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Upcoming Dance Events


Tuesday, October 23, 2018

Dance at Work in Euripides’s Ion

Sarah Olsen, Assistant Professor of Classics at Williams College 5:00 pm – 6:30 pm. RKC 103

Saturday, April 13, 2019

Ephrat Asherie
Odeon

8:00 pm. Fisher Center, Sosnoff Theater

Dance Faculty

Maria Simpson, director

Professor of Dance, Dance Program Director
Phone: 845-758-7996
E-mail: msimpson@bard.edu

 

Performer, choreographer and teacher. Maria has taught at Mount Holyoke College, Middlebury College, the University of Washington, the Bates Summer Dance Festival, the 1997 Seattle Summer Dance Festival, the Kaatsbaan International Dance Center’s Summer Workshop, the 2007 Vassar College Summer Workshop, and the Gibney Dance Center in New York City. Maria teaches ballet, modern dance, anatomy, physics of dance, and dance composition. She has performed with many dance companies and independent artists in both Seattle and New York including Freedman/Coleman Dance Company, Peter Schmitz and Dancers, the Pat Graney Company, Gina Gibney Dance, the Chamber Dance Company, and Peter Kyle Dance. As a member of the Chamber Dance Company in Seattle, Maria danced works by Isadora Duncan, Bill Evans, Mark Dendy, Zvi Gotheiner, Murray Louis, Jose' Limon, Lar Lubovitch, Alwin Nikolais, Paul Taylor, Doug Varone, and Mary Wigman. Maria’s choreography has been presented at the artsEdge Festival (Seattle), the dancenow/nyc festival (New York), the Martha Hill Theater (Bennington College), Theater in the Trees (Connecticut), the Fisher Center of the Performing Arts (Bard College) and the Meany Theater (University of Washington). Maria has been working with choreographer Sondra Loring since 2012. They have performed at Judson Church and the 92nd St Y in New York City, the Basilika in Hudson, NY, and as part of summer festivals on Martha’s Vineyard and in New Hampshire. Maria has presented her research in dance science and ballet technique at the National Dance Educators Organization conference and she has also been published in Impulse—the International Journal of Dance Medicine and Science. Maria received a B.F.A. from the University of Massachusetts in 1988 and an M.F.A. from the University of Washington in 1996. (2004-) Professor of Dance.

Quilan "Cue" Arnold

Teaching Artist, American Dance Festival (ADF)

Quilan “Cue” Arnold (MFA) is a professional dancer, choreographer, and teacher based out of
Brooklyn, New York. Quilan received a MFA in Dance at The Ohio State University and a BA
from Penn State University. He has danced for the New York Philharmonic (NY), Little Theatre
at Dixon Place (NY), Enzo Celli’s Vivo Ballet (NY), and Rennie Harris’s Puremovement (PA)
and Grassroots (CO) dance companies. Quilan’s choreographic work has been presented in a
domestic and international milieu. His most recent work, “forEVER forWARD” was presented at
Laguardia Performing Arts Center as a part of the 2018 Emerging Choreographer Series program
in Queens, NY. Other 2018 choreographic credits include the International Human Rights
Festival (NY), Steps on Broadway’s Performance Lab (NY), and the INSITU Site-Specific
Festival (NY). As an educator, Quilan was a 2017 Artist in Residence at the University of
Memphis (TN) and New York University (NY); and a 2018 Guest Lecturer at Ohio State
University (OH) and Rutgers University (NJ). Quilan currently serves as a faculty member at
Steps on Broadway, Mark Morris Dance Center, and Gibney Dance Center in New York City.
Quilan’s research majorly considers the representation of hip-hop dance as it shifts from a
vernacular context to the studio, internet, and stage. His journey has inspired the creation of the
hip-hop organization, onC.U.E (Create, Unite, Empower), and the online course, Get Groovy.
onC.U.E and Get Groovy classes have influenced students in Columbus, OH; New York City,
NY; Memphis, TN; Baltimore, MD; State College, PA and worldwide through online courses.

