http://philadelphiadance.org/blog Making dance and dance writing in Philadelphia more accessible to everyone Thu, 23 May 2013 21:13:35 +0000 en-US hourly 1 http://philadelphiadance.org/blog/2013/05/23/alchemy-dance-company-reinvents-and-represents-with-one-night-only/ http://philadelphiadance.org/blog/2013/05/23/alchemy-dance-company-reinvents-and-represents-with-one-night-only/#comments Thu, 23 May 2013 21:13:05 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10616
Photo by Bill Hebert Alchemy Dance Company will bring old and new works to the stage, while also hosting the work of other local dance companies. On Friday, June 21, 2013 at 7:30pm, Alchemy will present “One Night Only”, a performance featuring work by Alchemy Dance Company, Danse4Nia, Roger Lee Dance Company, and Melissa Chisena [...]]]>
Photo by Bill Hebert Alchemy Dance Company will bring old and new works to the stage, while also hosting the work of other local dance companies. On Friday, June 21, 2013 at 7:30pm, Alchemy will present “One Night Only”, a performance featuring work by Alchemy Dance Company, Danse4Nia, Roger Lee Dance Company, and Melissa Chisena at The Performance Garage, 1515 Brandywine St. Philadelphia. Consisting of 6 dancers and 2 directors, Alchemy Dance Company maintains its ambitious approach to movement with their reinvention of “Follies”, representiong the whimsical, energetic side of this young company. It contains a sly duality that combines character and energy to playfully depict the serious needs and wants of today’s society. Artistic Director Amy Harding states “it’s about laughter in the face of adversity, character, and finding the true self in strange places.” Starting with a bit of silliness, adding in a touch of cartoon violence, sprinkling in some sensuality, and finishing with a dash of angst, this dance is an energetic brew of excitement and danger all in good fun. Technical Director Jonathan Bowles’ music composition will be featured in “Follies”.  Bowles has previously scored the entirety of Alchemy’s “Rite of Passage” (2011) and Koresh Dance Company’s “Outline” (2012). Of their collaboration, Harding says, “It’s rarely easy, but few great things are. What we create together, though, has no comparison, nor does the feeling of the partnership we have built.” In addition to Alchemy’s performance, “One Night Only” will feature the works by three other local choreographers and companies. Danse4Nia, Roger Lee Dance, and Melissa Chisena combine dynamic contemporary movement with strong energetic purpose for an electric evening of dance. Alchemy Dance Company was founded in 2007 by Amy Harding with the goal of presenting high quality dance productions as experiences rather than just performances, thus making dance more accessible to a variety of audiences. Since its inception, Alchemy has performed locally and regionally creating original productions that have been featured in the Philly Fringe Festival, PIFA Festival, Norristown Dance Fest, Outlet Dance Project, Philly Dance Collective, Philly Dance Fest, and Garden State Dance Festival among others. In 2011, Alchemy embarked upon their first tour (made possible by a grant from the PA Council on the Arts) in Northeastern PA, presenting works “Rite of Passage” and “Sideshow Noir”.  Alchemy is continually evolving with a mission to present dance to new and existing audiences in ways that increase knowledge, enrich the spirit, engage the mind and stimulate the senses. The company holds performances, workshops, and outreach classes with the goal of creating experiences that transform people's lives by broadening their perspectives, attitudes, and knowledge of themselves and the wider world.]]> http://philadelphiadance.org/blog/2013/05/23/alchemy-dance-company-reinvents-and-represents-with-one-night-only/feed/ 0 http://philadelphiadance.org/blog/2013/05/23/swan-lake-mariinsky-live-dances-on-point-and-into-area-cinemas-in-3d-on-june-6th/ http://philadelphiadance.org/blog/2013/05/23/swan-lake-mariinsky-live-dances-on-point-and-into-area-cinemas-in-3d-on-june-6th/#comments Thu, 23 May 2013 11:27:14 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10604
Ekaterina Kondaurova (Odette) Photo Credit: Natasha Razina Classic Ballet Produced in 3D by CAMERON|PACE Group and Broadcast Live in RealD™ 3D from St. Petersburg to Select U.S. Theaters on June 6 Bringing Russia’s world renowned ballet company to U.S. movie theaters nationwide, Cameron Pace along with NCM Fathom Events and Omniverse Vision Ltd. present a [...]]]>
