premiered PURO DESEO at The Kitchen in April; a duet by luciana achugar and Michael Mahalchick with lighting design by Madeline Best and Costumes by Walter Dundervill. We are so excited by the amazing reception this work received and, we are thrilled to announce that PURO DESEO and its whole collaborative team, received a 2010 New York Dance and Performance “Bessie” Award “for casting a spell on the audience and taking them into the dark, dark mysteries of the body and all its desires”.

“She wants, I think, to mesmerize us, which she does, and I don’t think she’d mind scaring the hell out of us. If I were to cede my ability to construct a sentence and moan my way down the page in syllables, I might better convey the visceral response this work induces. [...] PURO DESEO isn’t what people usually mean when they call something a dance. All the movement is guttural; gestures spew up from some dark, inner place.” Deborah Jowitt, The Village Voice.

We are very excited that we will get to perform PURO DESEO again in its entirety this January during APAP; and we invite you to experience this Bessie Award winning show again or for the first time in the amazing Abrons Arts Center Playhouse Theater as part of the American Realness Festival on January 7th & 9th!

For info and tickets click here:

http://www.henrystreet.org/site/PageServer?pagename=AAC_PERF_luciana_achugar_puro_deseo

During 2010 I was also very grateful and proud to be the recipient of a Foundation for Contemporary Arts Grants for Artists Award, receive support from the Jerome Foundation, make new commissioned work on 8 dancers for the Zenon Dance Company of Minneapolis and to be selected for a second year Residency at BAX/Brooklyn Arts Exchange as a Research Fellow, where I am doing research on teaching dance technique as I begin working on my next project tentatively titled Feeling Form.

2011 is already shaping up to be a fruitful year. I will be working with 16 students from the New School to make a new work to be premiered during their April Concert at the Alvin Ailey CitiGroup Theater, I will continue my research Residency at BAX and begin development for my next work to be premiered in the WInter of 2012. I will also be traveling to Montevideo, Uruguay during the summer to perform PURO DESEO and to make new work with Uruguayan dancers as a way to continue my commitment to remain in communication with the dance community there.

Last, but not least, I would like to share with you that I will be featured in Dance Magazine's January 2011 "25 to Watch" article. I feel very grateful for this honorable mention and I was particularly moved by what Noemi Lafrance, who nominated me for this, had to say about my work..:

"luciana is doing something that has an edge, but it's also very clean, concise, together. I feel like her work,while experimental, is also accessible. You could see it if you hadn't been exposed to dance and still be moved. It has a touch of being universal.

As a performer, she's powerful without being arrogant; her power is very pure. She's a very down-to-earth human being- generous and natural.

Her last show, PURO DESEO, really brings you on a journey. It takes a little while to evolve. You hear this humming, this singing, and she goes into this very repetitive back-and-forth. But you feel as though the room is starting to get haunted. There's some kind of shamanic quality; the air is getting a little bit thicker. When artists are able to do that, they transcend the space with what they are doing.
I'm curious to see what she does next. She definitely has more intriguing work up her sleeve."
Noemi Lafrance for "25 to Watch", Dance Magazine.

____________

I am so grateful for the support of friends, collaborators and donors thus far! The success of my work is completely reliant upon your generosity.

As you plan your year-end charitable donations, we hope that you will consider making a contribution to luciana achugar dance. By giving a tax deductible donation to luciana achugar, you are helping to provide our company with the opportunity to grow creatively and financially. We hope you will consider donating before January 1st and lowering your tax burden for 2010.

I look forward to welcoming you to the re-mounted version of PURO DESEO at Abrons Arts Center as part of the American Realness Festival!

http://tbspmgmt.com/AMERICAN_REALNESS_.html

Happy New Year!!!!

Sincerely,

luciana achugar
41 Withers St. #6
Brooklyn, NY 11211
Cell # 646.872.4192
www.lachugar.org

Voice and Character Performance Final

2010-12-10T07:49:00.000-08:00

Please come to the Voice and Character Performance Final

A staging of excerpts from the poetic novel VANISHING POINT, by Australian writer Jeri Kroll

on Thursday, Dec. 16th, at 7 p.m. in Studio XX

All are welcome!!!!

Dana Tai Soon Burgess & Company: America’s Cloud

2010-12-09T08:12:00.000-08:00

Join acclaimed choreographer Dana Tai Soon Burgess and his contemporary dance company as they debut their site-specific dance piece, “America’s Cloud”. more>

Dances by Dancers: December 8, 2010 at 7:30 PM – Building J Down

2010-11-29T12:43:00.000-08:00

Dances by Dancers (choreography for 3 or more) – 14 students in the Dance Composition Class present original choreography for casts of 3 or more.

Wednesday, December 8, 2010 at 7:30 PM – Building J Down

Trends in Performance Final Event (Title TBA)

Thursday, December 9, 2010 at 7:30 pm – Building J Down

FREE - Both programs are also requesting donations for a friend of Justin Balsamo, Business School, who died this past year. The Business School will send a representative to the programs to tell about this young person.

Movement Composition and Trends in Performance Art: Final Performance Dec 8/9

2010-11-29T10:37:00.000-08:00

Join the Movement Composition and Trends in Performing Arts Classes in their final performance of the year!

This performance is FREE

Where: Studio J Dance Theater
Date: Dec 8/8
Time: 7:30 pm

GW Department of Theatre & Dance presents Fall DanceWorks 2010 Concert Director Anthony Gongora

2010-11-17T09:56:00.000-08:00

The George Washington University Department of Theatre & Dance presents Fall DanceWorks 2010, featuring internationally acclaimed guest artist, Susan Rethorst, and GW student choreographers.

WHEN: Nov. 18, 19, 20; 7:30 p.m.

WHERE: The George Washington University
Dorothy Betts Marvin Theatre, Marvin Center 1st floor
800 21st Street, NW
Washington, D.C. 20052
(Foggy Bottom-GWU Metro Station, Blue and Orange lines)

COST:
General admission is $15 for the general public. Admission for students and senior citizens is $10. Tickets are available online at www.theatredance.gwu.edu, by calling 202-994-0995 or by visiting the box office on the night of the performance. The box office is located next to the Dorothy Betts Marvin Theatre, on the first floor of the Marvin Center.

BACKGROUND:
Concert Director, Anthony Gongora, holds an MFA in Dance from the University of Maryland. Gongora has danced in the companies of Loretta Livingston and Dancers, Chicago Repertory Dance Ensemble, Bob Eisen Dance, Mordine & Company and Jan Ekert & Dancers. Gongora has presented his own work nationally and internationally.

Susan Rethorst, internationally renowned teacher of choreography, was born in 1951 in Washington, D.C. Ms. Rethorst’s work has been presented by The Museum of Modern Art, The Kitchen Center, Dance Theater Workshop, Danspace Project at St. Marks, The Downtown Whitney Museum, as well as at various dance theaters, universities and festivals throughout the U.S. Internationally her work has been produced by The Holland Festival, Spazio Zero Rome, The Kunsthalle Basel, The Aix-en-Provence Festival and Jerusalem’s Room Festival.

Ms. Rethorst has received many accolades in recognition of her choreographic achievements including two “Bessies,” the New York and Performance Award for Outstanding Achievement. She was the recent recipient of the 2010 Alpert Award in the Arts for dance. The yearly award is given to five artists working in the fields of dance, film/video, theatre and visual arts. She has published articles on her choreographic thinking in “Movement Research Journal” and “Choreographic Encounters” and is currently completing a book titled “A Choreographic Mind”.

GWU Launches new MFA degree in Dance

2010-11-16T11:01:00.000-08:00

GEORGE WASHINGTON UNIVERSITY LAUNCHES INNOVATIVE ADVANCED DEGREE PROGRAM FOR THE MID-CAREER DANCER

Unique Program Allows Performers to Continue Career and Further Learning Through Individualized Hybrid Learning, Video-Sharing and Global Collaboration

WASHINGTON- Contemporary dancers from D.C. to Dubai now have an opportunity to continue their education and not miss a beat. The George Washington University’s Department of Theatre and Dance (TRDA) will offer a new Master’s of Fine Arts degree for mid-career dancers, performers and choreographers across the globe. The advanced degree program will allow dancers to refine individual style, technique and repertoire while developing professional relationships with the larger international dance community.

“As dancers and choreographers, we have limited time to build a career and the process of receiving more education should not slow the process, it should enhance it,” said Dana Tai Soon Burgess, chair of GW’s theatre and dance department, one of the region’s preeminent choreographers and director of DTSB & Co., Washington, D.C.’s premier Asian-American Dance Company. “Dance is a fundamental form of communication which bridges cultural differences, and we look to this new program as a way to enhance global dialogues between artists.”

The program is designed for highly-skilled, practicing professionals with extensive dance experience and will incorporate highly-individualized distance and on-site learning. With matriculation slated for June 2011, the new rigorous 18-month program offers an initial eight-week residency at GW, two semesters of supervised distance learning for artists working full-time domestically or internationally and completion of a performance portfolio submitted via electronic media. Each student will work one-on-one with a GW TRDA faculty member over an intensive 18-month period to develop their performance portfolio.

“I am delighted that this innovative program will be drawing accomplished artists to George Washington from around the world with a curriculum designed to develop their talents still further,” said GW President Steven Knapp.

Collectively, GW TRDA faculty mentors offer more than 50 years of technical training and performance experience, bringing both a professional and scholarly structure to the program. Additionally, students will learn from the opportunities that exist through specialists in the areas of dance curation, management and advocacy who work in institutions including the Kennedy Center for Performing Arts, the U.S. State Department Bureau of Educational and Cultural Affairs, the Smithsonian Institution, the National Geographic Society and the National Endowment.

“This program is tailored uniquely for experienced and successful dance artists working with passion in the field today,” said Maida Withers, GW professor of dance. “A program that promotes and values association with other distinguished professionals from around the world.”

The advanced degree program strongly encourages applicants from the international dance community. George Washington University and its Department of Theatre and Dance value contributions that are made to the program by students from other countries and who bring a culturally diverse perspective to its program.

GW’s Department of Theatre and Dance

The Theatre and Dance department at the George Washington University is the premiere department of its kind within the Washington, D.C. metropolitan area. In existence for more than 70 years, the oldest and most extensive visual arts department within the nation’s capitol has cultivated several prominent alumni in the arts. GW’s Department of Theatre and Dance offers a widespread curriculum in all repertoires of dance and all aspects of theatre including design and production. The department is one of a kind as it remains committed to research excellence through all forms of creativity. For additional information on GW’s Theatre and Dance department as well as program offerings, visit theatredance.gwu.edu.

MEDIA CONTACT: Courtney Bowe 202-994-5631; cmbowe@gwu.edu

Modern Dance Mentorship: Dana Tai Soon Burgess wins grant to run Asian American youth dance program

2010-11-11T11:32:00.000-08:00

Modern Dance Mentorship

GW dance professor Dana Tai Soon Burgess and his company recently won a grant from the mayor’s office to run an Asian American youth program. read more

New book based on Allyson Currin's Kennedy Center play, UNLEASHED!

2010-11-08T08:12:00.000-08:00

Unleashed: The Lives of White House Pets (The Kennedy Center Presents: Capital Kids)

The White House is off the leash! The third book in the Kennedy Center Capital Kids series based on Allyson Currin's Kennedy Center play, UNLEASHED! Published by Simon and Schuster! Release date January, 2011!

Allyson Currin, Playwright/Actress
AEA, SAG
www.allysoncurrin.com

The Washington Post: Dana Tai Soon Burgess & Company perform 'Charlie Chan and the Mystery of Love'

2010-10-25T07:45:00.000-07:00

DANCE REVIEW

Dana Tai Soon Burgess & Company perform 'Charlie Chan and the Mystery of Love'

By Sarah Kaufman

Washington Post Staff Writer
Monday, October 25, 2010

http://www.washingtonpost.com/wp-dyn/content/article/2010/10/24/AR2010102402665.html

Contemporary Chilean Dance

2010-10-20T11:37:00.001-07:00

Contemporary Chilean Dance 4595.11

This course is an international choreographic exchange program with the University of Chile's Dance Program. GWU students and University of Chile Students work in tandem to create dances which are then shown via video conferences and ultimately are performed live in DC and Santiago. This variable 1-3 credit course culminates with a trip and performance in Santiago in May 2011. Students are responsible for their plane ticket and are housed and hosted by Chilean dancers in Santiago. A chance to understand and communicate with South American artists through the medium of contemporary dance. This one time program is limited to 12 students.

GW Department of Theatre & Dance presents William Shakespeare’s THE TEMPEST directed by guest director, Clay Hopper

2010-10-20T11:05:00.000-07:00

GW’s department of theatre and dance presents William Shakespeare’s The Tempest, directed by this year’s guest director, Clay Hopper. Associate artistic director at Olney Theatre Center (OTC), Mr. Hopper has directed for National Players, the classical theatre touring component of OTC as well as their Summer Shakespeare Festival since 2003. Credits include Two Gentlemen of Verona, Twelfth Night, The Tempest, Othello, The Taming of the Shrew, Much Ado About Nothing, Midsummer Night’s Dream, Romeo and Juliet and Amadeus.

The Tempest tells the story of the magician Prospera and her daughter Miranda who must take refuge on an enchanted island. Prospera, who has magical powers, releases the spirit Ariel from a spell and meets the savage Caliban. Prospera then uses her powers to create a tempest that shipwrecks those who caused her exile.

Performances run October 28, 29, 30 at 7:30 pm and October 31 at 2:00 p.m.

Purchase tickets and season subscriptions online at: http://theatredance.gwu.edu
or for information call the TRDA promotions office at 202-994-0995.

TRDA dance faculty Irina Wunder at the 20th annual conference of the International Association of Dance Science and Medicine

2010-10-11T07:13:00.000-07:00

Irina Wunder will present her study at the 20^th annual conference of the International Association of Dance Science and Medicine (IADMS) in Birmingham, UK. The study was undertaken to examine neuromuscular activity of the abdominal and spinal muscles during a complex ballet movement, arabesque. Arabesque is an ultimate test of the dancer’s classical line. While dance students can find ample advice on the performance technique of arabesque in ballet class and/or ballet literature, the actual muscular behaviour during the movement has not been previously investigated. Electromyography (EMG) was used to record signals produced by the active abdominal and spinal muscles during arabesque. The findings of the study indicated that in contrast to traditional models instructing that dancers “pull up” in the lower back, it were the abdominal muscles that first responded with a “burst” like activity. The spinal muscles reacted with a slight delay, after which the pattern of activity between the abdominal and spinal groups became steady, continuous and coordinated in nature. Such phenomenon may indeed be explained by the anatomically functional role of the core muscles in maintaining balance as well as their agonistic/antagonistic action in arabesque. Consequently, the abdominal/spinal strategy would be preferable to the isolated “pull up” action in the lower back. The study suggests that measurements of EMG output can provide objective evidence in support or refutation of the conceptual theories that have been passed down as a legacy inherent to dance instruction. The findings may be of practical interest to dance educators and dancers themselves.