Arthur Avilés

Guest Artist

Arthur Avilés is a gay New York-Rican dancer/choreographer, born in 1963 in Jamaica, Queens and raised in Brentwood, Long Island and Bronx Park East. At the age of 8, his parents enrolled him in a program at the Fresh Air Fund. His family called it the Two Week camp. Every summer, he visited the Yeager family in Perkasie, Pennsylvania. He took his first classes in creative thinking with Peter Vercillo during grade school in Long Island. He graduated from Julia Richman High School under the program Talented Unlimited mentored by Edward M. Fourrey. Arthur attended Bard College and Columbia Greene Community College. In 1987, he received a B.A. in dance and theater from Bard under Lenore Latimer, Susan Osberg, Aileen Passloff, Albert Reid and Jean Churchill. His first excursion abroad was when Professor Churchill brought him on tour to the Edinburg Fringe festival. He became a member of Bill T. Jones/Arnie Zane & Company and toured internationally from 1987 to 1995. He also received the Charles Flint Kellogg Award in Arts and Letters from Bard in 1992. He is the founder of his contemporary dance company, Arthur Avilés Typical Theatre (AATT) which premiered at the Exit Arts Festival, Maison des Arts de Creteil, France in 1996. He has choreographed over two dozen dance works for his company and has performed at Lincoln Center Out-of-Doors, Jacob’s Pillow, Central Park Summerstage, Symphony Space, Harlem Stage, Richard B. Fisher Center for the Performing Arts at Bard College, Celebrate Brooklyn, Hostos Center for the Performing Arts and several other venues in NY, Washington, D.C., Philadelphia and Connecticut. He has been awarded dance residencies at dozens of universities in the US and abroad. In December 1998, he along with Charles Rice-González co-founded The Bronx Academy of Arts and Dance (BAAD!) a performance space that blazed a path for professional art and dance in the Bronx and has garnered local and national attention for its work. The New York Times crowned BAAD! “a funky and welcoming performance space” and the Theater Journal has said “They have created a space for art in an environment that seems antithetical to that act.” Avilés received an honorary Doctor of Fine Arts degree from his alma mater, Bard College, and was honored with a New York Dance and Performance (Bessie) Award for his outstanding creative achievement during theJones/Zane seasons in 1988 and 1989, a Bronx Recognizes It’s Own (BRIO) award, a New York Foundation for the Arts Fellowship (NYFA) and a Tanne Foundation award. In 2003 chief critic of The New York Times, Anna Kisselgoff wrote, “...one of the great modern dancers of the last 15 years.” He received the Mayor’s Award for Art and Culture in 2010 and was honored with a National Endowment for the Arts (NEA) Master’s Grant from Pregones Theatre. In 2002, Avilés founded The Bronx Dance Coalition which strengthens and supports professional dancers and dance companies based in the Bronx, and produces the Bronx Dance Magazine. In 2009, Avilés began making dance films that reinterpret his choreography and creative ideas. Many were filmed and edited by Peter Richards. His first film, This Pleasant and Grateful Asylum (1999), was presented in nearly a dozen festivals including the MIX NYC festival, at Cinemarosa in Queens, The E-Moves Festival at Harlem Stage and in festivals in Oakland, CA, Torino, Italy and the 8th Biennial International Lesbian And Gay Media Arts Festival Of Regina Canada. His other films include To Be Real (2011), Dorothur’s Journey (2012), Elysian Fields (2013) and Periodic Solution (1986) based on the dance piece by Jean Churchill which he originated in 1986 and premiered at Bard in 2016. In addition to his work in the Bronx, Avilés was the choreographer for Ibrahim Qurashi’s Paris-based theatrical company, Faim de Siecle, and recently, has entered a series of collaborations with a mentor of his, Aileen Passloff, (a notable seminal dance artist who was a part of the Judson Dance Theater.) In addition to dancing with all his dance professors, he has also danced for Toby Armour, Tina Croll & Jamie Cunningham, Larry Clark, Doug Elkins, Lawrence Goldhuber, Beth Lipton, Nora Laudoni, Antonio Ramos, Amy Pivar & Freda Rosen, Sarah Pogostin, Marta Renzi, Mary Ellen Strom & Cindy Lee, Merián Soto and Dawn Watson. Currently Mr. Avilés has embarked on a long term project called the AATT ACADEMY located in the Bronx. The AATT Academy offers a community-based, accessible dance program for 6-9 year olds in a fully inclusive, nurturing environment that uses multi-media to provide an immersive experience.  The Academy’s diverse and professional faculty provides progressive, non-competitive, gender neutral, quality instruction in movement based techniques from traditional dance to athletics. Mr. Avilés can be reached at  BAADBRONX.ORG