Ekaterina Kondaurova (Odette) Photo Credit: Natasha Razina Classic Ballet Produced in 3D by CAMERON|PACE Group and Broadcast Live in RealD^™ 3D from St. Petersburg to Select U.S. Theaters on June 6 Bringing Russia’s world renowned ballet company to U.S. movie theaters nationwide, Cameron Pace along with NCM Fathom Events and Omniverse Vision Ltd. present a stunning new re-interpretation of Tchaikovsky’s famous masterpiece with “Swan Lake Mariinsky Live*” from the Mariinsky Theatre. Broadcast live in both 2D and RealD 3D from the historic Mariinsky Theatre in St. Petersburg, Russia on Thursday, June 6 at 6:30 p.m. local time, this exclusive event will be led by multi-award winning Artistic Director Valery Gergiev. Mariinsky’s principle ballerina and the latest brilliant star from the company, Ekaterina Kondaurova, will star in the main role as Odette. For the first time ever, this classic ballet will use the same Academy Award®-winning technology created by the Cameron Pace Group for films such as “Avatar,” “Hugo” and “Life of Pi.” Presented by NCM Fathom Events, Omniverse Vision, Cameron Pace Group, Glass Slipper and Mariinsky Theatre, tickets for “Swan Lake Mariinsky Live*” are available at participating theater box offices and online at www.FathomEvents.com. For a complete list of theater locations and prices, visit the NCM Fathom Events website (theaters and participants are subject to change). This presentation will be broadcast to select movie theaters through NCM’s exclusive Digital Broadcast Network. “The Mariinsky Live 3D format is something totally new for us, and also for the world. We look at this as an opportunity to not only display the qualities of our ballet company, but to do so with the newest possible technology,” said Valery Gergiev, artistic director of the Mariinsky Theatre. “We show our leading dancers – the new wave of Mariinsky stars – and the beauty of our productions led by great music.” Tchaikovsky’s beloved ballet, “Swan Lake,” was created at the Imperial Ballet School for the Mariinsky Theatre stage in 1895 by the composer and choreographers Marius Petipa and Lev Ivanov. “Swan Lake” tells the story of Odette, a princess turned into a swan by an evil sorcerer’s curse, which is now part of pop culture and has been the source of inspiration for many ballet masters and epic storytellers, including Darren Aronofky’s 2011 Oscar®-winning “Black Swan.” ”Watching this exciting new re-interpretation of ‘Swan Lake’ live in RealD 3D is the next best thing to being in the audience at the Mariinsky Theatre,” said Joe Peixoto, President, Worldwide Cinema at RealD.  “Combining this celebrated ballet company with the 3D expertise of the Cameron Pace Group and RealD’s 3D projection technology promises this first of its kind broadcast will be a wonderful experience for audiences.” Located in St. Petersburg, the Mariinsky Theatre has been providing the world with some of the greatest dancers since 1740. Great names of ballet like Rudolf Nureyev and Anna Pavlova started at the Theatre’s revered company, which today is recognized as one of the world’s greatest with Director Yuri Fateyev. A leading global brand for hundreds of years—and followed by other leading opera/ballet theatres such as the Royal Opera House, London and La Scala, Milan— both the Mariinsky Ballet and Mariinsky Opera came under the management of the Mariinsky Theatre itself, with Valery Gergiev as director and artistic director of the Mariinsky complex: two grand opera houses—one historic, one brand new which opened on May 2 —and a concert hall. “The ‘Swan Lake Mariinsky Live*’ cinematic event will bring audiences up close and center stage at the world renowned Mariinsky Theatre. This is ballet the way it is meant to be seen on the big screen – with CAMERON|PACE Group in charge of the 3D technology,” said Shelly Maxwell, executive vice president for NCM Fathom Events. “Cameron Pace is masterful in adapting 2-D and 3D content for the big screen and what better way to showcase the beautiful art form of ballet than through the lens of their technology.” Photo Credit: Natasha Razina AREA PARTICIPATING THEATERS Date: Thursday, June 6th Time: 6:30PM Expected Run Time: 215 minutes including two 25 minute intermissions

• King of Prussia 16 with IMAX King Of PrussiaPA Buy
• Marketplace @ Oaks 24 OaksPA Buy
• Neshaminy 24 with IMAX BensalemPA Buy
• Riverview Plaza PhiladelphiaPA Buy
• University City 6 PhiladelphiaPA Buy
• Warrington Crossing 22 with IMAX WarringtonPA Buy

]]> http://philadelphiadance.org/blog/2013/05/23/swan-lake-mariinsky-live-dances-on-point-and-into-area-cinemas-in-3d-on-june-6th/feed/ 0 http://philadelphiadance.org/blog/2013/05/22/jaye-allisons-philly-tap-challenge-on-fire/ http://philadelphiadance.org/blog/2013/05/22/jaye-allisons-philly-tap-challenge-on-fire/#comments Wed, 22 May 2013 14:42:24 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10598
Philadelphia has always been a tap town and Jaye Allison brings back that tradition each year with her Philly Tap Challenge: On Fire!, a tap festival celebrating both the past and the present. This years program welcomes Emmy Award Winner, Jason Samuels Smith headlining the All-Star performing staff of JA’sPTC artists. Other highlights for this [...]]]>