DanceTeacher Magazine: Dana Tai Soon Burgess

2010-10-01T10:24:00.000-07:00

Face to Face: Dana Tai Soon Burgess

By Nancy Wozny

Dances the Asian diaspora

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Choreographer Dana Tai Soon Burgess places the intersection of art and culture front and center in his dancemaking. “It’s important for us to use our history as a lens for viewing contemporary life,” says the son of a Korean-American mother and a Scottish-Irish-American Asian history scholar father. read the full article

SPRING MUSICAL AUDITIONS: Sondheim's 'Anyone Can Whistle', Sept 13-14

2010-09-09T06:56:00.000-07:00

Auditions for the Spring Semester musical, a joint production with the Department of Music, will be held in the Fall Semester, on Mon., Sept. 13th and Tues., Sept. 14th in the Marvin Center music studio.

Call-backs will be held on Wed., Sept. 15th. This is to give us a jump on learning the music and doing some early character exploration, etc.; although regular rehearsals won't begin until the Spring Semester.

The production, Stephen Sondheim's Anyone Can Whistle, which launched the Broadway musical stardom of Angela Lansbury, with book by Arthur Laurents (of Gypsy and Westside Story fame), will be performed in late February, 2011.

Auditionees should prepare one minute of a song they feel demonstrates both their singing and acting abilities. They need to bring the sheet music to the audition; we will provide the accompanist. We look forward to seeing you there!!!!

Sign-up sheet posted on the TRDA call-board

AUDITIONS: DanceWorks Fall 2010

2010-09-03T12:33:00.000-07:00

Date: September 8th, 2010
Time: 6:30 pm to 9:00 pm
Location: J Dance Studio (on the main campus of GWU)

Open auditions for Fall 2010 DanceWorks featuring guest artist Susan Rethorst with faculty and student choreography. Concert Director, Anthony Gongora.

Dancers arrive at 6:30 pm to complete paperwork

Dancers will audition barefoot

NO DANCE SHOES PLEASE

for more information please visit:
http://theatredance.gwu.edu
or call (202) 994 0995

Auditions: The Tempest - September 1 & 2 from 6:30pm to 10:00pm in Building XX

2010-08-30T12:56:00.000-07:00

William Shakespeare's The Tempest
Directed by Clay Hopper

Auditions will be held on September 1 & 2 from 6:30pm to 10:00pm in Building XX, 202.
If needed, there will be callbacks held on September 3.

Actors are to prepare any Shakespeare monologue no longer than 2 minutes.
Sign up sheets are posted on call-board.

Welcome back! from the Dept. Chair

2010-08-25T07:00:00.000-07:00

Looking forward to seeing everyone back at GW next week! I can't wait to start teaching classes again and to welcome the Freshman dancers to our Department. See you soon!

All the best,
Dana

Bourgeon article by TRDA Dance major Kathryn Boland

2010-08-04T08:40:00.000-07:00

http://bourgeononline.com/2010/08/university-and-professional-arts-collaborations-mind-the-gap/

Kathryn Boland is a rising Senior at the George Washington University, majoring in Dance. She is also minoring in Art History, Theater, and English. Originally from Newport, Rhode Island, she is fascinated with anything and everything artistic. A former intern, she is currently an editorial assistant for Bourgeon.

Maida Withers performs in Las Vegas in celebration honoring Alwin Nikolais

2010-07-26T07:50:00.000-07:00

MAIDA WITHERS DANCE CONSTRUCTION COMPANY

Performs at 12th Annual Dance in the Desert Festival, Las Vegas, Nevada,
Honoring Alwin Nikolais
Maida Withers, former guest teacher for famed multimedia/dance artist Alwin Nikolais, joins with other dance colleagues to celebrate the 100th year of Nik's birth. Maida Withers, Ayo Okunseinde, new media, and Steve Hilmy, composer/musician, will perform Fare Well - The End of the World As We Know It OR Dancing Your Way to Paradise! on Friday, July 30, 2010 at the Nicholas J. Horne Theatre in Las Vegas, Nevada.

College of Southern Nevada presents the

12th Annual
DANCE IN THE DESERT Festival
Honors Alwin Nikolais

Friday July 30, 2010 at 7:30 pm
Saturday July 31, 2010 at 2:00 and 7:30 pm
College of Southern Nevada, Cheyenne Campus
Nicholas J. Horn Theatre
3200 East Cheyenne Avenue

This year’s Dance in the Desert Festival celebrates the 100th anniversary of modern dance innovator Alwin Nikolais’ birth. Regarded as the father of multi-media, “Nik,” as he was known to his colleagues, inspired successive generations of dance enthusiasts with his highly imaginative dance theatre creations for which he designed not only the choreography, but also the music, costumes, sets, props and his revolutionary lighting effects. Beyond the stage, Nik’s comprehensive philosophy of dance as an art form, disseminated through schools, workshops and master classes, continues to guide the aesthetic direction of many of today’s most original dance makers. The recipient of numerous professional honors during his career, Nik, who died in 1993, was awarded the National Medal of Arts, presented at the White House in 1987 by President Ronald Reagan. Esteemed abroad for his contributions to contemporary dance, Nik was called upon by the French Ministry of Culture to create a national school, injecting new energy into the European dance scene with his concepts of time, shape, space and motion. Nik’s fresh approach to dance theatre has inspired such companies as Pilobolus and Momix. Las Vegas audiences may also recognize Nik’s influence in the many Cirque de Soleil productions dotting the Strip. Dance in the Desert Festival 2010 includes a number of participants formerly associated directly with Nik as his dancers, students, teaching associates or just plain fans. Among these are Lynn Needle, Maida Withers, Cathy Allen, Nannette Brodie, Kelly and Leslie Roth and guest choreographer Claudia Gittelman.

Organizers anticipate nearly 40 different dances to be presented by 15 separate companies. Participating artists will be traveling from New York City, Washington D.C., California, Arizona and Michigan to join with our rich local dance community.

The Festival roster is as follows:

Lynn Needle and Kent Lindemer NEW YORK CITY
RusticGroove Dance JACKSON, MICHIGAN
Scorpius Dance Theatre PHOENIX, ARIZONA
Nannette Brodie Dance Theatre HUNTINGTON BEACH, CA
Moving Arts Dance SAN FRANCISCO, CA
Maida Withers Dance Construction Company WASHINGTON, DC
Desert Dance Theatre TEMPE, ARIZONA
Step’s Junk Funk TEMPE, ARIZONA

And LAS VEGAS companies:

Las Vegas Contemporary Dance Theatre
Las Vegas Ballet Company (Kyudong Kwak and Yoomi Lee)
Nevada Repertory Dance Theater
Saving Grace
Red Desert Dance
Kelly Roth & Dancers
Concert Dance Company
CSN Dance Ensemble

During the past twelve years the College of Southern Nevada’s annual Dance in the Desert Festival has worked to solidify its reputation as a significant venue for the premiere of new choreography and the creatively stimulating exchange of artistic energy. Noting the Festival’s steady progress dance critic Hal de Becker, writing for the Call Back, observed, “One thing is certain, dance lovers who miss the annual Festival, as directed by Kelly Roth, do themselves a disservice because it always offers innovative, exciting performances in varied dance styles and disciplines.” Dave Surratt used his bully pulpit at Las Vegas CityLife to compare the variety and success of the choreographic showcase to another annually heralded local festival: “Not only are these classical, modern and post-modern innovations coming from the local CSN crowd, but from troupes based in Reno, San Francisco, SoCal and Arizona as well. That’s interstate talent, man. It’s like CineVegas for the arms and legs. Chicken soup for the soles.”

Festival director Roth acknowledges his own debt to Alwin Nikolais and the honor this year’s performances share in being a part of the historically significant international commemoration. Said Roth, “I think the audience will again be intrigued with the scope of approaches this year. It’s a rare opportunity to experience the varied choreographic output of so many different artists linked by the abiding influence of a single forerunner, Nik.” Though there may be some repetition of works from one performance to the next, the three separate programs will for the most part offer different repertoire.

Exciting Alumni Update: Nicholette Routhier

2010-06-21T07:49:00.000-07:00

Many of you may remember a wonderful PSA dance / theatre student who graduated from GW in 2004 by the name of Nicholette Routhier. She has just completed her MFA in physical theatre. If you have the time, please visit her new web page. Impressive.

http://www.nicholetterouthier.com

Nicholette was very involved with the DC Dance Improvisation Festival when it was co-sponsored by GW. She handled all the classes taught. She is a beautiful dancer/actor. I am so very proud of all her accomplishments.

Best regards,
Maida

Maida Withers Dances at Amazing Earth Festival, Kanab, Utah

2010-06-04T09:36:00.001-07:00

Photo copyright: JN Bardonner & JN Westwater

Courtney Coughlin Honors Thesis photos taken by GW alum, Adam Peiperl

2010-05-26T06:52:00.000-07:00

Adam Peiperl CCAS BS '57, is a kinetic light sculptor, photographer, and videographer.
Guide to the Adam Peiperl collection at the Special Collections Research Center, The Gelman Library

ART (202) Journal highlights Dana Tai Soon Burgess

2010-05-14T09:23:00.000-07:00

http://issuu.com/thedcarts/docs/art202journal_hyphen_artasidentity

Art Mitchell, long time friend and supporter of the department

2010-05-11T07:01:00.000-07:00

AEM Memorial Service: http://aememorial.wordpress.com/

Washington Post review: The Dancing Princesses (by Allyson Currin and Christopher Youstra)

2010-05-06T07:09:00.000-07:00

Set in the Roaring ‘20’s, the show is a new musical take on the old Grimm’s tale. After the death of his beloved Queen, a grief-stricken King banishes dance from all the land, much to the distress of his people, including his two daughters, Lara and Lena. But the girls find their way to a magical world where jazz music, the Charleston and their mother’s indomitable spirit are alive and well. Finally, the girls, his loyal lieutenant and a muckraking newspaper man bring the King to his senses. He lifts the ban and everyone rediscovers the joy of living.

Read this great article in the Post's Weekend section!

http://www.washingtonpost.com/wp-dyn/content/article/2010/04/28/AR2010042804633.html

Check out the Facebook page for more outstanding reviews!

http://www.facebook.com/pages/The-Dancing-Princesses-by-Allyson-Currin-and-Christopher-Youstra/104981839536833?v=info#!/pages/The-Dancing-Princesses-by-Allyson-Currin-and-Christopher-Youstra/104981839536833?v=wall&viewas=1620154467

Senior Thesis in Modern Choreography: Trials of Terpsichore

2010-04-22T09:20:00.000-07:00

Courtney Coughlin has always been enchanted by Terpsichore and the myths and legends of the muses. As a young girl she thought Balanchine's Apollo should have been less about the guy in tights and more about those magical creatures who stole the show. Trials of Terpsichore is a bit like that--its a look at a few mythical women and the stories that surround them, putting real dancers in their place, and seeing what happens when they start to dance.

Designed to be performed onsite at the Capitol Columns of the National Arboretum, the work recalls the world in which Corinthian columns were originally designed, as well as every artist since that time who has ever idealized that world and its inhabitants. At 3:30 on Saturday, May 1 surrounded by acres of grassy meadow and blooming azaleas, Courtney and her dancers will be celebrating that artistic tradition, and she would like for you to join them.

The National Arboretum is accessible by via public transportation (Metro to Stadium/Armory and bus B2), but Courtney is coordinating alternative transportation departing from campus. If you or someone you know has a vehicle available to bring others to the performance. please contact Rick Westerkamp (rick1987@gwmail.gwu.edu) or Whitney Fetterhoff (whitney.fetterhoff@gmail.com).

Dean Barratt's blog

2010-04-12T11:12:00.001-07:00

If you haven't already seen it, you might want to check out Dean Barratt's blog about attending opening night of Evening of Beckett.

http://blogs.columbian.gwu.edu/deansblog/

Enjoy!

Senior, Emily Murphy, awarded Claeyssens Prize

2010-04-07T11:58:00.001-07:00

We were just informed that the Claeyssens Prize* (through the English Department) has been awarded to Emily Murphy, a graduating senior majoring in Dramatic Literature and minoring in Theatre.

Hurray!

*Astere E. Claeyssens Prize—Established in 1981 by the Trustees of the Bess and Arthur Dick Family Foundation. It is awarded for the best original work in playwriting by a student enrolled in the University.

Allyson Currin: The Dancing Princesses

2010-04-05T12:05:00.000-07:00

The Dancing Princesses
Book by Allyson Currin
Music and Lyrics by
Christopher Youstra
Directed by Kathryn Chase Bryer

In the Annette M. and Theodore N. Lerner Family Theatre at Imagination Stage

April 17-May 30
Saturday and Sunday at 1:30 & 4:00
Saturday at 11:00 (May 8 & 15)
Single tickets: $10-$21
Group discounts for parties of 10+
Call For Tickets at 301-280-1660

Set in the Roaring ‘20’s, the show is a new musical take on the old Grimm’s tale. After the death of his beloved Queen, a grief-stricken King banishes dance from all the land, much to the distress of his people, including his two daughters, Lara and Lena. But the girls find their way to a magical world where jazz music, the Charleston and their mother’s indomitable spirit are alive and well. Finally, the girls, his loyal lieutenant and a muckraking newspaper man bring the King to his senses. He lifts the ban and everyone rediscovers the joy of living.

Enjoyed by ages 4 and up.

Mary Buckley in "There Is An Elephant In This Dance"

2010-03-22T14:23:00.000-07:00

Saturday, March 27 at 8pm
Sunday, March 28 at 7pm

The elephant is a rich and contradictory image that choreographer Lionel Popkin puts front and center in There Is An Elephant In This Dance. Set around a human-size elephant costume, Popkin refers to both the obvious and the unspoken—from religious iconography to personal cultural heritage to the arrival of parenthood. The work is an evening-length dance in which choreographer/performer Lionel Popkin is interrupted by and entwined with his own group of dancers as well as local DC dance artists. The piece features original music by Obie and Bessie winning composer/cellist/vocalist Robert Een .