Souleymane Badolo

Artist in Residence

Souleymane ‘Solo’ Badolo is a Brooklyn-based choreographer and dancer born in Ouagadougou, Burkina Faso. He started his professional career as a dancer for the DAMA, a traditional African dance company. In 1993, he founded his own Burkina Faso-based troupe, Kongo Ba Téria, which fuses traditional African dances with western contemporary dance and continues to tour internationally. Mr. Badolo has danced with world-renowned contemporary African dance company Salia ni Seydou, worked with French choreographers Elsa Wolliaston and Mathilde Monnier, and performed with the National Ballet of Burkina. He and Kongo Ba Téria are featured in the widely-screened documentary Movement (R)evolution Africa which documents the continent’s emergent experimental dance scene. Since moving to New York City in 2009, Badolo has created a number of solo projects commissioned and presented by Danspace, New York Live Arts, Dance New Amsterdam, Harlem Stage, the 92nd Street Y, the Museum of Art & Design, Mount Tremper Arts, and the sprawling River to River Festival (R2R). He has collaborated with Nora Chipaumire, Ralph Lemon, Reggie Wilson, and Jawole Willa Jo Zollar of Urban Bush Women. His ongoing research in Africa has been supported by The Suitcase Fund of New York Live Arts. Mr. Badolo was nominated for a 2011 New York Dance & Performance (Bessie) Award as Outstanding Emerging Choreographer and in 2012, received the Juried Bessie Award (from jurists Lar Lubovitch, Yvonne Rainer and Jawole Willa Jo Zollar). In summer 2013, he was named Artist-In-Residence at the Institute for Curatorial Practice and Performance at Wesleyan University and Mount Tremper Arts. Badolo was commissioned to create a dance for Philadanco as part of James Brown: Get on the Good Foot, produced by The Apollo Theater for presentation there in October 2013, followed by national and international touring dates. Mr. Badolo was the recipient of Wesleyan University’s 2014 Mariam McGlone Emerging Choreographer Award.  Badolo was selected to be the Harkness Foundation Artist-in-Residence at the BAM Fisher for summer 2015 and was commissioned by BAM to create Yimbégré, an evening-length work for presentation in the renowned Next Wave Festival. Yimbégré, a dance for Badolo, Sylvestre Koffitse Akakpo-Adzaku, and Mamoudou Konate, was reprised at the 2016 Jacob’s Pillow Dance Festival. Badolo is currently on faculty at Williams College and Bennington College, and has previously taught at The New School, the University of North Carolina Asheville,Performance Yimbegré February 15, 16, 17 18 Berlington Vermont. He graduated with an MFA from Bennington in June 2013.
 

Jean Churchill

Professor of Dance
Phone: 845-758-7933
E-mail: churchil@bard.edu

Studied modern dance at Connecticut College Dance Festival. Member, Boston Ballet Company (1966–72); artistic director, New England Dinosaur (1976). Performed works by James Waring, Trisha Brown, Carolyn Brown, George Balanchine, Norman Walker, and in classical and modern ballets. Choreography in Choreographer’s Showcase, Split Stream, Fresh Tracks, Men Dancing, Performance Mix, and To the Pointe festivals; venues in Scotland; and many venues in the United States. Choreography and direction for Cinderella’s Bad Magic, opera composed by Kyle Gann, premiered in Moscow (2002). (1980– ) Professor of Dance.

Leah Cox

Term Associate Professor of Dance
Phone: 845-758-7945
E-mail: lcox@bard.edu

 

M.F.A., Hollins University, B.A., Texas Christian University. Dean of the American Dance Festival; former director of the New York Live Arts/ Bard College partnership (2009-2015); former education director of New York Live Arts; former education director, company member, and rehearsal assistant, Bill T. Jones/Arnie Zane Dance Company (2001–2014). At Bard, Cox regularly teaches Intro to Modern, Intermediate/Advanced Modern, and Comp III, and she assists in the administration of Junior/Senior Seminar in Dance. She co-teaches several of these courses with the teaching artists via the Trisha Brown Dance Company partnership. Cox has been on faculty at the American Dance Festival, Peridance, and Dance New Amsterdam and is a master teacher and adjudicator for YoungArts. Her choreography has been presented in New York City at the 92nd Street Y, Dixon Place, the DUMBO Dance Festival, and the CoolNY Festival, in addition to other locations beyond NYC. Cox is passionate about the intersections between dance and various other disciplines, including anthropology, psychology, philosophy, and gender studies.

Lindsay Clark

Visiting Assistant Professor in Dance
Phone: 845-758-7935
Email: lindsaywalkerclark@gmail.com

 

Lindsay Clark has been performing and teaching in NYC and internationally since 2005. She has had the pleasure of working with Shen Wei Dance Arts, Faye Driscoll, Jennie Mary Tai Liu, Yve Laris Cohen, Miguel Gutierrez and the Powerful People, Vanessa Anspaugh, Jack Ferver, John Jasperse, Yasuko Yokoshi, Michelle Boulé, Pontus Lidberg, and Xavier Le Roy. She is currently working on a new project with Juliana May and is enrolled in the Alexander Technique teacher training program at the Riverside Initiative for the Alexander Technique. Lindsay has taught professional and open ballet classes in NYC and modern dance, composition, and improvisation at the University of the Arts, Hollins University, and the American Dance Festival. Lindsay attended High School at the North Carolina School of the Arts as a ballet major, holds a BFA in dance from SUNY Purchase and an MFA in dance from Hollins University.
 