Philadelphia has always been a tap town and Jaye Allison brings back that tradition each year with her Philly Tap Challenge: On Fire!, a tap festival celebrating both the past and the present. This years program welcomes Emmy Award Winner, Jason Samuels Smith headlining the All-Star performing staff of JA’sPTC artists. Other highlights for this festival include: – 40+ Tap Dance & World Rhythm Courses plus History & Tap Store – World-Class teaching/ performing staff of artists uniquely share with you – Daily Evening Events include Philly TAP Concert Stage and Films – Philly Tap Idol Contest, Live Music – Family friendly environment The festival will run from June 27 through June 30th at the  Dance Fusion Performance Center, 467 Conchester Hwy, Aston,Pa 19014. JA’sPTC links today’s generations to Philadelphia streets and beyond from the 1930s- 2013, empowering our posterity. Intermediate and advanced level workshops in various Hoofing, Classic Tap and Flamenco techniques and styles for all ages, plus World Rhythm Courses in Hip-Hop, Dunham, Funk Step and DanceHall styles. This year’s world class teaching staff of performing artists includes:  Dormeshia Sumbry-Edwards, Joseph Webb,  Maurice Chestnut, Robert F. Burden, Karen Callaway Williams, Lee Howard, Sarah Reich, Marcus Carl Franklin, Rochelle Haynes, Jeff Foote, Corinne Karon, Justin Ballasy, Reggie ‘Tapman’ Meyers, Hillary-Marie Michael, Gail & Jenn Oldfield, Libby Spencer Dancers, David Pershica, Kat Richter, Anna Rubio, Raedient Movement, Peggy Lieby, Clyde Evans, Tim Yue and Jaye Allison. Since 2004, director Jaye Allison has organized and collaborated with Philly Hoofers to make the Philly TAP Challenge Festival a premier Tap Dance event.  The festival offers up Philadelphia’s rich tap history of cyclonic feet and rarely seen talent as well as living legacies.  Ja’sPTC is devoted to recognizing the treasure chest Philadelphia holds for Tap, epitomized by such local legends as The Nicholas Brothers, The Condos Brothers, Baby Edwards, Honi Coles and National Treasure,  and LaVaughn Robinson. Notably, Tap Dance on Film is highlighted  each night at 7:30pm.  In the mix this year are Best Short Film (Outside of Ohio) for Greater Cleveland Urban Film Festival winner Philly’s own Johnnie Hobbs’ NOSTALGIA,  Been Rich All My Life – The Silver Belles Documentary, PBS’ The Nicholas Brothers Biography and The Virtual Quilt Slideshow- Celebrating Women in Tap and Chorus Dancer history with personally collected archival pictorials circa 1930-2009 Each evening event costs as little as  $10 to witness or participate in the showcases! There is a different star-studded show each evening. And of course, up for grabs is the Philly TAP Idol title chosen by the audience, but qualified by the pros! The Philly TAP Concert will feature an All-Star cast of professional performers, with a finale by Emmy Award winner Jason Samuels Smith. Despite the lack of funding this year, Jaye Allison hopes to make a permanent home for Tap dance here in the Delaware Valley, proclaiming “Tap Dance Lives!” She is excited to welcome these international artists and to have everyone “bond with them on common ground, the dance floor”. Detailed Schedule, Info and sales available online at www.phillytapchallenge.com Fees:  $225 Full Festival Pas;s $75 1-Full Day Pass; $20 Kids under 8 Full Day pass;  $10 Evening walk-ins. Get a Free Festival T-Shirt with June 1st $30 Early Registration Deadline! Philly Tap Challenge Evening Showcases Thursday, June 27, 2013 at 6:30pm Friday, June 28, 2013 at 6:30pm Saturday, June 29, 2013 at 6:30pm Sunday, June 30, 2013 at 6:30pm Dance Fusion Performance Center, 467 Conchester Hwy, Aston, PA 19041 Information: www.phillytapchallenge.com TICKETS ON DANCE BOX OFFICE Philly Tap Challenge Evening Showcases - CLICK HERE Tap Festival Full Day Festival Pass - CLICK HERE  ]]> http://philadelphiadance.org/blog/2013/05/22/jaye-allisons-philly-tap-challenge-on-fire/feed/ 0 http://philadelphiadance.org/blog/2013/05/22/tap-teaser-nine-returns/ http://philadelphiadance.org/blog/2013/05/22/tap-teaser-nine-returns/#comments Wed, 22 May 2013 13:28:00 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10593
Photo by Bruce Turner.  From left to right on the bandstand at LaRose Jazz Club (June 2012):  Bruce Koetterer, Pamela Hetherington and Robert H. Henderson.  JoAnna Turner looks on. The ninth installment of Tap Teaser, an evening of tap dance and jazz music, will be presented on June 8, 2013, 8:00 pm, at LaRose Jazz [...]]]>
Photo by Bruce Turner.  From left to right on the bandstand at LaRose Jazz Club (June 2012):  Bruce Koetterer, Pamela Hetherington and Robert H. Henderson.  JoAnna Turner looks on. The ninth installment of Tap Teaser, an evening of tap dance and jazz music, will be presented on June 8, 2013, 8:00 pm, at LaRose Jazz Club, 5531 Germantown Avenue, Philadelphia, PA.  Produced by tap dancer and choreographer Pamela Hetherington, the concert will feature a dynamic line-up of Philadelphia tap dancers, along with live musical accompaniment by drummer, Robert H. Henderson, pianist, Paul Pelusi and bassist, Nimrod Speaks.  Tickets are $15.  There is a cash bar on location. “I founded the Tap Teaser series in 2008 for three main reasons: to give tap dancers a consistent performance opportunity, to offer a community forum for idea exchange, and provide a platform from which to rebuild an audience,” says Hetherington.  A dynamic mix of professional tap dancers will join the bill for the evening, including Corinne Karon, Rochelle Haynes, Allison Stadd, JoAnna Turner and Audrey Bookspan, Khalil Munir, Micah Geyer, Theresa DiSipio, Katie Delhagen, Jaye Allison, Michele Dunleavy, the Libby Spencer Dancers, and the “Take it Away” Quartet, a group of 4 advanced dancers who will perform choreography by Pamela Hetherington. Over the course of five years and eight packed productions at the Community Education Center, Painted Bride, and Performance Garage, Tap Teaser has hosted over eighty tap artists and fifteen jazz musicians.  