Bard Dance Professor Yebel Gallegos Awarded MADarts Residency
Bard Visiting Assistant Professor of Dance Yebel Gallegos will spend the week of March 18– 22 in the MADarts Residency Program, which provides artists and their collaborators unlimited access to a dance studio and a quiet, comfortable living space at the Modern Accord Depot in Accord, New York. Gallegos will continue work on MACHO Sensibilities, a project that critically examines the imposition of machismo on male-identifying dancers of Mexican and Mexican-American descent.
Bard Dance Professor Yebel Gallegos Awarded MADarts Residency
Bard Visiting Assistant Professor of Dance Yebel Gallegos will spend the week of March 18– 22 in the MADarts Residency Program, which provides artists and their collaborators unlimited access to a dance studio and a quiet, comfortable living space at the Modern Accord Depot in Accord, New York. Gallegos will continue work on his long-term dance production project, MACHO Sensibilities, which critically examines the imposition of machismo on male-identifying dancers of Mexican and Mexican-American descent. During the residency, he will be developing a new section with his collaborators that is set to premiere at the Faculty Dance Concert, taking place in the Richard B. Fisher Center for the Performing Arts’ LUMA Theater at Bard College in spring 2024.The section will be a trio comprising three Mexican and Mexican-American artists including Gallego, costume and stage designer David Arevalo, and composer/sound designer/percussionist Jonathan Rodriguez. This research project is anchored in autoethnographic writing, oral history research, and movement analysis. “I define machismo as an exaggerated performance of a ‘man’s role’ as it is encouraged by the confines of heteronormativity and patriarchy. Machismo overshadows the individuality of gender representation, preventing the inclusion of diverse interpretations of masculinity in society,” writes Gallego.
Alumnus Sam Asa Pratt ’14 performed at the 2023 Dance Magazine Awards Ceremony, where Pratt received a Harkness Promise Award alongside Amadi Washington. Their dance company, Baye & Asa, was praised by Harkness Foundation for Dance Executive Director Joan Finkelstein for its ability to “create political metaphors, interrogate systemic inequities, and contemporize ancient allegories.”
Baye & Asa, Codirected by Sam Asa Pratt ’14, Wins Harkness Promise Award at 2023 Dance Magazine Awards
Alumnus Sam Asa Pratt ’14 performed at the 2023 Dance Magazine Awards Ceremony, where Pratt received a Harkness Promise Award alongside Amadi Washington. Their dance company, Baye & Asa, was praised by Harkness Foundation for Dance Executive Director Joan Finkelstein for its ability to “create political metaphors, interrogate systemic inequities, and contemporize ancient allegories.” Accepting the award, Pratt said, “In a contemporary world, there’s a lot of pressure to put yourself into a camp, to distill, succinctly and uncompromisingly, what you believe and where you stand. I think dance is uniquely positioned as an art form that can liberate thought into indeterminacy and to widen toward multiplicity instead of narrowing towards one singular thesis. Art remains one of the most advanced pieces of technology we have as a species.”
Beginning in fall 2023, the Bard College Dance Program is launching a two-year partnership with Villa Albertine, a cultural institution that supports exchanges in arts and ideas between the United States, France, and beyond. Each semester, artists selected by Tara Lorenzen, director of Bard’s Dance Program, and Nicole Birmann Bloom, Villa Albertine’s program officer for the performing arts, in collaboration with Centre National de la Danse (CN D, Pantin, France) and other French choreographic centers, will teach technique and repertory courses in Bard’s dance curriculum.
Bard College Dance Program Launches Two-Year Partnership with Villa Albertine
Beginning in fall 2023, the Bard College Dance Program is launching a two-year partnership with Villa Albertine, a cultural institution that supports exchanges in arts and ideas between the United States, France, and beyond. Each semester, artists selected by Tara Lorenzen, director of Bard’s Dance Program, and Nicole Birmann Bloom, Villa Albertine’s program officer for the performing arts, in collaboration with Centre National de la Danse(CN D, Pantin, France) and other French choreographic centers, will teach technique and repertory courses in Bard’s dance curriculum.
“The Bard Dance Program is thrilled to partner with Villa Albertine,” said Lorenzen. “There has always been a robust exchange of innovative dance ideas between French-supported artists and the US and I look forward to continuing this tradition with the next generation of dance students here in Annandale.”
During the spring semester, a choreographer will conduct a one week creative residency in the Luma Theater/Fisher Center with a public showing for the Bard community and masterclasses for the student body. A unique component of this partnership allows Bard dance students to participate in the international dance platform CAMPING at the CN D in Pantin, France, each June. CN D is a public institution created in 1998, devoted to the preservation of choreographic and dance culture. Its distinctive CAMPING dance festival gives students the opportunity to work with choreographers from around the globe, perform their own choreographic projects, and develop teaching practices by conducting morning classes with their peers.
The partnership is launching during Albertine Dance Season, the year-long exploration of dance from inception to performance that includes multi-city tours by French, France-based, African, and Caribbean companies, artistic residencies for up-and-coming choreographers, a dance-themed symposium featuring global leaders in the field, and more.
“The team at Villa Albertine shares with Bard College the deepest appreciation of the true value of educational exchange and the enduring cultural benefits of arts in education,” said Gaëtan Bruel, cultural counselor and director of Villa Albertine. ” We have the greatest confidence that this two-year partnership will uniquely support and sustain Bard students in the enrichment of their arts experience while at Bard and shape their future artistry.”