Peggy Florin

Visiting Associate Professor of Dance
Phone: 845-758-7935
E-mail: florin@bard.edu

Choreographer, performer and teacher who has taught at Oberlin College, Ohio University, Williams College, Bennington College and at summer residencies at the Bennington College July Program, Pro Danza Italia and the White Mountain Dance Festival. She teaches modern and ballet technique, dance composition, repertory and experiential anatomy. Trained as a child in classical ballet at the Metropolitan Opera House by Anthony Tudor and Margaret Craske, she performed with the Atlanta Ballet and as a soloist with the Manhattan Festival Ballet. She has appeared in the work of many choreographers including Anna Wyman, Muna Tseng, Albert Reid, Phyllis Lamhut, Janet Panetta and Charles Moulton, touring nationally and in Europe. Her choreography has been presented at Dance Theater Workshop, the Cunningham Studio, DIA, Movement Research and the Marymount Manhattan Theater in New York City, and at Jacob’s Pillow Inside/Out in Massachusetts, the Bennington College Martha Hill Performance Space, the Bard College Fisher Center of the Performing Arts, and the New England Artists Conference. Peggy’s creative work and teaching is influenced by her on-going study of movement through the Alexander Technique, clowning techniques learned from Yuri Belov, Eric Trules and Bill Irwin and experiential anatomy from Lulu Sweigart, Irene Dowd, Nancy Topf and Andrea Olsen. An AmSat certified teacher of the Alexander Technique, she is on the faculty of the teacher training program at the Riverside Initiative for the Alexander Technique in New York City. She studied in the BFA program at Juilliard, holds a BA from Empire State College and an MFA from Bennington College. 

Beth Gill

Teaching Artist, American Dance Festival (ADF)

photo credit Chris Cameron
Beth Gill is a Guggenheim, Doris Duke Impact and Bessie Award winning choreographer based in New York City since 2005. Through a steady exploration of aesthetics and perception she has produced a rigorous body of work with evolving interests in abstraction, psychology, theater and dance. Her formal and exacting works are toned with the themes of alienation, objectification, female sexuality, rage and obsession. Gill has been a Princeton Hodder Fellow, Lower Manhattan Cultural Council Extended Life Artist in Residence, New York City Center Choreography Fellow and a 2012 FCA grant recipient. 
 

Tara Lorenzen

Guest Artist

Tara Lorenzen (Dancer) is originally from the hills of West Virginia. Upon graduation from SUNY Purchase, she became a member of the Repertory Understudy Group under Merce Cunningham where she created an original role in “EyeSpace” as well as reconstructing earlier works such as “Rune” and “Summerspace". She went on to work with Stephen Petronio Dance Company from 2008-2011. She has also worked with Kimberly Bartosik, Christine Elmo, Shen Wei Dance Arts, Ashleigh Leite, Todd Williams, Christopher Williams, Rene Archibald, Anna Sperber, Beth Gill (“Electric Midwife” Bessie award for Outstanding Production 2011), and Maria Hassabi (“Plastic” Bessie award for Outstanding Production 2016). Tara has taught master classes and workshops for the Trisha Brown Dance Company all over the world and is truly honored to work with the students at Bard College. She has recently assisted in the reconstruction of Trisha’s “O zlozony/O composite” (originally created for the Paris Opera Ballet), on the Pennsylvania Ballet. She joined the Company in 2011. 
 

Nia Love

Teaching Artist, American Dance Festival (ADF)

Photo credit: Grant Halverson
Nia Love is an artist, choreographer, activist, mother, warrior, and educator continuing to expand conversations of intersectionality through dance. She was invited to apprentice with the world renowned Ballet Nacíonal De Cubá, Havana (1978). She is a graduate of Howard University (BFA) and Florida State University (MFA). Awarded Fulbright Fellowships (2001-2003), she continues to work nationally and internationally. Nia worked and danced with Min Tanaka, the celebrated Japanese Butoh master and has had her work presented at Judson Church, Harlem Stage, Bates Dance Festival, PS122, Projcet Artaud, and Tanzanian–Time 2Dance Festival, to name a few. Love was awarded the Alvin Ailey NDCL grant, the Suitcase Fund, and CUNY Choreographic Initiative and most recently the Movement Research Artist-in-Residence 2016-17.