Hetherington describes Tap Teaser as a “series which fosters and supports the necessary collaboration and vital synergy between tap dance and jazz music.  Tap dance is an improvisational art form rooted in the rhythms and grooves of jazz, and the series will continue successfully, as long as it maintains its connection to jazz music and the jazz community.”  In keeping with that mission, the ninth installment of this show will be held at Germantown’s LaRose Jazz Club, a 125-seat venue, which is easily accessible by public transportation and offers ample free parking.   Appealing to jazz music lovers across the Delaware Valley, the rhythm section of Henderson, Pelusi and Speaks will also perform beloved jazz standards throughout the evening. Hetherington, a Philadelphia native, performed with Philadelphia company Tap Team 2 from 1996-2011 and founded Tap Teaser in 2008.  She is a teaching artist at schools all over the Delaware Valley and is a freelance solo performer and choreographer.  Her full biography may be found on her web site at www.pamelahetherington.com.   Tap Teaser 9: An Evening of Tap Dance and Jazz Music June 8, 2013 at 8:00 pm LaRose Jazz Club, 5531 Germantown Avenue, Philadelphia, PA $15; $12 Dance Professioanls, students, seniors, and children under 10 Tickets:  phillytapteaser.ticketleap.com]]> http://philadelphiadance.org/blog/2013/05/22/tap-teaser-nine-returns/feed/ 0 http://philadelphiadance.org/blog/2013/05/21/interview-with-zornitsa-stoyanova-on-shatter-dawn/ http://philadelphiadance.org/blog/2013/05/21/interview-with-zornitsa-stoyanova-on-shatter-dawn/#comments Tue, 21 May 2013 17:45:33 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10576
By Kat Richter for The Dance Journal Tomorrow night marks the opening of shatter:::dawn, the latest dance/installation venture from experimental movement artist Zornitsa Stoyanova.  Taking “intimate” to the extreme, the performance will accommodate just ten audience members each night and features a cast of five dancers including Stoyanova, Christina Gesualdi, Adam Kerbel, Mason Rosenthal and [...]]]>
By Kat Richter for The Dance Journal Tomorrow night marks the opening of shatter:::dawn, the latest dance/installation venture from experimental movement artist Zornitsa Stoyanova.  Taking “intimate” to the extreme, the performance will accommodate just ten audience members each night and features a cast of five dancers including Stoyanova, Christina Gesualdi, Adam Kerbel, Mason Rosenthal and Anne Wilson.  Between rehearsals, Stoyanova took some time to reflect on the audience experience and the notion of “success” in the performing arts. DJ:  What does shatter ::: dawn mean and how did you come up with the title? ZS: The working title for the piece was “I am everyone, I am no one.”  It was too long, too wordy and I felt like it wasn’t a good fit as a title.  After long discussions with all my dancers and dramaturg Megan Bridge, we decided that the title needs to evoke something new, something different and add to the piece, instead of explain it (which is what the working title did). I was looking for a lot of different imagery that was evoked in the piece.  I loved the pairing shatter/dawn, because both words produce a specific image.  When I think of “shatter,” I think of something that gets truncated, broken and abstracted from its original form.  It is an action of force and immediacy that makes an object completely unrecognizable in shape, but still carries the essence of the original object.  “Dawn” I loved because the direct correlation with light.  I work with light a lot and in this piece I’m exploring some effects with Mylar sculptures and the reflection they create.  The piece itself is slow and meditative, growing almost invisibly, like the light of the new day.  In both words there is something pure, something primal and I feel that reflects the piece in its entirety. DJ: How have the dancers influenced the work?  Is the choreography entirely yours or do you collaborate with your dancers in creating movement? ZS: I wanted to work with actors and dancers who were all very good improvisers and feel comfortable performing nude.  I chose Adam Kerbel, Christina Gesualdi, Annie Wilson and Mason Rosenthal, not only because of that, but also because of the friendship and trust we had beforehand.  We all share a mutual respect for what we do and our individual work and that to me was of great importance. Every single one of them is a maker in their own right and I really needed that kind of environment in rehearsal.  This resulted in a lot of discussions and the dancers pushed the boundaries of what I thought I wanted to see them do.  They would question my motives behind a decision and propose different ways to get at that same issue.  Without those questions and discussions we would have never gotten where we are now. But to answer the question correctly, a lot of the piece is improvisational in nature.  