Popkin’s dances are characterized by his blend of humor, subtle sensuality, precision, sly wit, and raw physical power that The Village Voice says, “yields first to the senses” and then to “intimate adventures”. His work comes from a deeply sensory and unabashed kinesthetic curiosity that places vibrant individuals within an imagistic or abstract landscape.

Mary Buckley , George Washington University Professor and former Board Member of Dance Place, will dance the role of the Elephant. Other performers include recent MFA graduate from George Mason University Adriane Fang, and Carolyn Hall.

Buy tickets at www.danceplace.org

The Washington Post: Lord Arthur Savile's Crime

2010-03-15T09:03:00.000-07:00

The Washington Post:

"a pleasingly lighthearted adaptation, by Largess himself, of Oscar Wilde's novella Lord Arthur Savile's Crime. The production, which features a suitably foppish James Konicek as the unctuous, utterly clueless Lord Arthur, is a palate-cleansing way to inaugurate the Stage Guild's new life, in the undercroft of a Methodist church on Massachusetts Avenue, a block from the Convention Center. Largess, who also directs this world premiere, does a swell job of converting the ripostes of Wilde's novella into dialogue. With all these gentle ministrations, the guild genially takes up where it left off." -Peter Marks.

Link to Washington Post Review

Afgahni vocalist and celebrity, Mozhdah Jamalzadah, visits GW

2010-03-11T08:13:00.000-08:00

Mozhdah Jamalzadah.

Mozhdah Jamalzadah is the most famous female vocalist in Afghanistan and Thursday, after she sang for President Obama at the White House, she visited the Dance and Community Settings class to talk about the power of art and its ability to help women in Afghanistan. She launches her new nationally televised talk show this year from Kabul. The students asked sophisticated questions regarding global politics and the place of art as a transformative medium. She finished her question and answer session by singing to the class in Farsi. She was phenomenal and we look forward to following her show and videos on YouTube and on her website!

Website: www.mozhdahmusic.com

Much thanks to Jill Staggs and the State Department for arranging this wonderful moment at GWU! Dana

UNEVENLANE AT THE KENNEDY CENTER Mary Lane Director

2010-03-10T09:33:00.000-08:00

October 28 and 29, 2010 - 6:00pm

Mary Lane, Director of Unevenlane, has been selected selected for the John
F. Kennedy Center 10th Annual Local Dance Commissioning Project Award. The
Kennedy Center created the Local Dance Commissioning Project (LDCP) in 2001
to foster new dance works by local artists, and present these artists to the
widest possible audience via the Millennium Stage and the internet
web-casts. A select number of Washington, D.C. metro area choreographers are
chosen each year from a pool of more than 50 applicants. The project
provides funds for each artist to create a new piece, a venue to premiere
the work, as well as rehearsal space and technical assistance. Past LDCP
recipients have included Nejla Yatkin, Jason Hartley, Ed Tyler, Boris
Willis, Meisha Bosma, Ludovic Jolivet, Helanius J. Wilkins, Aysha Upchurch,
Gesel Mason, Karen Reedy, Vincent Thomas, and Cassie Meador.

ATTN: TIME CHANGE: The South Africa Project, Feb 5th at 12:00 pm

2010-02-04T08:37:00.000-08:00

Created under the Apartheid regime in the early 1950's, and situated about 30 miles northwest of Pretoria, the sprawling rural township of Winterveldt, South Africa (population of over 700,000) is plagued with the challenges of extreme poverty, including a 50% unemployment rate and 25% HIV/AIDS infection rate; family violence; teen pregnancy; lack of education and opportunity. Yet despite these problems, the community is actively working to heal and restore its population, with contributions from various civic and religious organizations and private individuals. One of the most effective community organizations, the Bokamoso Youth Center, works with at-risk youth to bring focus and hope to their lives, and to get them into school and training programs. Since 2003, Professor Leslie Jacobson and colleague Roy Barber from St. Andrews Episcopal School, often accompanied by several GW students on undergraduate fellowships, have worked with the youth from Bokamoso in Winterveldt, S.A. Each summer, they have developed plays and songs that address social problems in their community. Since 2004, youth from the Bokamoso Youth Center have traveled to the U.S., staying with GW students for three to four days, attending classes, and performing at the Dorothy Betts Marvin Theatre of the George Washington University, to benefit the Center's Scholarship Fund. This past summer, three GW students, Elizabeth Acevedo, Caroline O'Grady, and Scout Seide, partially funded by Gamow and Luther Rice Undergraduate Fellowships, accompanied Prof. Jacobson to Winterveldt. Together with Roy Barber and the youth of Bokamoso, they created a new play about the meaning of success, Halfway to Somewhere. The Feb. 5th performance features this play, followed by the performance of traditional African song and dance, and a guest appearance by the GW Troubadours.

Sponsers:

GW Department of Theatre and Dance, with the support of the Department of Music, Africana Studies, Women's Studies, and the Multi-Cultural Students Association; and by St. Andrew's Episcopal School and The Seekers Church.

Where:

The George Washington University
Dorothy Betts Marvin Theatre
Marvin Center 1st Floor
800 21st Street, NW, Washington, D.C.
(Foggy Bottom-GWU Metro Station, Blue and Orange lines)

When:

Friday, February 5, 2010 at 12:00 p.m.

Guest Artist Jodi Melnick in NY Times

2010-01-28T08:11:00.000-08:00

Dear Colleagues:

In the Sunday New York Times, January 24, 2010, Jodi Melnick, our current TrDA DanceWorks guest artist, was featured in a story about a new work she will be performing for choreographer, Jon Kinzel, at the Kitchen this weekend. The Kitchen is a dance space usually involving new media and technology with dance.

We are so delighted with the residency of Jodi. She is such a brilliant performer, an inspiring choreographer, and an accessible person. I met Jodi in Russia in 2005 where I was in residence creating Thresholds Crossed and she was teaching an amazing class for the TsEKh Summer School. We are so delighted with her work for nine of our dancers.

Best regards,

Maida

DanceWorks Concert Director, 2010

http://www.nytimes.com/2010/01/24/arts/24weekahead.html

DanceMotion USA

2010-01-25T13:17:00.000-08:00

This past Friday, January 22, the Department of Theatre & Dance hosted a Showcase Event, DanceMotion USASM, presented by the U.S. Department of State Bureau of Educational and Cultural Affairs and the Brooklyn Academy of Music (BAM).

DanceMotion USASM is a cultural exchange program designed to reach out to international audiences by sharing and exploring the contemporary dance experience. Welcome and introductory remarks were made by Dana Tai Soon Burgess, Department Chair, and Peg Barratt, Dean of the Columbian College of Arts and Sciences, followed by Karen Brooks Hopkins, President of BAM, Joseph V. Melillo, Executive Producer, and Maura M. Pally, Acting Assistant Secretary of State for Professional and Cultural Exchanges Bureau of Educational and Cultural Affairs for the U.S. Department of State.

The program featured presentations and repertory excerpts by three inaugural DanceMotion USASM companies, URBAN BUSH WOMEN, ODC/DANCE, and EVICENCE, A DANCE COMPANY.

A Q&A moderated by Dana Tai Soon Burgess followed the presentation.

DanceMotion USAsm

2010-01-21T10:58:00.000-08:00

Driving in my car today, I heard “George Washington University” mentioned on the radio: it was an interview of the former President Stephen Joel Trachtenberg by Mark Plotkin, and he was being asked some serious questions like “why did you deserve such a large salary?” “why is the students’ tuition so expensive?” “how do you respond to the rankings of schools in the U.S. News & World Report ‘Best Colleges’ issue?” and my favorite “I’ve heard that GWU was called a ‘lackluster’ school decades ago. Is this true?”

I was impressed not only by how unflappable Trachtenberg was in his responses, but also by his perspective on the positioning of universities and their reputations. His insistence that his salary was justified, that the tuition reflects the quality of the education, and that GWU’s reputation has evolved were substantiated with anecdotes and examples. [full interview available here: http://www.wtopnews.com/?nid=524&sid=611202]

Working in the Theatre & Dance, I interact with a small sliver of a very large institution, but I appreciated Trachtenberg’s comments because they bore relevance with changes happening in our own department. This month Chair Dana Tai Soon Burgess will initiate a collaboration between GWU and the U.S. State Department called DanceMotion. The project will send three internationally-celebrated dance companies to represent the USA on tours abroad, and their repertory will be unveiled at George Washington University. On January 22, the three companies, Ronald K. Brown/Evidence, Urban Bush Women, and ODC/Dance, will perform at The Marvin Center. It is an occasion that not only affirms the value of cultural diplomacy, but also attests to GWU’s unique position as a platform for artists and innovative ideas.

In the January issue of Dance magazine, an article about DanceMotion is given prominent placement in the section “Dance Matters.” It describes how each of the three companies will tour to one continent: Evidence to Africa, Urban Bush Women to South America, and ODC/Dance to Southeast Asia.

How does this connect to Trachtenberg’s interview? It exemplifies the significance of universities in taking an essential role in a community of thinkers and leaders. As Chair, Dana Tai Soon Burgess is savvy about the importance of visibility and giving both artists and students occasions to interact. As GWU is emerging as the institution that not only gives future politicians, lawyers, doctors, businessmen and scientists the skills to excel within their profession, Burgess is making it possible for artists to engage in innovative collaborations through their experiences at GWU.

DC has a history of nurturing important artists and events, such as the premiere of Robert Rauschenberg’s “Pelican” in 1963 with painter Per Olof Ultvedt and Cunningham dancer Carolyn Brown. Now it is becoming the place that offers possibilities to a new generation of dancers, choreographers, artists and musicians. As I learned from my meeting today with the Commissioner Philippa Hughes, who serves on DC’s Commission on the Arts & Humanities, the capital is home to a small and vibrant group of creators and thinkers. Many people know about the magnificent museums and cultural institutions like The Kennedy Center that make the nation’s capital an art-lover’s mecca. But alongside these staid buildings, Hughes and others are finding warehouses and galleries that can house exhibits and cabarets. These venues for younger artists give DC a cultural vitality that balances its political reputation and governmental prestige.

As new projects seek homes and collaborators, GWU holds the potential to become a partner in creative thinking and a place for ongoing dialogue.

Elliot Caplan, a film-maker best known for his documentary “Cage/Cunningham” showed a new film he made recently at the National Galley of Art. It is called “15 Days of Dance” and was created through a collaboration with the University at Buffalo. During a Q&A that followed the screening on January 3, a lively discussion about the importance of documentation, the ephemerality of the art of dance, the behind-the-scenes events that are so rarely revealed, and the role of universities in supporting dance documentation and sustaining dance history were raised and discussed. Most memorably, Caplan said several times, “The university today is the place that can launch culture.” An invigorating idea for a new semester.

-Kate Mattingly

Study Dance in Peru This Summer

2010-01-13T07:46:00.000-08:00

TRDA 195. 10
Study Dance in Peru This Summer Professor: D.T.S. Burgess
This is a summer immersion course in Lima, Peru where students learn about the culture and history of Peru from the Incas to present day through dance! No Spanish required, but a sincere interest in travel and the arts are a must.
To apply contact: Dana Tai Soon Burgess, Chair Theatre and Dance Department
dtsb@gwu.edu
202-994-1660
(on Campus: 5/17-5/23 & abroad: 5/25-5/31)

GW student premieres new dance video

2009-12-07T09:24:00.000-08:00

10-4 is the first dance flick from Unevenlane. Concieved and created by company director and current GW student, Mary Lane (class of '09). The video features three GW dance alum, Jennifer Caulk (class of '06), Megan Wittemore (class of '08) and Nicole Hollander (class of '05). The story follows three women as they move through their daily routine of corporate existence and negotiate the conflict between being a boardroom power player while honoring their authentic selves.

About Unevenlane
Unevenlane is a new dance company based in Washington, DC. Under the artistic direction of the company's founder Mary Lane, the group is compiling a unique body of work with a distinctive style. While exploring various mediums for the context of her work, Lane's choreography demonstrates a respect for structure as she connects stories with emotions to create richly layered dances full of curious intersections, angles, and meaning.

Excited for Alumni Connection Weekend

2009-11-25T07:00:00.000-08:00

Nicole Hollander, class of 2005, is counting down the days for the Dance Alumni Organization's Alumni Connection Weekend on December 5th...

"I am so excited to reconnect with old classmates and hear about their real-life experiences in the dance world since graduating. The schedule of lectures and classes look really exciting and I am surprised to say that my love for Building J has apparently never died. I cannot wait for all of the attendees to see Mary Lane's newest performance and film pieces. Working with Mary over the past few months was just the start to my reconnection to GWU Alumni and I am really excited to continue working with everyone in the future."

APIA Youth

2009-11-24T11:41:00.000-08:00

Professors Dana Tai Soon Burgess and Kelly Southall worked with the DC Mayor's Office on Asian Pacific Islander Affairs to design the first Asian American contemporary Asian American Youth Dance and Arts Program. The students from School Without Walls took weekly dance classes, visited museums and discussed the history of Asia, the Asian American Diaspora and how youth identity today in the APIA community is evolving.

Burgess says, "Dance is a wonderful form of communication which allows young people the opportunity to work together in order to define and find acceptance of their cultural identities in our ever changing American landscape."

Pictured center is Julie Koo the director of the Mayor's Office of Asian Pacific Islander Affairs. Burgess and Southall are in the back row.

Vice President acknowledges the arts

2009-11-20T15:11:00.000-08:00

It was wonderful to have Vice President and Doctor Biden acknowledge the arts so graciously. We are in a wonderful moment in America's history regarding the arts.

-Dana
(Official White House Photo by David Lienemann)

Pirates, Punks and Performers

2009-11-17T06:54:00.000-08:00

In the weeks since posting "Who owns a dance?" on this blog, ideas about choreography, copyrights and creative thinking have been the focus of conversations with colleagues and students. I decided to post a more in depth report about the Dance & Technology panel in Chicago.

Part 2 about Dance and Technology by Kate Mattingly

“Who owns a dance?” was posted at gwutrda.blogspot.com the morning I returned from a panel discussion hosted by The Dance Center of Columbia College Chicago that investigated questions about intellectual property and the arts.

In the week since posting, ideas about choreography, copyrights and creative thinking have been the focus of conversations with colleagues and students. I decided to post a more in depth report about the panel, and to start with a question:

What does choreographer Julia Rhoads have in common with VICE magazine?