Not your “do what you want” kind of improvisation, but one with very specific set of rules tied to the audience members. There is also very specific chorography, some of which I’ve made by myself, some of which we’ve put together.  I would say that the piece becomes alive when there is audience in it and it is a synergy between all of us performers and all of the audience. DJ: How do you anticipate audiences will react to a performance that “walks the picket fence between dance and installation?” ZS: We’ve all worked really hard to give the audience a specific environment.  Every single audience member can move through the space and chose how to see the piece.  We use a lot of proximity and abstracted communication for the duration of the piece and it is definitely an unusual experience for a theatergoer.  I anticipate that everyone will have somewhat a different experience and will see things other people didn’t see […]. DJ: What do you feel sets you apart as a performer and from other Philadelphia-based artists who do similar interdisciplinary work? ZS: I am obsessed with the right lighting and very much concerned with the audience affect and experience. One thing that I’ve been developing and haven’t seen others in the Philly area catch on is the communicative gesture and play of recognizable imagery I propose in my performances.  I like playing with expectations and creating a non-verbal (or sometimes verbal) communication with my audience. My relationship with the audience turns playful and daring, a little bit unsettling and very, very fun. DJ: How do you feel about performing for such a small audience (a total of 60 people over the course of the run)?  ZS: I LOVE IT. It is really important to me to have an intimate environment, one where the audience doesn’t just sit down to “enjoy” and be “fed” some mildly thoughtful/ mildly entertaining thing.  The audience is an agent, a person, an individual and we treat every single one of them that way.  I want to be clear though, this is not the type of environment where you are called out on stage, or picked at, or make uncomfortable.  We work very hard to challenge the audience, but in a very comfortable and safe environment. DJ: Oftentimes, performances with a 2:1 audience/dancer ratio are viewed as “unsuccessful” (i.e. ticket sales didn’t go well, or the only people interested in coming were the dancers’ friends) but you’ve designed this show with small audiences in mind.  Can you comment further on this? ZS: Most art is made to be consumed for one person and one person only.  Take painting for example (the most classical of the arts).  A painting is made with one specific vantage point, when looked at in a museum, one positions himself directly in front of it and when it’s time to move, they make space for the next person to be able to “see” it.  Performing art [is] a very similar phenomenon.  Every person in the audience watches performance and without realizing it, flips the picture in their brain as if they were sitting at the director’s seat – front and center. Knowing that, I question the build and rules of the theater entirely.  I think the theater is the grandfather of television, thus in its form it is constructed for entertainment.  Somehow visual art breaks that boundary and gives a lot more agency to the viewer.  This is namely why I am interested in this kind of format. I want to give freedom to the viewer to not be entirely passive and to be able to guide their own experience though moving through space. To me the term “unsuccessful” used in this form is silly.  Most funders and presenters are obsessed with it, spending millions of dollars on marketing campaigns trying to get every person on the street to care about their season.   I simply don’t agree with this approach to art. Rite of Spring was hugely unsuccessful; more than half the audience walking out of the theater.  Picasso, when he first started his cubism period, was hugely unsuccessful.  One more recent example is […] Meg Stuart.  An American born choreographer working mostly in Europe, [Stuart] is probably one of the most influential teachers and choreographers in contemporary performance right now. She is highly produced, with huge festivals behind her, touring the world almost every year. Still, half of her audience exit[s] the theater during her show. What’s important in all these examples is the merit of the art and not its appeal to large audience. I don’t claim that I’m making performance for everyone. It’s certainly not appropriate for children and will be not so appealing to some.  I know that and am excited to hone down into the craft that keeps me up an night and share it with the people who are in fact interested and engaged into experimenting with new experiences. So, 10 or 600 audience members…doesn’t matter to me. shatter ::: dawn Wednesday - Friday, May 22nd, 23rd, 24th  at 8pm Monday - Wednesday, May 27th, 28th, 29th  at 8pm White Space at the Old School,  1417 2nd Street, Philadelphia, PA 19125 Tickets on Dance Box Office at http://danceboxoffice.com/product_details.php?item_id=77 Kat Richter is a freelance writer and teaching artist.  She holds an MA in Dance Anthropology and is also the co-founder of The Lady Hoofers, Philadelphia’s only all-female tap company.  Her work can be found at www.katrichter.com.