Both are challenging existing modes of production and seeing what’s possible with a hefty mix of creative thinking and committed action. VICE magazine began when two guys – Shane Smith and Gavin McInnes - touring as a punk band met Suroosh Alvi, recently released from rehab and keeping himself out of trouble by producing a free magazine. These three started VICE. Smith recalls thinking: “we are going to play this small thing for ourselves and if it gets big, fine, but if it doesn’t, it doesn’t.” Today VICE is published in 14 countries and owns a record label, film company, TV channel, a London pub/gig venue, and several book and merchandise deals.

In The Pirate’s Dilemma, author Matt Mason attributes the story of VICE and their free-thinking to a punk attitude. As Smith says “We don’t do the mag for an audience, it’s not like ‘what demographic are we gonna go for?’ ‘Should we put extreme sports in there?’ Cos we don’t actually care. We put in whatever we think is interesting.’”

Smith believes that the philosophy of VICE continues to influence people today: “Punk was about not taking it, not believing what you see on TV or in the newspapers, and I think that definitely carried over, because people get their news from the Internet and don’t believe the major networks. I don’t know if it’s necessarily anarchy, but it’s definitely thinking for yourself.”

Julia Rhoads, a Chicago-based choreographer who organized the Dance and Technology panel that took place October 24, is someone who is also thinking in ways that are fresh and inspiring. She was inspired by Mason’s book as she was creating her performance “Punk Yankees,” and her ability to re-envision traditional formats and to integrate practice and theory make her an innovative risk-taker. She doesn’t have a TV channel or a film company (yet), but like VICE’s founders she is making work that speaks to the moment in ways that are engaging and smart.

As people walked into the theater before her performance in October in Chicago, a twitter feed was posting ideas next to the proscenium, like stock prices on a ticker. When we were twittered to give a standing ovation as the performers entered, we obliged. Such an interjection of current technology and contemporary modes of communication into a dance performance is refreshing. Walter Benjamin’s words in his 1935 essay “The Work of Art in the Age of Mechanical Reproduction” were prescient:

“During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature, but by historical process as well.”

Bonnie Brooks, Chair of the Dance Center at Columbia College Chicago, wrote in the program for “Punk Yankees: “Rhoads is in the vanguard of new millennium dance discourse, asking questions of authenticity and ownership, questions of memory and originality, questions of reference and credit and when is it just okay to dance and not worry about who thought up that move?” Choreographers today understand that performances can function as escape and entertainment, but it can also trigger new ideas. By interacting with the minds as well as the senses of their audience, artists engage their viewers in different ways of seeing the world and our relationships with others. Rhoads accomplishes these diverse tasks.

When she projects Beyonce in the “Single Ladies” video (choreographed by Frank Gaston and JaQuel Knight), next to Gwen Verdon in Bob Fosse’s “Mexican Breakfast,” the similarities are evident. She allows us to realize how cultural appropriation is not 30 years old (Mexican Breakfast was choreographed in 1969) but Helen Tamiris was using songs by African slaves in her “Negro Spirituals” between 1928 and 1941. Ruth St. Denis was “borrowing” from India’s culture in the early decades of the 20th century.

Is this ethical? Is this legal? As Libby Smigel of the Dance Heritage Coalition explains: “When an artist or scholar or curator needs to make use of copyrighted material – whether to create a new piece of art, to build a critique, or to assemble an art exhibit – each field defines reasonable parameters of the Copyright Act’s fair use doctrine (which permits unlicensed use of cultural materials when they’re needed to serve significant cultural or civic needs) and each field sets its internal ethical standards of how to respect or acknowledge the creative contributors whose work they need to use.”

These questions ignited the panel at Columbia College in October. The conversation began with Rhoads describing her work with sampling and the creation of her site, StealThisDance.com. “Who knew that a project website could be so much work?” she said at one point. But the site (created by Ian Hatcher) is excellent. It is clever in how it shows dancers using other people’s “property” - check the “Terms & Conditions” page. It is creative, showing “Fusions” of different forms of dance, like Cheerleading and Butoh. This particular section attracted the attention of William Forsythe. He commented on the site:

“I really appreciate and admire the kind of skillful thinking that made the StealThisDance website possible. Among many things, it is a moving document of the actual economies of culture, as we experience them from within our practice. People like yourself and your colleagues represent for me the brilliant new generation of thinkers who have chosen, thank goodness, to dance.”

Rhoads acknowledges that we live at a moment when dance is hugely popular, visible on television programs and dance competitions, yet the topic of sampling and theft is convoluted. At one point in her performance “Punk Yankees” her dancers sampled Ohad Naharin’s “Minus 16.” Rhoads had intended that they learn the section from watching YouTube, but two of her company members had learned the choreography from a dancer who sets Naharin’s work, and knew the impulses for certain actions. When these dancers performed with the rest of the cast they looked so different from the others on stage that Rhoads needed to change her idea. She had the dancers inform the cast about the sources of Naharin’s movement.

This anecdote is crucial because it points to different meanings of the word “choreography.” Can choreography be taught by replicating external shapes? When choreography means visual pictures, this may work, but it doesn’t work when choreography emphasizes purpose, idiosyncrasies and action – not how a performer looks, but what a performer is doing. In this scenario, imitating shapes fails. Through Rhoads’ example it becomes clear that Naharin’s choreography -- dances which are visually pleasing, kinetically driven – is motored by ideas as well as movements.

Dance is unlike other art forms because it is taught person to person, and often a teacher instructs students by having them copy phrases of movement. What is the difference between being inspired by a teacher or performance and stealing someone else’s work? At one point in the panel discussion Rhoads acknowledged that she has been deeply influenced by artists she has collaborated with and has absorbed their ideas: incorporating their work into her own happens without intent to harm. It is unwitting. In an honest – and humorous – way, she admitted this during the panel: “I have practiced unconscious theft my whole life.”

She is not alone. Talking to colleagues who are choreographers I heard repeatedly that they had seen a dancer “borrow” phrases of movement, or choreographed a piece without realizing how much they had taken from another artist until they saw the piece performed again. Some choreographers expect that dancers absorb and refashion their ideas when they start making their own work, proving “everything is a derivative work.” At other times “misinterpretation advances a heritage.” When an idea is re-framed and re-contextualized it becomes a new offering, a fresh perspective that speaks to artists and audiences.

Two important avenues were identified during the discussion in Chicago: the first that musicians and composers have demonstrated one way of dealing with ownership and copyright and it may not behoove dance to follow this same road. The second avenue encourages dance artists to engage in ethical practices: to acknowledge lineage and to be knowledgeable.

In history, entities like ASCAP (founded in 1914) originally supported fair compensation for artists and their music. Judge Oliver Wendell Holmes said during the first successful lawsuit by ASCAP (taken to the Supreme Court), “If music did not pay, it would be given up. Whether it pays or not, the purpose of employing it is profit and that is enough.”

Today the music industry has become something else entirely. In The Pirate’s Dilemma Matt Mason describes how one note of George Clinton’s “Get Off Your Ass and Jam,” was used in a new record, leading to a (successful) lawsuit by Bridgeport Music in 2005 at a federal appellate court in Nashville against defendant Dimension Films. George Clinton did not receive any money from the case, available here: http://fsnews.findlaw.com/cases/6th/04a0297p.html

George Clinton happens to be a supporter of rappers sampling his records. In the panel discussion in Chicago, composer Richard Woodbury spoke about how, as territories become more porous, the conversation becomes more complicated. Ownership not only has a legal definition, but also cultural, economic and social implications.

The second avenue encourages dance artists to learn about the past: this means understanding the creations of predecessors so as to be aware when an idea is being re-used. (I thought of this watching MOMIX recently at George Mason University’s Center for the Arts. The performance – which happened on Halloween - was candy for the eyes, sweet and tasty, but also deeply influenced by the experiments of Loie Fuller and Alwin Nikolais. With knowledge of Dance History each performance becomes a fascinating way of juxtaposing the past with the now.)

During the panel discussion Dawn Larsen, an Intellectual Property and Entertainment Law Attorney, explained that there is “no case law as it relates to dance and sampling. The copyright laws apply to all forms of creative work. It is clear that choreography can be protected. As in a book, where the individual words are not protected, the sentences and paragraphs are. The same is true in dance, the steps are not owned by the choreography, their design or ordering can be. The rights involve protecting a work and who can reproduce, sell, own, donate and distribute it. The copyright also controls derivative works such as sequels and new contexts, as in a music video made from a song. Copyrights are owned by the author or can be distributed through a license. A royalty is payment for using the work. Infringement is the use of a copyrighted work in any of these ways – without consent. Fair Use laws outline ways in which artists and scholars can use an existing work, but they are murky. The Digital Millennium Copyright Act (DMCA) was designed to protect owners of copyrighted information. For example, Internet Service Providers (ISPs) are not liable for infringement if, upon receiving notice of a potential infringement, the ISP expeditiously removes the allegedly infringing material or disables access to it. Infringement proceedings can be costly, and situations which may qualify as Fair Use are sometimes caught in the middle of organizations which do not have the funds or time to fight legal battles.”

A recent example of this is The Balanchine Foundation’s request that the Ketinoh channel on YouTube take down its entire collection of Mariinsky and Bolshoi performances plus Vaganova classes and exams, because a small fraction of the material contained Balanchine’s choreography. As Smigel of the Dance Heritage Coalition explains: “It’s possible that challenges like this one lack legal weight – especially under Fair Use. If the Ketinoh channel presents the clips in such a way that they are recontextualized, repurposed, or otherwise presented in a manner that adds to our understanding of ballet history, the case may qualify as a Fair Use of the material. Many copyright owners have a policy of challenging any unauthorized uses, and people comply often because they either need the rights-holder’s cooperation at other times or because they fear going to court even if their use is likely to be fair.” In 2006, the rights-holder of Grateful Dead poster art unsuccessfully sued a publisher for including about a half-dozen unlicensed poster images, but the publisher’s claim of fair use prevailed as being one that repurposed the art alongside other historical material.

During the panel in Chicago, scholar and author Susan Manning cited prior examples from Dance History where legal and artistic developments have intersected: in the1880s copyright laws were created, and in 1892 Loie Fuller performed her Serpentine Dance. Soon after she sued an imitator, Minnie Renwood Bemis, and lost because the court decided that a creative work must have a storyline to qualify for a copyright. The judge wrote:

“A stage dance illustrating the poetry of motion by a series of graceful movements combined with an attractive arrangement of drapery, lights and shadow but telling no story, portraying no character and depicting no emotion, is not a dramatic composition within the meaning of the copyright act.” This law would be revised in 1976, but for Fuller, since her choreography did not tell a story, her creation was not protected.

Susan Manning included stories of other choreographers and their legal battles. Ruth St. Denis was sued by a man from India who had taught her a dance which she used in performance. Agnes de Mille thought that choreographers did not earn the royalties they deserved: she was a life-long advocate for artists, thought that dances should be copyrighted, and served as first chairman of the dance panel of the National Endowment for the Arts in 1965.

The “Copyright Act of 1976” made it clear that all original choreographic works were entitled to protection, regardless of their narrative content. And it set forth a
time-frame – 50 years after the death of an author – during which his or her work would be protected. Twenty years on, pressure from large and small rightsholders led to the act being amended. In the “Sonny Bono Copyright Term Extension Act of 1998” terms were extended by 20 years so that after the death of the author, a work was protected for 70 years and for works of corporate authorship, 120 years after its creation or 95 years after its publication.

Today we live in an economically-driven country where the parameters of what is allowed or forbidden are drawn around topics where someone profits. Dance exists under the radar in a way because it lacks the money and product-mobility of other art forms. This lack of attention can be used to advantage by dance artists creating their own terms and avenues for producing and disseminating work. Economic systems are enforced by laws and are rule-driven; aesthetics cannot be litigated. Dance and performance speak to cultural identities and new forms of interacting with societal norms. Choreography sheds light on systems of communication, expression and representation. Dance and performance, designed creatively and disseminated methodically, can generate agency and self-awareness in performers and audiences. As television programs and YouTube videos send dance into millions of homes everyday, attendance at dance events in theaters is scarce. The prevalence of dance in the media opens new ways of engaging audiences. The panel in Chicago was enlightening because it acknowledged the multifaceted field of dance today. Julia Rhoads is already making changes that are significant: her performance – at once real and virtual - took place on the web as well as on stage. Her ideas engage new modes of production, new ways of interacting with artists and audiences, new models for the creation and distribution of valuable ideas.

Lawyer Peter Jaszi who has worked with the Dance Heritage Coalition to define Fair Use practices, believes Fair Use has significance as a mediating doctrine. Understanding how dance material can be used legally and ethically enables artists and archivists to widen access to these materials. More information on the subject of Fair Use can be found in the Dance Heritage Coalition’s “Best Practices in Fair Use of Dance-related Materials.” This thorough guide is a terrific resource for librarians, archivists, curators, artists and anyone who needs to know what constitutes Fair Use. It is available for free from the Dance Heritage Coalition and accessible on-line. http://www.danceheritage.org/publications/DHC_fair_use_statement.pdf

Dean's Seminar Class

2009-11-12T07:08:00.001-08:00

This semester in my Dean's Seminar Class -"Great Performances in Dance", freshman students have had the opportunity to see many live choreographic works. The student's responses have been wonderful! I have been so impressed with their growth and their ability to write about dance that I am sharing a few excerpts with you. Enjoy, Dana

By Rachel Obenschain, Washington Ballet, Don Quixote

Furthering my analysis of movement, I noticed that the footwork in each scene was intricate and followed the general flow of the music. The music itself, however, sounded like it had been shortened from its original version because the transitions from one song to the next were forced and messy. When the music sped up, as did the footwork, and vice versa. It was also evident to me which movements were of a classical ballet descent and those that were incarnations of folk dancing. The ballet movements were all pulled up, turned out, and involved a great deal of stretch in all of the limbs, whereas the folk dancing was a bit more stylized and incorporated movements such as back bends, wrist turning, and fists. I thought that the folk elements were also responsible for the snapping, clapping, stomping, and tambourine playing, which occurred at random intervals throughout the performance. These aspects added an interesting layer on top of the classical ballet because it provided variation within the performance, while still staying true to the characteristic features of a ballet from the late romantic period. Essentially, I thought the hybridization of ballet and folk dancing enhanced the performance and made it all the more visually pleasing to watch.

Although I enjoyed watching the choreography, I felt the performance quality within the company varied so much that it hindered the performance as a whole. While no dancer in the company was significantly less competent than any of the others, my eyes were drawn to the dancers that performed the movements with the most conviction. Also, some dancers performed the arm movements with great force behind them, while others implicated softness into each gesture. This created an odd visual while watching the company perform together because the technique and movements appeared inconsistent. In addition, I thought that the performance quality of Kitri and Basilio, in relation to one another, was unusual. The dancer portraying Kitri performed her movements with a great deal of tension in her arms and appeared to be working hard for her movements. The dancer portraying Basilio, however, performed his movements with an air of softness and made each movement appear effortless. I thought that this contrast seemed a bit confusing and portrayed Basilio as more effeminate than Kitri.

By Amy Dono -DTSB&Co., Island

In the premiere of Island, the second piece of the evening, the underlying theme entailed the journey and changes in the lives of immigrants stuck on Angel Island, waiting for their passage to the United States that was often never fully granted. Each segment of the work and each separate dance represented a different phase or step in the voyage, both physically and on a mental and emotional level. The visuals employed throughout Island represented the historical context, through Chinese calligraphy, photographs, poetry, and graffiti, and the symbolism of the Chinese characters, especially the one translating to “death” or “mourning” in the final moments, aid the dancers in portraying the story of the many people who came, went, and remained on the island during the era of immigration. All of those who left their homeland in search of the “Gold Mountain” of America were united in their cause and shared a common goal: the pursuit of a better and happier life in a new place.

Yet this new life was difficult and often even impossible to obtain as a result of legal restrictions and political opposition. Many Asians were trapped on the island, as shown through the choreography and images of the piece. The dancers showed each phase of the trip, from the sadness of leaving their Mother China, to the terror and difficulty of the boat voyage, to the alienation and foreign-ness of everything once they had arrived on the island of both hope and doom. The music of this second work incorporated traditional and classical Asian scores, giving it a rich cultural tone, and paired with both traditional and more modern dance components, created an intricate and beautiful show.

As the journey continues, the styles of movement changed as did the music and set, from serene, peaceful lighting and flowing images and motions to stark, quick cuts made by the dancers and dark, harsh background elements. Aside from the symmetry and synchronicity of everything, there was also juxtaposition of the music, dance, and visuals, at the intense moments of transition and climax. In the face of death, with an image of a body projected onto a soft white sheet covering an actual body, the dancers moved slowly and gracefully in a circle despite the terror, shock, and heightened emotions the people must have truly felt. This can also be seen as a form of irony, showing how commonplace these struggles became- yet that is not to say that they were any easier to bear.

Through a combination of traditional and contemporary dance forms and again through the set, scenery, and audio and visual aspects, the work of Dana Tai Soon Burgess Company and the choreographer himself resulted in an intriguing, unique, and moving experience in the art of dance and storytelling without words.

By Nicole Yao-Terheema Mitha, Blue Jeans

To begin with, Tehreema Mitha relays to us in her voice over that people immigrate in order to escape alienation, prosecution, racism, violence, poverty, etc. She ends her voice over with: “The diversity of the United States is what makes us unique”. In a sense, she is only presenting the beginning and the end of the story with her voice: the beginning of immigration, the reasons for it, and the positive outcome of it. This way, she can let her dance speak for itself. The opening dance is Tehreema Mitha dancing a customary Pakistani dance in traditional dress. Her movements reflect the regal, rich, saturated colors of her costume. While beautiful, the costume also communicates the quality of strength; and her movements represent these two qualities as well. Tehreema Mitha’s dance incorporates many sharp, angular arm gestures, while also paying especial attention to a specific hand position. Furthermore, her footwork was not as elaborate as her arm and hand movements; they were smaller steps that repeated themselves while her arms were angular and sharply transformed from move to move, always keeping in mind the pristine position of her hands. Even though her movements embodied strength in beauty, there was also a hint of soft femininity. As I learned in class from our guest speaker about Balinese dance and how women displayed their femininity through movements in their torso, I find this is also recognized in Tehreema Mitha’s dance with her intricate arm and hand gestures. Additionally, the sparkly and delicate head ornamentation of flowers brought the soft feminine quality out. Her dance is immediately connected to the dance of people dressed in red, chrome, and black with masks on. Instantly, once can see the juxtaposition of the type of costume and movements used by Tehreema Mitha and the masked dancers. While Tehreema Mitha’s dance is sharp and strong, it translates a soft femininity as well, however, the masked dancers have a sharpness that represents threat or even violence. Their bodies move more mechanically and more homogenized, making their identities masked and genderless. This section of the performance articulates the “darkness”, the problems, that plague her country. Eventually, when Tehreema Mitha collapses and is covered in a sheer shawl, it represents her immigration and rebirth into a new country, a new environment, a place to start new. In the following solo, duo, and group dances, the role of blue jeans is made aware. In contrast to the dances before, a cheerful, whimsical, sunny, bright, and American song accompanied these dances rather than a traditional piece of music and the dancers are dressed casually in t-shirts and blue jeans. Additionally, the style of dance changed as well. Now, the dancers are dancing a more American conventional dance with sweet and playful kicks, jumps, rolls, skipping, swaying, splits, twirls, and poses. The blue jeans symbolize this type of American lifestyle and culture as well as the positive, happy enlightenment and hopes of immigration. However, the two different styles of dance then start to conflict with one another. There is almost a battle of styles, one trying to outshine the other. This reflects the immigrant’s personal conflict with himself or herself and the notion of stereotyping and losing his or her culture and identity. Additionally, this also exposes the confusion immigrants feel in how to properly balance American culture and their own. In the end, the dancers fuse together the styles of the traditional Pakistani dance and the American dance, which is representative of the epiphany of equilibrium of cultures. This is how Tehreema Mitha transforms classical style into abstract style; she takes certain elements of the traditional Pakistani dance and combines it with American techniques. Elements of the traditional Pakistani dance include small, quick footwork and a wide-ranged use of the torso and upper body, especially with the intricate and elegant arm movements. Finally, the dance of cherry blossoms symbolizes the innocence of immigrants and their potential to flourish and bloom in the United States. This concept is signified by the long, flowing, pink, brown, and champagne colored dresses and the dancers’ graceful movements.

GW Hatchet video features department Chair

2009-11-06T06:37:00.000-08:00

The Hatchet has launched a new video series. Amanda Lindner, a student in TRDA 046, created this video for The Hatchet about the work of TRDA Chair Dana Tai Soon Burgess:
"Dana Tai Soon Burgess: Meet the head of the theater and dance department"
http://media.gwhatchet.com/video/1138/

GWU students engage in artistic and critical dialogue

2009-11-03T13:17:00.000-08:00

Students in the section I teach of “Understanding the Dance” are required to attend and write about dance performances. I have often heard students tell me they dread the assignment when they first read the syllabus, or they object to the idea that I expect them to attend a cultural event in the city when their lives are so busy.

Most students change their minds. The experience not only gives them a chance to witness creative projects in the city, but it also gives them the tools to communicate images, thoughts and concepts in effective ways.

Below are excerpts of reviews written by students this semester: Lauren Doyle, Bill Collier, and Lauren Marmol. They capture the ability to translate visual and visceral experiences into words. They exhibit both creative and critical thinking skills, drawing together disparate ideas from their courses and experiences, then analyzing what they see and how it connects to their understanding of the world. They also reveal the talented faculty of GWU’s TRDA Department: Dana Tai Soon Burgess, the choreographer described here, is chair of the department and his company was presented at Dance Place in Washington DC.

Lauren Doyle: “Island, a piece choreographed by Dana Tai Soon Burgess, was characterized by the idea of cultural depravation and yearning for identity. Burgess’ work premiered on the weekend of October ninth, and I attended the final performance on the eleventh at seven o’clock. The theater in Dance Place was packed to experience this multimedia innovation. The name of Burgess’ show is based on Angel Island, an early immigration center for Asians in California. The work exhibited an expedition, both physical and mental, towards finding the essence of our own identity and embracing the identities of others. I have seen countless dance performances, but Island affected
me in a way I have never experienced. The amalgamation of special effects, music, props, and the dancing revealed a message…. The technological elements helped intensify the journey Burgess wanted the audience to experience with his dancers. As the immigrants faced struggles and their circumstances oscillated, the effects mirrored the fluctuation… As the curtain opened, I was pleasantly surprised to see my modern dance professor, Connie Fink, as one of the performers. It was absolutely remarkable to watch her dance; I felt even more connected to the piece because of her presence onstage. She danced as the immigrant who battled with a guard and was killed. It is one thing to perform a piece that has no relevance to your life but it is quite another to display the story of your ancestors... The show touched my heart particularly because my family is from Colombia, and our culture is everything. I know how difficult it is to try to be a part of this culture without losing the magic of my country. My parents have passed on their unfathomable love for Colombia to me. ‘Love is God, your family and your country. People, who forget where they came from, have nothing. Never forget that the blood that courses through your veins is yellow, blue and red.’ (Blanca Doyle) This performance brought me to tears; any person who has been alienated, discriminated against, or looked down upon because of their race can surely feel the power of Burgess’ work. Island reminds us that we live in a multicultural society; no culture
can survive if it tries to be exclusive.”

Lauren began her review with this quote: "What sets worlds in motion is the interplay of differences, their attractions and repulsions. The ideal of a single civilization for everyone, implicit in the cult of progress and technique, impoverishes and mutilates us. Every view of the world that becomes extinct, every culture that disappears, diminishes a possibility of life"” Octavio Paz

Bill Collier: “The performance, Island, by Dana Tai Soon Burgess & Co was a powerful
and emotional experience, a window into the mind of someone of foreign decent and what their experience may be when coming to America. The title of the piece refers to Angel Island, a place located in San Francisco Bay where Chinese immigrants waiting for permission to enter the United States were held between 1910 and 1940. Due to the Chinese Exclusion Act of 1882, many Chinese were detained there for months on end. To this day, some of the buildings on the site still remain, there are hundreds of poems etched on the walls of these buildings speaking about the poor conditions, mistreatment, and worry about what their future would bring. The performance was a ‘multimedia piece’; it utilized a variety of tools including image projectors, television screens, and an interesting soundtrack. All of these components were used together to illustrate the internal struggle of identity. To this day, some of the images that I saw are still engrained in my mind. The atmosphere that was created seemed to engulf the audience; I felt uncomfortable yet intrigued, I was eager to see more. I really enjoyed the multimedia component of the dance performance… I think that the performance was trying to illustrate the issue with staying ‘connected’ to one’s cultural roots. Many see America as a place to go and reinvent oneself, a place to obtain the ‘American Dream,’ but if you lose the connection to your roots and where you came from, you can’t know yourself at the most basic level. It is like building a structure on an unfinished foundation, it is bound to fail.
The dance style was unique, a blend of precise, simple movements and theatrics that told a story. Especially in the first act, the hands were used a lot, to frame, cover and bring attention to the face. I think that this was to explain that when people see someone, they use their face as the first, most basic way to identify a person: their race, the country they are from. The act of hiding ones face most likely represents the shame or embarrassment that one may feel when coming to a new country, their quest to integrate, or to become ‘American.’ I was touched by the performance. As an Asian American I sometimes feel unsure of my identity. I am undoubtedly an American, but I try to remain true to my Japanese heritage. This summer I had the opportunity to work on a research project on the Japanese-American internment during WWII. Many of the images that I saw in the performance reminded me of the Japanese relocation centers that these people were sent to, the only difference is that many of the Japanese Americans incarcerated were American born citizens. I thought that the performance was extremely innovative, interesting, and well executed, I highly recommend it to anyone who is interested in modern dance or Asian-American history.”

Lauren Marmol: “The movement of the dancers expresses a greater movement, both social and political, that occurred over a hundred years ago. Dana Tai Soon Burgess and Company’s performance at Dance Place on Sunday, October 11th both engages and educates its audience about the struggles of Asians trying to enter the United States at the turn of the 20th century. Divided in two parts, the story of Asians in America is depicted into two very different and real ways. The first, Hyphen, serves to express the difficulties of assimilation in a new land. The performance itself represents a state of limbo in which Asian Americans are attached to their identities of origin while trying to create new ones in America. The second part investigates the Asian immigrants’ experiences in Angel Island off the coast of San Francisco, California. The movements and choreography expresses both physical and emotional abuse suffered by people attempting to immigrate into America.
...In Hyphen, instead of dancing to songs, the performers move with the overlapping and echoing voices of immigrants speaking of their experiences. Together the images and voices help to create a tense, peculiar and overall disturbing atmosphere surrounding the performance… The contrast between the television set and water jugs on stage reveals the contrast between old world and new world and what these concepts represent for the immigrants traveling to America. The dancers start to move in larger strokes, sometimes paired off and in sync and at other times individually. This part of the performance speaks of the struggles of immigrants tied to their origins while starting a new life in America… The second part, Island, echoes the feelings of the immigrants who went through this station during the early 1900s. This performance is distinguished by a large illuminated rectangle on the center part of the stage. This rectangle may be representative of the island itself or isolation itself experienced by Asians during this period attempting to enter the United States. The performers are divided into two very different groups made obvious by their garments: the first group represents Asians interned at Angel Island, wearing maroon robes with small detailing around the neck resembling traditional Chinese attire. The second group is wearing black robes and obviously representing the administrators of Angel Island and may actually symbolize the entity of the United States. These roles are not only made obvious by their costuming, but more importantly by their dance movements. The immigrant group spends most of the time on the floor on the illuminated square while the other group is standing over them. This helps to establish the encroaching inferior-superior relationship between the two groups. Images of internment immigrants as well as Chinese writing pass through the illuminated space on the floor. These images suggest the experience of these immigrants, helping the audience to connect a face to each experience expressed by the dancers… The performance conjures emotions of sympathy and anger… I am not Asian American, but I find myself feeling an inner connection to these immigrants and their experiences through my own family’s immigrant struggle. I find the most climactic point of the performance occurs at the very end. The struggle between the two groups becomes most obvious when one of the immigrants is being beat and thrown about the stage…. Finally the dancers of the immigrant group leave the stage and ascend into the audience, representing the journey of the universal immigrant that is among us all.”

posted by Kate Mattingly

Maida Withers Receives John Muir Award

2009-11-02T08:57:00.000-08:00

TUK I / Maida Withers , GW Professor, Department of Theatre and Dance

Received the John Muir Award - Environment Film Competition

In Recognition of Excellence in Filmmaking

At the 2009 Yosemite International Film Festival

Photographer - Bruce Hucko – Moab, Utah

Event:

Maida Withers received a John Muir Award at the 2009 Yosemite International Film Festival's Closing Night Awards Ceremony for her film, TUK I. The award was in the Environment Film Competition. The Festival took place in the beautiful, world-renowned Yosemite National Park, California.