]]> http://philadelphiadance.org/blog/2013/05/21/interview-with-zornitsa-stoyanova-on-shatter-dawn/feed/ 0 http://philadelphiadance.org/blog/2013/05/21/lauren-putty-white-receives-2013-ellen-forman-memorial-award/ http://philadelphiadance.org/blog/2013/05/21/lauren-putty-white-receives-2013-ellen-forman-memorial-award/#comments Tue, 21 May 2013 11:40:31 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10571
Lauren Putty White has been named the winner of the 2013-2014 Ellen Forman Memorial Award. The award consists of a $2,000 cash prize and production costs for setting a work on the dance company at Drexel University during the 2013-2014 academic year. The Ellen Forman Memorial Award supports Philadelphia-area choreographers by giving them the opportunity [...]]]>
Lauren Putty White has been named the winner of the 2013-2014 Ellen Forman Memorial Award. The award consists of a $2,000 cash prize and production costs for setting a work on the dance company at Drexel University during the 2013-2014 academic year. The Ellen Forman Memorial Award supports Philadelphia-area choreographers by giving them the opportunity to set a work on Drexel University’s Dance Ensemble as part of the Drexel Dance Program. Award decisions are made by the EFMA Advisory Committee. Since its establishment in 1991, the Fund has granted 18 awards. The Ellen Forman Memorial Fund, a component fund administered by The Philadelphia Foundation, also has endowed a dance studio in Ms. Forman’s name at Drexel University; Drexel is a co-sponsor of this award. Lauren Putty White is fast becoming an important regional artist. After receiving her BFA from the University of the Arts in Philadelphia in 2005, she made her professional choreography debut at the 2005 Elan Awards in New York, where she restaged her senior piece “The Third Layer.” She continued to perform with Washington Reflections, Urban Bush Woman II, Parsons Dance Company and the Opera Company of Philadelphia. During these years, she received the Individual Artist Fellowship Grant in Baltimore, MD.  In April 2010 Lauren premiered her piece “Hide” with the Ballet X company in Philadelphia. Her work “Sleeping in Wonderland” was selected as part of the Regional Dance America showcase in Pittsburgh in 2011. Currently, Lauren is a company member with the Philadelphia Dance Company (Philadanco) and continues to perform with her own company, Putty Dance Project. The Ellen Forman Memorial Fund was established by friends and colleagues under the auspices of The Philadelphia Foundation in memory of Ellen Forman, a dancer and choreographer, who died before her time in 1990 at the age of 45. Ms. Forman co-founded the South Street Dance Company, one of Philadelphia’s first professional modern dance companies. This ground-breaking company received support from the Pennsylvania Council on the Arts, Pew Memorial Trust and William Penn Foundation. For over a decade, SSDC presented new works in Philadelphia. As part of her belief in education and outreach to students, Ellen created a workshop program combining dance, theatre and visual arts in conjunction with Young Audiences.  Among many accomplishments, she is known for her production of a series of annual concerts called Body/Language which were staged at the Painted Bride Arts Center, and for her tribute to Isadora Duncan, an exemplification of her love of both the movement and the music. The Philadelphia Foundation is Southeastern Pennsylvania’s leading center for community philanthropic engagement. For more than 90 years, the Foundation has been committed to improving the quality of life  in Bucks, Chester, Delaware, Montgomery, and Philadelphia counties. As a public charity community foundation, it manages more than 800 charitable funds, maximizing the strategic impact of charitable contributions. It supports the intentions of individual, family, business and organizational donors who have established permanent charitable funds to help the region meet the challenges of changing times. The Foundation invests and administers these funds and awards the distributions -- about $20 million a year to nearly 1,000 area organizations – as grants and scholarships.  The Foundation’s work is overseen by a volunteer board of leading citizens and run by professionals with expertise in the region’s needs.]]> http://philadelphiadance.org/blog/2013/05/21/lauren-putty-white-receives-2013-ellen-forman-memorial-award/feed/ 2 http://philadelphiadance.org/blog/2013/05/17/sneak-peek-zipline/ http://philadelphiadance.org/blog/2013/05/17/sneak-peek-zipline/#comments Fri, 17 May 2013 15:59:31 +0000 Kat Richter http://philadelphiadance.org/blog/?p=10563
by Kat Richter for The Dance Journal It’s a shame that in 2013 the need still to promote the work of female choreographers and only female choreographers still exists but it does, according to Ellie Goudie-Averill, and her latest project with co-producer Meredith Lyons is designed to do just that.  Zipline, a mixed bill of [...]]]>
by Kat Richter for The Dance Journal It’s a shame that in 2013 the need still to promote the work of female choreographers and only female choreographers still exists but it does, according to Ellie Goudie-Averill, and her latest project with co-producer Meredith Lyons is designed to do just that.  Zipline, a mixed bill of modern and post modern dance, which concludes with two shows at the Performance Garage this weekend, features the work of eight female choreographers from five different cities, including Philadelphia. The program’s title she explained, was a takeoff on Skydive, the informal showing series that takes place in Goudie-Averill’s house (which doubles as a studio) every month.  “We wanted a title that was dynamic and active had a sense of people zipping in from other places.” Zipline also features musicians from Settlement Music School.  Last weekend’s performances, for example, included both classical and jazz guitarists and this weekend will feature a violinist.  It’s an unusual pairing—not because it doesn’t make sense but because it’s so rare—and for Goudie-Averill and co-producer Lyons, it allowed them to qualify for support through DanceUP’s New Stages for Dance grant. “We needed someone with a 501(c)(3)” Goudie-Averill recalled, “but we wanted make sure that they would potentially benefit as a presenter as well.”  Despite offering numerous dance classes, Settlement had never before produced any kind of professional dance and they were eager to get involved. Participating artists include Amy Lynne Barr, Sarah Gamblin, Jennifer Kayle, Tori Lawrence + Co, Sarah Rosner/A. O. Movement Collective and Pamela Vail along with dancers Edward Rice, Anna Adams Stark, Lillie De, Leah Ives & Emily Skillings, Bethany Nelson, Katherine Kiefer Stark and Duane Lee Holland. “We were interested in bringing in female artists who make work that is adventurous,” Goudie-Averill explained.  “Not even necessarily ‘experimental’ in the sense of word that ‘These people are doing wild and crazy things!’ but instead work that’s as contextual and intellectual as it is physical.” That said, highlights for this weekend’s performances will include the Philadelphia premiere of choreographer Amy Lynne Barr (rumor has it there’s going to a big easy chair and lots and lots of jumping).  “We also have two pregnant dancers!” Goudie-Averill enthused. “It’s amazing to me how many of the major well-funded companies and more presented artists are still male,” she noted, “even though dance is a field dominated by really smart women.  Sometimes it doesn’t feel necessary to champion and advocate for women but even in this age it is.” The program will run an hour and twenty minutes, including intermission. Although the choreographers come from as far as New York, Texas and Mississippi, their work is connected, according to Goudie-Averill, in that it’s all very physical, very anti-ephemeral post-modern.  Many of the works incorporate text or other elements, including both humor and irony, but they’re still “dancey.”  According to Goudie-Averill, a work “can be a smart piece of dance and still be dance.” ZIPLINE Saturday, May 18^th at 7:30pm Sunday, May 19^th at 6:00pm Tickets http://zipline_may18.eventbrite.com/ http://zipline_may19.eventbrite.com/ Kat Richter is a freelance writer and teaching artist.  She holds an MA in Dance Anthropology and is also the Executive Director of The Lady Hoofers, Philadelphia’s only all-female tap company.  Her work can be found at www.katrichter.com.]]> http://philadelphiadance.org/blog/2013/05/17/sneak-peek-zipline/feed/ 1 http://philadelphiadance.org/blog/2013/05/16/sneak-peek-the-jobs-project/ http://philadelphiadance.org/blog/2013/05/16/sneak-peek-the-jobs-project/#comments Thu, 16 May 2013 21:25:50 +0000 Kat Richter http://philadelphiadance.org/blog/?p=10557
by Kat Richter for The Dance Journal There’s no shortage of contemporary dance companies in Philadelphia—indeed, they seem to spring to life with each graduating class, some lasting only as long as the Fringe before former classmates part ways.  But RealLivePeople(in)Motion, although unremarkable in its origin, aims to offer Philadelphia audiences something different. Director Gina [...]]]>
by Kat Richter for The Dance Journal There’s no shortage of contemporary dance companies in Philadelphia—indeed, they seem to spring to life with each graduating class, some lasting only as long as the Fringe before former classmates part ways.  But RealLivePeople(in)Motion, although unremarkable in its origin, aims to offer Philadelphia audiences something different. Director Gina Hoch-Stall defines contemporary dance as “dance that is about something” and the company’s newest work, The Jobs Project, promises to be just that.  Based on 25 interviews conducted by Hoch-Stall, the piece takes its cue from the many and varied definitions of work: how they intersect and how they define us. The Jobs Project, which opens tonight and runs through Sunday, comprises one continuous, hour-long piece. With original music by composer Ilan Isakov and set design by local artist Andrea Caldarise, it will weave interview clips together with original choreography that Hoch-Stall describes as “grounded” and “more acrobatic” with plenty of floor work, inversions, partnering and pedestrian, gestural movements. She acknowledges that there are plenty of local companies with similar movement styles but emphasizes her company’s audience-centric approach to dance making.  “We enjoy the process,” she notes, “but we have a constant eye for performance.  We’re thinking about how this will look?” Accessibility is a big buzz work in the dance world, especially when you’re talking about atypical themes, movement styles and venues (such as the Latvian Society, which has been re-configured for The Jobs Project “fashion show style” to give the dancers more space and bring them into closer interaction with the audience).  It’s also important to Hoch-Stall. “Our work is conceptual but it’s easy to comprehend without being dumbed-down,” she explains.  “And it’s concise.  I always tell people our shows are no more than one hour.” The company, which began working together in the fall of 2010, takes a collaborative approach to choreography, at least in the early stages.  After that, Hoch-Stall admits that she becomes the arbiter and “slams down the gavel.”  Nonetheless, she says that all of the dancers are really close and that “I am really particular about getting the right personalities together.  