John Muir, co-founder of the Sierra Club, naturalist and writer, was an important figure in the protection of Yosemite National Park, Grand Canyon, and Mt. Rainier as National Parks. He is often referred to as the "Father of the National Park Service."

Date: Award Ceremony - Saturday, October 24, 2009.

Description:

Tukuhnikivatz (TUK I) is a fusion of dance and the environment filmed in the spectacular wilderness lands of the Four Corners Area of the U.S. Southwest. Dancers, in a ritual of passage, create a metaphor for our time on the earth while capturing the ancestral voice that resides there. This captivating work, conceived and directed by Maida Withers, features music composed by Brent Michael Davids, Mohican Nation, with Blue Butterfly musicians, cinematography by James Byrne, and performed by dancers Tim Harling, Cristy Lamb, Emily Ogala, Will Goins, and Maida Withers.

Tukuhnikivatz (I and II) was selected for showing by the DC Independent Film Festival (DCIFF) in Washington, DC, 2008; Get Reel in Moab Film Festival Moab, Utah, 2008; and Wollumbin Dreaming Festival, Australia, 2007.

http://www.maidadance.com

Who owns it?

2009-10-26T13:13:00.000-07:00

Who owns a dance: the choreographer? the dancers? the viewers? Kate Mattingly reports from Chicago...

What’s the difference between being influenced by and stealing from another artist? Did you know Loie Fuller sued a woman who imitated her Serpentine Dance in the 1890s?

The intersection of intellectual property and the arts may go back a century, but it is a hot topic today – as anyone who has seen Beyonce’s “borrowing” of Fosse in the “Single Ladies” video knows. This weekend I was in Chicago to take part in a panel about Dance and Technology called “A Slippery Slope: Sampling & Piracy in the Digital Age of Dance.” I was part of a discussion with Dance Scholar Susan Manning, Intellectual Property and Entertainment Law Attorney Dawn Larsen, Composer Richard Woodbury, Choreographer Julia Rhoads, and Moderator and Scholar Raquel Monroe. It was a lively and smart conversation. Best of all, the event was followed by a performance created by Rhoads called “Punk Yankees.” The performance was clever, engaging, and subversive. It was my first time seeing Rhoads’ work although her company – called Lucky Plush – is celebrating their 10th anniversary this year. Her “Punk Yankees” blends practice and theory by presenting the most relevant questions through the body to frame, re-frame, torque and transform ideas. You can catch her work – and her innovative approach – on the web (of course) at the site: StealThisDance.com. Intelligent… and fun.

The panel was held at The Dance Center of Columbia College Chicago.

Kate Mattingly goes to Serbia

2009-10-20T11:54:00.000-07:00

Faculty member Kate Mattingly goes to Serbia to meet contemporary artists

The invitation to attend the Balkan Dance Platform from October 1 to 3, 2009 in Novi Sad, Serbia came from Dance Theater Workshop (DTW) in NYC, an organization that has an established reputation for supporting and promoting contemporary artists from around the world. In 2002, I worked with DTW on an Eastern European Criticism Initiative which recognized the essential role criticism plays in offering context and amplifying the work of new choreographers.

After living in Europe for close to three years, from September 2006 to January 2009, I was curious to return to see presentations of artists in the Balkan region. I was familiar with some of the choreographers because I had worked as a dramaturge for a contemporary performance festival in Austria, and I was particularly curious to meet and watch emerging artists.

Visitors to Novi Sad, where the festival happened, drive over bridges constructed after the original structures were bombed by NATO forces ten years ago. The country continues to face economic, social, and political problems resulting from the wars and their aftermath. Discrepancies between the generations seemed especially strong: younger generations characterized by curiosity and enthusiasm about possibility and older generations more cynical about any kind of transformation.

Coming to Novi Sad from the airport, I asked the taxi driver about his views on the wars and he replied simply: “War is business.” Novi Sad, located on the left bank of the Danube River in Northwestern Serbia, has a population of 370,000, and is the country’s second largest city and a major site for new construction and building projects.

An unusual happening occurred at one of the performances: I noticed a group of young people, about college aged, with one of the women wearing a Princeton sweatshirt. As a graduate of Princeton (class of 1993, Architecture), I had to ask if she had an affiliation with the university, not only since there were few Americans in Novi Sad, but also because this performance was a more experimental cultural event. She was not only enrolled at Princeton, but she and her friends are about to enter as freshman once they complete their volunteer projects in Serbia as part of the Bridge Year Program. At a time when many people are forced to cut back on expenses and projects given our economic climate, it was inspiring to see that some universities in the USA have not relinquished commitment to service. The volunteer work that the students are pursuing in Serbia ranges from Youth Projects to HIV/AIDS education programs. The group spoke with passion about the experience of traveling abroad and working within different communities.

In both groups of young people – the artists in the festival and the Princeton students – I noticed a similar vibrancy and commitment to conscious thought and action that can inspire creativity and community development. In times of changes and challenges, art and society undergo radical transformations.

The organizer of the Princeton students in Serbia, Milica Paskulov, encouraged them to attend the performance festival. As she explained to me in an email: “I thought the Balkan Dance Platform would be interesting for them firstly because they do not have much opportunity to see performances in Serbia, secondly because I trust in Per.Art’s selection of performances and lastly because the presence of Princeton in Serbia is breaking all the mutual barriers and prejudices.”

Per.Art is the independent artistic organization from Novi Sad that organized the festival in partnership with the Serbian National Theatre, TkH – Centre for Theory and Practice of Performing Arts, and Station – Service for Contemporary Dance. The 2009 Balkan Dance Platform (BDP) was the fifth installment of the festival: it happens every two years in the Balkan region. The first occurred in Sofia, Bulgaria in 2001, the second in Bucharest, Romania in 2003, the third in Skopje, Macedonia in 2005, and the fourth in Athens, Greece in 2007. Each year the gathering of artists has brought attention to developments in the Balkan region, and has provided opportunities for artists to meet one another and to discover ideas and approaches from other parts of the world. The regional partners involved in the platform included ArtLink (Bucharest), Full House Promotion (Athens), Lokomotiva – Centre for New Initiatives (Skopje), The Red House (Sofia), and Exodus zavod (Ljubljana).

What distinguishes these performances from events I see in the United States is their rigorous questioning of what it means to create and to perform. In the United States we have a long history of choreography as movement invention and multi-media events that can dazzle the eyes with their slick configurations of bodies and space. The most impressive performance in Serbia, Madalina Dan’s “Dedublarea,” was a simple yet eloquent exploration for four performers. The two men and two women began by standing in a row facing the audience, watching us watch them. Their eyes roamed through the audience and their expressions shifted from smiling to gazing to inquiring. They were wearing street clothes and appeared natural, casual. Then they left. Four solos followed, each in a ridiculous costume of some animal: first a porcupine, then a toucan, then a donkey, then a sheep. Taking the stage the porcupine told us about how to be a dancer through a series of platitudes about “presence” as essential and the weight of the body being emphasized. She illustrated these with dramatic actions. Then she sat close to the wings as the toucan entered and continued the didactic tone… then the donkey… then the sheep. It was an investigation of the clichés that have become commonplace in dance and composition, the layers of artifice that smother communication, and an attempt to transcend and dismantle these constructs.

It is eye-opening to return to the States after such an event and to recognize how powerfully our environment shapes artistic creation. Sasa Asentić, director of Per.Art and a multi-disciplinary performer, has created an international reputation through a solo he made called “My private bio-politics.” In this solo Asentić questions the exclusion of Eastern European artists from discussion – and definition - of contemporary performance. In March of 2009, Dance Theatre Workshop in New York City became the first place to present “My private bio-politics” in the United States. I had seen Asentić perform in Germany and Austria in 2007 and 2008 and attended the DTW performance to see how the solo was transformed by this new context. It was well-received and tapped into issues being explored from different angles by artists in the United States. Asentić brings a unique perspective to questions regarding contemporary performance, particularly the relations between place and creation, presentation and interpretation.

The questions Asentić raises in his work are relevant today: most university syllabi for Dance History and Contemporary Performance exclude not only Eastern Europe, but also Africa, China, Korea, India and South America. The excitement I felt when I met the students from Princeton in Serbia emanates from the idea that we are dismantling borders when we engage with one another in conversation and artistic dialogue. And the more global and intertwined our world becomes, the more essential is this awareness and understanding of people and ideas from other places.

The performances within BDP 2009, like the festival, propose new definitions for contemporary performance. As Asentić explained:

“We have to invest in people and in collaboration to develop common interests and trust in a new cultural sphere. Then this will penetrate the institutions on levels which are relevant but not usual or typical for these institutions. Ultimately these projects not only [vitalize] the institution and its audience, but these partnerships also produce high quality work by independent artists.”

The performers in Serbia approach the creative process not only attentive to the political and social implications of their work, but also with a deep understanding of theory and practice. In the United States many dancers still define training and choreographing as moving in spectacular ways. Other parts of the world are developing practices that complement these physical pursuits with questions about the intelligence of the body, why we perform, and why we ask someone else to take part in this experience. Choreography is not only about the body but also engages philosophy and politics.

In discussing language and culture, the theorist Raymond Williams quotes the author V. N. Volosinov: “consciousness takes shape and being in the material of signs created by an organized group in the process of its social intercourse. The individual consciousness is nurtured on signs; it derives its growth from them; it reflects their logic and laws.”

If the word “performances” replaces “signs,” this sentence manifests one of the important ways artists contribute to social discourse: by recognizing different approaches and creations by varied artists, dance platforms offer perspectives on how we see the world and our interactions and, even more importantly, how these perspectives distinguish themselves from one another.

Williams adds: “Creative practice is thus of many kinds... the reproduction and illustration of hitherto excluded and subordinated models; the embodiment and performance of known but excluded and subordinated experiences and relationships; the articulation and formation of latent, momentary, and newly possible consciousness. Within real pressures and limits, such practice is always difficult and uneven. It is the special function of theory, in exploring and defining the nature and variation of practice, to develop a general consciousness within what is repeatedly experienced as a special and often relatively isolated consciousness. For creativity and social self-creation are both known and unknown events, and it is still from the grasping the known and the unknown – the next step, the next work – is conceived.”

I wish to thank Dance Theatre Workshop, particularly DTW’s Suitcase Fund, for the funding to attend BDP 2009. It was inspiring to see the creations of artists from the region and to engage in conversation with artists and theorists. My participation in BDP 2009 was made possible by Dance Theatre Workshop’s Suitcase Fund as part of the East/Central Europe Cultural Partnerships Program, with support from the Trust for Mutual Understanding.

GW TRDA SOLO DANCE FESTIVAL

2009-10-09T13:29:00.000-07:00

GW TRDA SOLO DANCE FESTIVAL
Inaugural Season

Dancers to present an evening of original dance works for the GW SOLO DANCE FESTIVAL. This inaugural festival, the first such festival at GW, is open for all dancers interested in presenting original solo dance works and performance art.

WHEN: Thursday, October 15, 2009 at 7:30 PM

WHERE: The George Washington University,
Department of Theatre and Dance – Dance Studio, Building J2131 G Street NW (rear)
Washington, DC

COST: The FESTIVAL is open to students, faculty, and general public FREE OF CHARGE

2009 SOLO DANCE FESTIVAL promises to be a highly charged event featuring such diverse forms as post modern dance, performance art, hip hop, and other world cultural dances. The FESTIVAL is under the direction of GW dancers, Ashley Nitzen, Daniel Bandong.Elizabeth Barnett, Jessica Mann, Kathryn Boland, Melanie Gutmann, Molly Berger, Sarah Wilson, and Tal Schapira, students in TrDa 182 Dance Composition taught by Professor Maida Withers. Festival participation is open to all GW dancers without adjudication or audition. The dances must be original dances, only. Derek Jones, Theatre major, will be the light designer for the program. Individual student choreographers will post dances performed on individual blogs following the performance. Students should sign up for performing in Building J on the bulletin board.

Please contact Sarah Wilson for more information: 412-848-1485

Premiere of Island

2009-10-05T09:24:00.000-07:00

On Oct 9-11 at the Dance Place, 3225 8th Street, NE, I am premiering a new work entitled Island. I hope you will attend. It is the outcome of my research on historic Angel Island, the immigration outpost on the West Coast, built to uphold the Chinese Exclusionary Acts of the late 1800's, early 1900's. It was a site of many dreams to become an American, but ultimately a site of great sadness and exclusion. The work is sublime, subtle and emotionally moving. I have been collaborating with the Theatrical Design team of MIT on the multi-media component. I look forward to speaking with all of you about the connection between scholarly research and the creative process. For tickets call 202 269 1600, see you at the show!
All the best,
Dana

Velocity DC- Bodies in Urban Spaces

2009-09-30T07:22:00.000-07:00

Students from TrDa 185 Trends in Performance class are working with an Austrian choreographer on site specific work for performance this weekend. Here is one of the reports:

For this entire week, we are rehearsing every day (4-6 hours per day) for Urban Bodies Velocity DC. It is a group of around 15 dancers/climbers led by an Austrian choreographer, Villy and his American assistant, Mike. Villy's ideas are about creating art by filling spaces involving the architecture of the city to form a structure or a pose. We are in the process of creating 30-40 structures with our bodies using the architecture around us. Some involve all 15 of us and some are solos.

All of us have a background in dance, some are professional, others not, but all of us are passionate enough to take the risk to injure ourselves, for the beauty behind the artform. We hold each structure for 2-6 minutes and then move on to the next. Because we are often climbing builds, squeezing into spaces and doing headstands on the ground, we have been getting very dirty and accumulating plenty of scrapes, bruises and ripped clothing. Our transitions from sculpture to sculpture consist is us running from one location to the next. However, these are not included in rehearsals, so we will be pushed even harder the day of the show.

Every rehearsal up until the day before the performance is trial and error. Villy and Mike have scoped out spaces in a 4 block radius downtown. We go up and down blocks and try to form the images he had in mind when he first saw the space. However, there is almost never a space that fits exactly to what he had in mind. The positions of our bodies and limbs are constantly being tweaked. The structures we produce also range in level of simplicity. We can spend up to an hour creating one structure or we can spend 2 minutes testing a space out. Villy and Mike have also warned us that the poses we spend an hour constructing are not necessarily the ones we are going to use for the final performance (October 5 and 6 at 5:30 pm).

Although the actual performance with Velocity DC is next weekend, every time we form a structure we receive a great deal of attention. The pedestrian reaction however is different to the one we received at the Arts on Foot festival. Tourists do stop and take pictures, but many come up to us and politely ask what we are doing and what it is for. Some homeless people, seated by our sculptures would even use our sculptures as a deal for attention, one man called individuals and guided them to see us. There are also pedestrians that are concerned and wondering if someone actually got "stuck" up there. Jeff from The Washington DC Performing Arts Society attends and travels with us during each rehearsal to hand out Velocity DC flyers to those who are interested.

Prof. Valerie St. Pierre Smith's Design Work On Stage at the Kennedy Center

2009-09-29T12:18:00.000-07:00

Prof. Valerie St. Pierre Smith's costume designs will be seen this September on stage at the Kennedy Center. Working in collaboration with renowned director Paul Douglas ("PD") Michnewicz, Prof. St. Pierre Smith's costumes are a part of the VSA arts presentation of 'For the Love of Goldfish.' "In For the Love of Goldfish, co-workers Julia and Evan attempt to hide their romantic feelings for each other, along with their respective disabilities. Reminiscent of The Office, this hilarious comedy is about love, self-esteem, and the importance of being honest. VSA arts is an international nonprofit organization founded 35 years ago by Ambassador Jean Kennedy Smith to create a society where people with disabilities learn through, participate in, and enjoy the arts." -http://www.vsarts.org This is the second year that Prof. St. Pierre Smith has had the honor of working with PD and VSA Arts. "For the Love of Goldfish" premieres Tuesday, September 29th at 7:30 in the Kennedy Cent
er's Family Theater.

Alan Wade Appears in Washington Stage Guild Show

2009-09-28T08:00:00.000-07:00

The Stage Guild returns to the boards this October, featuring our favorite playwright - George Bernard Shaw

Shaw is at his most insightful in this pair of one-act plays, as politicians deal with disenfranchised voters, incompetent civil servants, an unpopular war, and romantic scandals in public life. The perfect Washington show, perhaps?

Press Cuttings is a hilarious look at public figures facing down angry mobs during a struggle for women's emancipation; while Augustus Does His Bit is a satiric look at bureaucrats who support the war effort without ever fighting themselves.

Directed by Bill Largess and brought to life by Washington's most expert talkers - the actors of the Stage Guild company: Vincent Clark, Laura Giannarelli, Helen Hedman, John Lescault, Lynn Steinmetz, & Alan Wade.

Don't miss out on the fun!

Strange Bedfellows -
Press Cuttings & Augustus Does His Bit

Where & When

Dates: September 30 through October 18, 2009

Time: Wednesday, Thursday, Friday, & Saturday Evenings

at 8 pm;

Saturday & Sunday Matinees

at 2:30 pm

Location: Callan Theatre at Catholic University of America,

3801 Harewood Road, NE, Washington, DC

Tickets: $50.00 Friday & Saturday Evenings;

$40.00 all other performances -

Discounts for Students & Seniors!

RSVP: 240 582-0050 or

info@stageguild.org

DTSB&CO Premieres ISLAND, a new multi-media dance

2009-09-22T09:24:00.000-07:00

Dance Place Presents
DANA TAI SOON BURGESS & CO.
Artistic Director, Dana Tai Soon Burgess, “area’s leading dance artist” –The Washington Post

October 9 and 10 at 8 p.m.
October 11 at 7 p.m.
Dance Place 3225 8th Street, NW
Washington, DC 20017

To purchase tickets,
Visit www.danceplace.org
Or call 202-269-1600
General Admission: $22
Dance Place members: college students, senior and artists: $17
Children 17 and under: $8

Dana Tai Soon Burgess awarded 9th Annual Metro DC Dance Awards for "Outstanding New Choreography"

2009-09-15T11:08:00.001-07:00

Dana Tai Soon Burgess, Chair of the Theatre and Dance Department at George Washington University was awarded the 9th Annual Metro DC Dance Awards for "Outstanding New Choreography" for his multi-media dance entitled Hyphen. This dance premiered at GWU's Lisner Auditorium last October to critical acclaim "In the 16 years since he founded his company here, Burgess has emerged as the area's leading dance artist, consistently following his own path and producing distinctive, well-considered works." The Washington Post

This prestigious award is chosen through an adjudicated panel of dance experts and is the highest award in the DC region for dance. The Metro DC Dance Award was presented on the evening of September 14, 2009 at the Kennedy Center for the Performing Arts.

Burgess's Hyphen is a multi-media dance work including projections by video visionary Nam June Paik. This work was toured by the US State Department to South America this summer and also was presented in NY at the Skirball Center for the Performing Arts. It deals with contemporary American identity and the concept of how we as hyphenated Americans, for example, Asian and American, Latino and American, view identity in a multi-faceted cultural landscape. Hyphen will be presented again in DC on Oct 9-11 at the Dance Place in NE, DC 202-269-1600.

The Metro DC Dance Awards is a spectacular event celebrating the excellence of Metropolitan DC, Maryland, and Virginia's dance community. It showcases the diversity of DC's finest with performances ranging from tango to tap to modern dance, and gives distinction to artists in thirteen categories - including Outstanding Youth Performance, Emerging Choreographer, and Outstanding New Choreography. The Metro DC Dance Awards is the only annual opportunity in Metropolitan DC for artists and audiences to recognize professionals and youth in the dance field.

From-Prison-to-The-Stage

2009-09-04T09:39:00.000-07:00

* I am directing the play readings and Pati Griffith, our colleague in the English Department, has adapted one of the scripts and will be reading stage directions.
Would love to see you all there! -Jodi Kanter

The printed program for our prisoner-written plays at the Kennedy Center to take place on September 5, 2009 is going to the printer tonight. Call our director Dennis Sobin directly at 202-393-1511 by 5 pm if you want to be included in it as a supporter. Simply use your credit card to make a donation in any amount you can afford and you will be recognized in the program along with the following supporters who are making this landmark Kennedy Center event possible:

Open Society Institute, Framme Law Firm, Joseph Lea, A.B.C. Consulting Services of Delaware, Joan Covici, Maxine I. Lyons, Alex Friedman, Dorothy R. Farden, Eckington House for Mental Health Services, Ronald E. Smith, esq , Elizabeth Evans, Drug Policy Alliance, Diane Flanel Piniaris, Coralie Farlee, BleakHouse Publishing, Robert Johnson, Sonia Tabriz, Liz Calka and Patricia E. Tichenor, esq.

Thank you.
Here are the plays that will be presented FREE on Saturday, Sept. 5, 2009 from 7:30 to 10 pm during our "From Prison to the Stage" program on the Millennium Stage of the Kennedy Center, Washington, DC. with your support:

1. The Love That Divides by Hakim M. Abdul-Wasi, Music by Inner Voices
"A man returns home to his Christian family after converting to Islam while away, only to find his family upset and unaccepting of his new beliefs."

2. One Fine Day in Inferior Court by Alex Friedman
"A wacky judge, a clueless defense attorney, a bloodthirsty prosecutor and a hapless defendant fall over each other in this courtroom farce."

3. I Am a Woman on Death Row
by Kathleen O'Shea,
Music by Lorri Carter
"Not one woman but dozens on death row in America today tell their stories of hope and survival."

4. Reading Slim by Raymond McGee
"A hostile prisoner resists taking advantage of educational opportunities in his prison to hide his inadequacies, including a shameful secret from his past."

5. Homeward Bound by Richard Dyches,
Music by Dennis Sobin
"About to leave his correctional institution, a prisoner finds that his shortcomings are still in need of correction as he prepares to face his wary wife and confused son."

6. Time In by Judy Dworin Performance Ensemble and the women of York Correctional Institution.
Music by Women of the Cross
"Story, song and dance about the heartaches and triumphs of women in prison."

"The Safe Streets Arts Foundation, incorporating both the Prisons Foundation and the Victims Foundation, is proud to sponsor the annual From-Prison-to-The-Stage Show at the Kennedy Center and the Prison Art Gallery at 1600 K Street. NW, Suite 501, Washington, DC, three blocks from the White House."

Congratulations to Dana Tai Soon Burgess!

2009-09-02T09:29:00.000-07:00

The GW Department of Theatre & Dance is pleased to announce that the U.S. Department of State has honored Dana Tai Soon Burgess, Department Chair of Theatre & Dance, as September’s State Department Alumni of the Month.

More from From the Department of State’s website: http://exchanges.state.gov/alumni/alumnus.html

GW dancers to perform at Arts on Foot Festival

2009-09-01T10:45:00.000-07:00

The Arts on Foot Festival (founded 17 years ago by a GW alum) September 10, 11, 12th. Check it out and support our dancers!,
http://www.artsonfoot.org/

“The Penn Quarter Arts on Foot Festival is a visual and performing arts festival featuring Washington, DC theaters, museums, and arts at a variety of venues in the Penn Quarter neighborhood of Washington, DC. The festival becomes an art walking tour with area restaurants, theaters, galleries, museums, and more than 80 visual artists participating and dozens of Downtown attractions hosting visual art exhibits, performances, workshops, demonstrations, films, concerts and children's activities.”
http://dc.about.com/od/specialevents/a/ArtsonFoot.htm

Alumn Amanda Rosenberg, Associate Producer 'Mystery Diagnosis'

2009-08-31T13:55:00.000-07:00

Tune in to see the work of one of our very own TRDA Alum, Amanda Rosenberg, Associate Producer of 'Mystery Diagnosis'. The first episode premiers tonight 8/31 on the Discovery Health Channel at 10pm and will air again Sat, Sept 5 at 5pm. The second episode premiers at 10pm on Monday Sept 7.

Welcome Back!

2009-08-28T10:23:00.000-07:00

The Theatre & Dance Department is so excited to start our Fall Semester. Looking forward to seeing all of our TRDA students in class and around campus. Don't hesitate to stop by and say hello!

-Dana Tai Soon Burgess

Faculty News

2009-08-27T14:09:00.000-07:00

Karin Abromaitis, long time faculty member is currently directing Go Dog Go for Adventure Theater. The show will go on National tour next season. The Arts and Humanities Council of Montgomery County recognized her with a professional development grant for 2008-2009 and listed her on their professional teaching artist roster. Domestic Snakes, her play at this year's Fringe festival will be performed at Dixon Place in NYC next season. Cabaret Coo Coo by Happenstance Theater, was her solo singing debut. The show won the Fringe award for Best Comedy.

Alumn Alesia Young Changing Dance In LA

2009-08-26T10:40:00.000-07:00

Deemed By Her Latest Presenting Venue As One of the “West Coast’s Finest Female Choreographers” GWU TRDA Alumn Alesia Young Is Changing the Face of Dance In Los Angeles

With work that has been referred to as organic, sensual, liquid, deeply connected, textural, and a conscious flirtatious play with gaze and perception this choreographer turned filmmaker is revolutionizing dance theatre creating works for the stage and camera that have been gaining her much notice in the dance world, and with renewed excitement and interest in dance in mainstream media, Young, with her diverse background and visual storytelling approach to choreography, is on her way to taking modern dance to the masses and riding the wave to success.

Young received her earliest dance training at The Performing Arts Center in New Jersey with additional instruction at New York's Steps and Broadway Dance Center, and throughout Europe, with a brief stay at Amsterdam's School for New Dance Development where she was exposed firsthand to the coupling of technology and the arts. Young has had the privilege of performing in such venues as Lincoln Center Out-of-Doors in New York City, The Kennedy Center in Washington, D.C., and the Dorothy Chandler Pavilion in Los Angeles, along with working with some of the industry’s most acclaimed choreographers, and sites her work with GWU’s own Dana Tai Soon Burgess, Joseph Mills and renowned multimedia artist Maida Withers as some of her most rewarding and influential.

A diehard east coaster, Young made the move to Los Angeles in 1998 after graduating from The George Washington University with a B.A. in Dance and American Studies with a focus in Multiculturalism and going on to receive her M.F.A. in Dance from UCLA’s Department of World Arts and Cultures. She pursued a fruitful career in dance education while simultaneously developing a thriving career as a performer. Since moving to LA she has been a principal dancer for Oni Dance, String Theory, Collage Dance Theatre, Trip Dance Theatre, Sakoba Dance Theatre (London/LA) which she joined during their U.S. national tour, Contra-Tiempo, and Your Huge Head, an artist collective established by Young and four other dance artists in an effort to create more opportunities for new and innovative choreographers to produce work.

Choreography has always been a part of Young’s creative and professional life, whether self-produced or commissioned, continually committed to presenting original work throughout the country and abroad with a growing body of repertoire for the stage, site-specific, and film. Her site-specific work “Streams of Emergence” created for the Skirball's Siteworks Series in conjunction with the LA River Reborn photo exhibit, “Mujeres” commissioned for Contra-Tiempo's touring roster, and “Fluid,” a breakout animated dance film in collaboration with FADAM Production's Founder and BET Animation Consultant Eric T. Elder, are just some examples of the work that is garnering her some well-deserved attention.

Most recently, Young, alongside fellow String Theory artists, was featured in the Scene in LA section of Angeleno Magazine. She has been profiled as an artist to watch by California Dance Network and nominated for a Lester Horton Award for Individual Performance. Her films have been featured in the FRAME International Film Festival in Portugal, the Edit International Dancefilm Festival in Budapest, and on tour with the NY-based Dance on Camera Festival. Upcoming projects include a commission for London-based Sakoba Dance Theatre's 2009 fall touring roster, the world premier performance of her newest work “Romp” as part of The Edye Second Space’s Fall season, beginning work on her new evening length piece entitled Soaked which explores the descent into the dark and deteriorating effects of grief unaddressed and marks her pending return to Southern California’s boldest center for new performance - Highways Performance Space, and Halle Berry’s soon to be released feature film “Frankie and Alice,” where Alesia worked as Assistant Choreographer.

Her foray into dance for film, beginning with small independent projects, has moved quickly and unexpectedly into the world of animation, television, and feature film, and has Young’s eyes set on establishing a wider audience for dance and greater purpose for her work. Using the medium at its best along with her talent for movement expression, Young plans to reinvent storytelling in a way that breathes life into the human experience in its fullest representation.

Young shares that “(as a Director) I am on the path to making dance on film as accessible and marketable in the states as it is abroad, establishing more fruitful collaborations between multimedia artists and expanding choreographer's tools for envisioning work. As a Choreographer, I am constantly and actively engaged in life and creating a listening for other's experiences; taking in every moment with wide eyes and an unending thirst. This is what excites me and fuels my work.”