To me, this is just as important as the skill set.” She wants to “help bring dance to the masses, not in a dramatic way, but to make the dance-going experience a positive, embracing one, not to leave audiences feeling like they’re outsiders.” Accessibility, into her opinion is about being able to relate to the work to yourself, to your life.  “We are always people. […] sometimes we climb on top of each other and become objects but we’re always people.” The Jobs Project Thursday, 16 May, 2013 Friday, 17 May, 2013 Saturday, 18 May, 2013 Saturday, 18 May, 2013 Sunday, 19 May, 2013 The Latvian Society, 531 N. 7th St, Philadelphia, PA 19123 Tickets: http://thejobsproject.brownpapertickets.com/   Kat Richter is a freelance writer and teaching artist.  She holds an MA in Dance Anthropology and is also the co-founder of The Lady Hoofers, Philadelphia’s only all-female tap company.  Her work can be found at www.katrichter.com.]]> http://philadelphiadance.org/blog/2013/05/16/sneak-peek-the-jobs-project/feed/ 0 http://philadelphiadance.org/blog/2013/05/15/talent-and-luck-sometimes-go-hand-in-hand-to-capture-that-perfect-moment/ http://philadelphiadance.org/blog/2013/05/15/talent-and-luck-sometimes-go-hand-in-hand-to-capture-that-perfect-moment/#comments Thu, 16 May 2013 03:59:18 +0000 BillHebert http://philadelphiadance.org/blog/?p=10542
I would like to sit here as I type this and say yup i’m that darn awesome cause I grabbed this moment. Don’t get me wrong I am talented but more went into this shot then just me capturing the moment at the right time. I had photographed this piece during dress rehearsal which was [...]]]>
I would like to sit here as I type this and say yup i'm that darn awesome cause I grabbed this moment. Don't get me wrong I am talented but more went into this shot then just me capturing the moment at the right time. I had photographed this piece during dress rehearsal which was performed by dancers of the Temple Dance Department during their ENDings concert and choreographed by Dara Meredith. I'll be honest I didn't see this at first when I shot during the dress run. I decided to come back during the actual performance and shoot from the wings. As the piece started and the fog machine was chugging away I looked up and saw the light shining through the fog like the sun shooting through the clouds after a storm. It was so beautiful I knew I had to try to wait for the right moment but was hoping to see something before the lighting changed then there it was. Sometimes there is a little bit of luck involved, just like anything in life changing your perspective can make a world of difference. Don't get me wrong composition, timing and a good eye also come into play as well as of course the talented dancers, choreography and lighting design. Sometimes and sorry to use this term but sometimes everything just clicks at the right moment. Till next time... Choreography: Dara J. Meredith Dancers: Ebony Webster, Camille Gamble, Jessie Anonuevo and Lashaan Knox of the Temple Dance Department Lighting Design: Emma MacDonald Photo by Bill Hebert]]> http://philadelphiadance.org/blog/2013/05/15/talent-and-luck-sometimes-go-hand-in-hand-to-capture-that-perfect-moment/feed/ 0 http://philadelphiadance.org/blog/2013/05/15/pennsylvania-ballet-presents-forythe-kylian-plus-a-world-premiere-by-matthew-neenan/ http://philadelphiadance.org/blog/2013/05/15/pennsylvania-ballet-presents-forythe-kylian-plus-a-world-premiere-by-matthew-neenan/#comments Wed, 15 May 2013 14:41:49 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=10536
Pennsylvania Ballet Principal Dancers Julie Diana and Ian Hussey in William Forsythe’s Artifact Suite. Photo: Alexander Iziliaev Final Performances of the 2012-2013 Season Celebrate the evolution of Pennsylvania Ballet’s repertoire with Company premieres by two of today’s most influential choreographers – plus an innovative World Premiere by Matthew Neenan – with Forsythe & Kylián, June [...]]]>

Pennsylvania Ballet Principal Dancers Julie Diana and Ian Hussey in William Forsythe’s Artifact Suite. Photo: Alexander Iziliaev Final Performances of the 2012-2013 Season Celebrate the evolution of Pennsylvania Ballet’s repertoire with Company premieres by two of today’s most influential choreographers – plus an innovative World Premiere by Matthew Neenan – with Forsythe & Kylián, June 13-16, 2013 at the Academy of Music. Fred Alger Management is the Presenting Sponsor of Forsythe & Kylián. “Bringing new work into the repertoire is essential to continually challenging our dancers as well as our audience,” Artistic Director Roy Kaiser says. “This all-premiere program makes for a forward-looking finale to our 2012-2013 Season.” New to the Pennsylvania Ballet repertoire, Jiří Kylián employs a seamless, fluid vocabulary to propel his somber Forgotten Land, a Company premiere. For this strikingly soulful piece, Kylián found inspiration in a painting of water eroding the shore by Norwegian Expressionist Edvard Munch. Choreographer in Residence Matthew Neenan creates a World Premiere – his 14^th commission for the Company. A work for three dancers, two men and one woman, this piece moves to the light and lyrical melodies of Felix Mendelssohn’s Songs Without Words. Artifact Suite, a Company premiere, offers William Forsythe's singular brand of aggressive, angular movement. His daring interpretation of the ballet lexicon boasts lightning-quick rhythm, to-the-hilt extension, and unmatched precision. Tickets to Forsythe & Kylián at the Academy of Music are on sale now, starting at $30. Tickets are available online at paballet.org, by phone at 215.893.1999, and in person at the Kimmel Center Box Office. Forsythe & Kylián performances at the Academy of Music:

• Thursday, June 13 at 7:30 p.m.
• Friday, June 14 at 7:30 p.m.
• Saturday, June 15 at 2 p.m. and 8 p.m.
• Sunday, June 16 at 2 p.m.

 

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