For more information visit:
http://alesiayoung.com/
Subscribe to:
http://www.youtube.com/alesiayoung

NOTICE TO GW DANCERS

2009-08-21T08:34:00.000-07:00

Anna Sperber is the Fall Semester Guest Artist for the dance program. The audition and rehearsal schedule is announced below. The schedule for rehearsal does not conflict with the sorority “rush” weekend or the two Jewish holidays in October.

GW Fall Semester 2009 Guest Artist Audition and Rehearsal Schedule

Audition for Dancers: Thursday, September 3, 6:30 pm Building J
Building J - 2131 G Street NW - audition for 6 or more dancers

Rehearsal Week #1:

Friday (September 4: 4 to 8 pm)

Saturday (September 5; 10:30 to 5:30 pm)

Sunday (September 6: 10:00 to 4:00 pm), Building J Down.

Rehearsal Week #2:
Friday (October 2: 4 to 8 pm)
Saturday (October 3 10:30 to 5:30 pm)

Sunday (October 4: 10:00 to 4:00 pm),Building J Down.

Rehearsal Week #3:

Friday (October 9: 4 to 8 pm)

Saturday (October 10: 10:30 to 5:30 pm)

Sunday (October 11: 10:00 to 4:00 pm), Building J Down.

Technical space in - tech in: (Saturday, November 14, Marvin Betts Theatre, 800 21st Street NW – Four hours for rehearsal, space in - tech in and run.

The dance will rehearse once or twice each week for the entire semester and will be part of the DanceWorks MainStage Production, November 19, 20, 21, 2009 in Marvin Betts Theatre. For any questions of concerns, please contact the DanceWorks Concert Director Dana Tai Soon Burgess.

Best regards,

Maida Withers

withers@gwu.edu

Fall DanceWorks Auditions!

2009-08-10T12:22:00.000-07:00

DANCE AUDITIONS: DanceWorks Fall '09
Thursday September, 3rd
Building J (2131 G Street, rear)
6:30 PM

Guest Artist: ANNA SPERBER
BIO

Anna Sperber is a native of Brooklyn, New York, where she is currently based. Her work has been pre¬sented in venues throughout NYC including Dance Theater Workshop, Danspace Project at St. Mark’s Church, Movement Research at Judson Church, The Brooklyn Museum of Art, the 92nd St. Y Harkness Dance Center, Dixon Place, Joyce SoHo, and Chez Bushwick (at Shtudio Show and The Ronald Feldman Gallery), Live Sh— at the Chocolate Factory, AUNTS, Catch! Series at P.S.122, and the Duo Multi Cultural Arts Center. She is a 2006-08 Movement Research Artist In Residence, and a recipient of NYSCA Dance Program Public Commissioning Funds. Her work has also been supported through residen¬cies at the Harkness Dance Center at the 92 Street Y, SILO/ DanceNYC, Dragon’s Egg, and the Experimental Television Center.

Sperber, with composer Mario Diaz de Leon and video artist Jay King collaborated on the cinema installation, Cutting and Joining, 2005, and she has also collaborated extensively with artist and musician, Peter Kerlin. In addition to her own work she has performed in the work of Julie Atlas Muz, Isabel Lewis, Beth Gill, Charlotte Gibbons, The Brooklyn Adult Recorder Choir, and with Fritz Haeg/ Animal Estates at The Whitney Museum and the Park Avenue Armory as part of the 2008 Whitney Biennial. Anna also dances with Juliette Mapp, whom she has worked with for the past four years.
Anna has taught in the Guest Artist Series at DNA in NYC, and at The American Dance Festival as part of the WFSS Series, and was selected to participate in the panel discussion at ADF/NY Winter 2007. Anna was a Co-Curator of the Movement Research Festival Spring 08 Somewhere Out There. Anna is a 2008 Sugar Salon Artist, a program developed and administered by the Williamsburg Art neXus (WAX) in part¬nership with the Department of Dance of Barnard College and supported, in part, by public funds from the New York City Department of Cultural Affairs. Anna holds a BFA from SUNY Purchase, and currently runs BRAZIL, a studio and intimate performance space in Bushwick, Brooklyn.

ARTIST STATEMENT

My work is an investigation into the body as a cognitive vessel for processing emotional and temporal information. I look to create imagery that is intimate, visceral, and rooted in both lucidity and mystery.
I am interested in how our perceptions of time and our own personal histories affect our changing experi¬ence of ourselves. My process most often begins with solo improvisation, working intuitively with con¬cerns of physical qualities, kinesthetic choices, time, and space. As I continue to work, I allow each col¬laborating performer’s individual character to affect the direction of the material. I develop content and structure through working with repetition, and with attention to subtle shifts as we live in the material to¬gether over time. This affects what surfaces in the material and what direction it takes, letting the shape and energy of a body create psychology as much as it reflects it.
For me, this process is a way of allowing meaning and content to surface. My aim is to create a visceral experience for the viewer and to allow them to have their own associations and relationship to it. I find my way into the work without a fixed plan. I invent structure and meaning as the work reveals itself, which infuses the work with a palpable immediacy; a sense that you are seeing things as they are unfolding. In making work, I let many of my own questions remain unanswered, allowing them to articulate themselves through the process.

Through the use of found objects, set design, and the integration of existing elements of each perform¬ance space, I work to sculpt a unique immersive environment -a reflection of the interior world from which the piece emerges. I am interested in how the surroundings transform the dance, and how the dance transforms the space around us.

annasperber.com 55 S. Oxford St. #5 Brooklyn, NY 11217 646.281.5851 anna@annasperber.com �

Alumni in the News!

2009-08-10T07:11:00.000-07:00

GW Alum, Megan Richardson, a Presidential Scholar in the Arts in Dance, appearing in the New York Times:

New Leaps in Research on Injuries

http://www.nytimes.com/2009/08/09/arts/dance/09kour.html?_r=2&partner=rss&emc=rss

From Prison to Stage

2009-08-05T10:07:00.000-07:00

Inviting all to join me for a FREE staged reading I'm directing at the Kennedy Center, "From Prison to Stage." The reading features a diverse range of scripts, all written by prisoners and ex-prisoners, and performed by talented DC actors. To see more about the show, please see:
http://tinyurl.com/nybagg

-Jodi Kanter

Facebook

2009-07-29T07:31:00.000-07:00

A friendly reminder to join us on Facebook as well:

http://www.facebook.com/home.php#/group.php?gid=6512155865

We want to stay connected with you!

-Dana

Please tell your friends

2009-07-27T07:11:00.000-07:00

Hi Everyone,

We are working away trying to reconnect with as many of our wonderful Alumni as possible. Please tell your friends to check in here at the blog so we can update their information. I would love to catch up with everyone.

Dana

Bld. J needs our help

2009-07-16T06:58:00.000-07:00

Dear Friends of Theatre and Dance at GWU,

I need to ask for your assistance. As you know I LOVE Building J-our dance designated building in the heart of the main campus. It is an historic building which was actually a carriage house in the 1800's. This building is an incubator for dance, it has launched the careers of so many of our alumni, mine included! J has housed the creative processes of countless students; nurturing their concepts all the way to performance. I have so many fond memories of working in J: swinging on the odd structural bar in J up, rolling on the floor in J down, sweating profusely during class in the winter, running around folding chairs creating spacial designs, trying to find proper released hip alignment and looking for the illusive arabesque. Over 15 years ago, when I was a graduate student at GWU, I witnessed the student choreographies of Vincent Caccialano, Stacy Palatt, Heidi Rauch, and Heather Pultz. Years later as a professor of dance I proudly watched the evolving aesthetics of Mary Lane, Jennifer Caulk, Sarah Halzack, and Jadee Mitchell among others. Well, I know all our dance alumni have a fabulous cadre of stories to tell involving Bld. J. Some stories are filled with choreographic dilemmnas, while others have uproarous stories of joyous laughter. Well, as this fall semester quickly approaches, Bld. J needs our help. After all that work, it needs a serious face lift! We desperately need to sand and repaint. The past few seasons of damp, humid DC weather have taken their toll. We need to raise 6800.00 in order to be up and running by the end of August for classes. Jennifer Caulk who started our Dance Alumni Organization (DAO) has pledged 1700.00 from DAO to assist. What a fabulous generous donation! DAO has jump started our goal and given us hope. But we are only part way there with time ticking! I ask our alumni who are filled with as much love for J as I have to assist me in raising funds quickly. We need to keep the tradition alive and get J ready for yet another class of Freshman this fall. Will you send TRDA a personal donation made out to "GWU" our TRDA alumni organization with a note designating "for Bld. J/CAST"? Our address is 800 21st Street, NW, rm 227, Washington, DC 20052. You can also donate on-line but remember to designate your donation to TRDA and Bld. J specifically.
https://www.gwu.edu/online_giving/

Your donation is tax-deductible under the full extent of the law and what a wonderful feeling it will be to give back to dance at GWU. Please give what you can as soon as you can. I want to personally thank you for believing in the power of dance as a transformative art form and for helping us continue to house this precious performing art on campus. Please contact me with any questions you may have.

Warmest,
Dana dtsb@gwu.edu

Snippet from Smithsonian show

2009-07-15T06:56:00.000-07:00

Hello all, hope the summer is going well. Thought I would share the media piece from the Smithsonian show at the National Museum of the American Indian that Carmen and I worked on. Enjoy.

Valerie St. Pierre Smith

ParisModernism2009 Blog

2009-07-15T06:50:00.000-07:00

Professor Mary Buckley sends us this link to her Study Abroad blog: Paris: Modernism and the Arts, then and now

Definitely check this out.

Our alumni are everywhere!

2009-07-13T07:16:00.000-07:00

Today after the AAC&U conference meetings we headed out to investigate Philly. Near this beautiful public art installation on South Street, we bumped into our favorite alumni dance couple Joe and Amber Lee! How wonderful to see them today! Our alumni are everywhere and thriving! Dana

Hi Everyone, We are so excited about Jodi Kantar's new DC show! Please come join us! Dana

2009-07-13T07:14:00.001-07:00

http://thegirlwhowatersthebasil.blogspot.com/

News from Philly!

2009-07-10T08:13:00.000-07:00

Hello Everyone, I am currently at the Association of American Colleges and Universities' "Engaging Departments Institute" in Philadelphia. I am in attendance with Dean Paul Duff, as well as with professors, Doug Boyce, Elizabeth Chacko and Heather Schell. It has been wonderful to meet with my colleagues and to expand the breadth of my understanding of academic leadership and educational assessments. I look forward to sharing this information with our TRDA faculty and students soon!

Sincerely, Dana

Pina Bausch

2009-07-02T06:59:00.000-07:00

In my job at The Washington Post, I'm occasionally able to put both of my GW majors--dance and journalism--to work at the same time.

Yesterday was one of those days, when news broke that groundbreaking German choreographer Pina Bausch had passed away. For many famous people, obituaries are written in advance of their death to avoid a scramble when it does eventually happen. However, the Post had nothing prepared for Bausch. While I've written performances reviews for the Style section and a performance preview for the Weekend section, I had never written a choreographer's obituary before (or any obituary, for that matter!). It was a great challenge. I had to delve into her biography and boil it down, identifying the most important aspects of her character and her work to highlight...and I only had a single afternoon to do it.

As soon as I found out I'd be tackling the story, I can honestly say a couple of my experiences at GW immediately lept to mind! I remembered talking about Bausch's company Tanztheater Wuppertal in Mary Buckley's Dance History class. We talked about the "tanztheater" style and the Ausdruckstanz movement that preceded and influenced it. I remember Maida Withers describing and fondly recalling Bausch's "Rite of Spring" in our Trends in Performance Art class. Without a doubt, my experience in those classes helped me put Bausch's career and her contributions to the field in context. I don't think I could've done this piece without them! –Sarah Halzack

To check out the final product, click here:
http://www.washingtonpost.com/wp-dyn/content/article/2009/06/30/AR2009063003986.html

Master Classes in Peru

2009-07-02T06:53:00.000-07:00

As a dancer with Dana Tai Soon Burgess & Co., I recently had the opportunity to spend almost two weeks in Cusco and Lima, Peru, where we performed and taught master classes. This was my second time visiting Peru with the company since I joined, and it is definitely starting to feel like an artistic home-away-from-home for us.

The tour was a great success. Our performance was well-attended in Cusco and each of our performances in Lima was sold out with would-be audience members turned away at the door. Particularly in Lima, the audience seemed very engaged and open. It is so fun to perform for an audience when you really get the sense that they are so supportive and invested in the performance. I find it makes me dance harder and commit even more to my character.

That said, being on tour is never without its challenges. Many of us struggled to adjust to the high altitude in Cusco. I certainly noticed that in certain sections of the choreography where I didn't usually feel particularly tired, I was suddenly feeling like I was gasping for breath! I also got a stomach bug while I was there and had to take care to rest and pace myself so I could resume performing. It's just a reminder that no matter what happens, you've got to roll with the punches and be as professional as you can!

One of the things I loved most about this trip and others I have taken with the company to Mexico and Egypt is the opportunity to meet new people. From the students who took our master classes to the Peruvians who assisted our stage crew, we made some new friends and as all of us did our best to speak each other's language. We also got to meet Linda Gonzales, the cultural attache, who was so warm and welcoming.

We had time to explore the country a bit, too. Of all the sightseeing we did, I was most excited to visit Machu Picchu. The ruins are really incredible and the Andes are even more massive and majestic than I could've imagined. We also visited churches, museums, the Pacific Ocean, and more than our fair share of souvenir shops.

After a whirlwind trip, we're now back in D.C. and on a brief break. We'll resume rehearsal in August, when we'll ramp up our preparation for our October performance at Dance Place. With a brand new work on the program (a piece called "Island," that tells the story of Chinese immigrants trapped at Angel Island and employs some pretty neat new multimedia elements), we're going to have our work cut out for us!
–Sarah Halzack

Welcome to GWU's Theatre and Dance BLOG!

2009-06-30T11:08:00.000-07:00

As the new chair of Theatre and Dance, I am so excited to continue to expand how we communicate and engage our community of students and alumni, as well as, our larger family of friends. This fall we present three stellar, must see, shows.

The first is our New Plays Festival, written by our own GW student playwrites, next is the fabulously dark Little Shop of Horrors and finally a dynamic DanceWorks concert filled with contemporary moves! I hope that you will consider joining us by purchasing a six-pack of performances which will allow you to attend our performances all year long and/or to bring your friends and families to a specific show!
For more information go to:
http://theatredance.gwu.edu/Season/
All the best!
Dana Tai Soon Burgess :)