Since 2009, the Bard Dance Program has hosted an in-residence dance company or performing arts organization bringing professional technique and composition to the academic program in the form of teaching, educational licensing projects, master classes, full-Company production residencies, and public performances.
This fall, choreographers and performers Marcela Santander (Chile/France) and Volmir Cordeiro (Brazil/France) will join the Dance faculty in Annandale-on-Hudson. Wanjiru Kamuyu (Kenya/France/USA) will have a discussion on September 18, 2023, based on her current touring project “An Immigrant’s Story” and her unique creative process.
Maria Q. Simpson Launches Ballet Website for Educators
Maria Q. Simpson, professor of dance at Bard College, has launched Three Ballet Teachers... (3BT) in collaboration with Zvi Gotheiner and Hannah Wiley. 3BT is an online resource featuring video documentation of original ballet class choreography by the three contemporary ballet teachers. “The website provides teachers of all levels of experience with choreographed center-floor sequences that can be used in full or in part, or as inspiration for their own classes,” Maria said. The project came out of the mutual belief among Simpson, Gotheiner, and Wiley that ballet class choreography represents a huge body of unrecognized creative work, and that this work should be accessible. “3BT is looking to both highlight and exalt the training space and the choreography that occurs there as representative of the living history of the art form,” Maria said.
New York Times Profiles Bard’s Fisher Center: At 20, an Upstate Arts Haven Keeps Breaking New Ground
The Fisher Center at Bard has become an incubator for commercially promising new work like Justin Peck’s Illinois, while holding tight to its experimental roots. For the New York Times, Jennifer Schuessler visits Bard’s Fisher Center in its 20th anniversary season, on the heels of a sold-out, extended run of Illinois, to talk with Fisher Center Artistic Director Gideon Lester, Illinois director Justin Peck, choreographer Pam Tanowitz, President Leon Botstein, and others about the Fisher Center’s past and future. “Since opening 20 years ago,” she writes, “the center’s Frank Gehry building has emerged as a hothouse for the creation of uncompromising, cross-disciplinary, and sometimes hard to describe hits.”
Acclaimed Director Anne Bogart ’74 Wins Obie Award for Lifetime Achievement
American theater and opera director and cofounder of SITI Company Anne Bogart ’74, who studied drama and dance at Bard and received an honorary doctorate of fine arts from the College in 2014, has won a 2023 Obie Award for Lifetime Achievement. The Obie Awards honor the highest caliber of off-Broadway and off-off Broadway theater to recognize brave work, champion new material, and advance careers in theater. Bogart accepted her honor at the 66th Obie Awards ceremony in New York City.
“In 1974, fresh out of college, I moved to New York City. There was nowhere else in the world that made sense to me. I wanted to be where theater was happening. And I wanted to direct plays,” she said in her acceptance speech. In 1992, Bogart, along with Japanese director Tadashi Suzuki and a group of like-minded artists interested in revitalizing and redefining contemporary theater in the United States, founded SITI Company. Bogart was honored by the Obie judges for her 30 years of work with SITI Company, an artistic ensemble company, which created more than 50 productions presented at venues around the world, and pushed the boundaries of contemporary theater through innovative approaches to actor training, collaboration, and cultural exchange.
In December 2022, Bard’s Fisher Center presented the world premiere of SITI Company’s reimagining of Charles Dickens’ A Christmas Carol, codirected by Anne Bogart and Tony Award winner Darron L West. The work, commissioned by the Fisher Center, was the final production in SITI Company’s 30th anniversary “Finale Season.”
Bard College Professors Souleymane Badolo and Kite Each Receive 2023 Creative Capital “Wild Futures: Art, Culture, Impact” Awards
Bard College Assistant Professor of Dance Souleymane Badolo and MFA alum in Music/Sound and American and Indigenous Studies Program faculty member Kite (aka Suzanne Kite MFA ’18) have won 2023 Creative Capital “Wild Futures: Art, Culture, Impact” Awards, which will fund the creation of experimental, risk-taking projects that push boundaries formally and thematically, venturing into wild, out-there, never-before-seen concepts, and future universes real or imagined.
Creative Capital awarded 50 groundbreaking projects—comprising 66 individual artists—focused on Technology, Performing Arts, and Literature, as well as Multidisciplinary and Socially Engaged forms. Souleymane Badolo (with Jacob Bamogo) won an award in Dance. Kite won an award in Technology. Awardees will receive varying amounts up to $50,000 in direct funding to help finance their projects and build thriving artistic careers. The award provides a range of grant services from industry connections and financial planning to peer mentorship and community-building opportunities. Grant funding is unrestricted and may be used for any purpose to advance the project, including, but not limited to, studio space, housing, groceries, staffing, childcare, equipment, computers, and travel. The combined value of the 2023 Creative Capital Awards totals more than $2.5 million in artist support.
“The 2023 Creative Capital cohort reaffirms the unpredictable and radical range of ideas alive in the arts today—from artists working in Burkina Faso to Cambodia and across the United States. We continue to see our democratic, open-call grantmaking process catalyze visionary projects that will influence our communities, our culture, and our environment,” said Christine Kuan, Creative Capital President Executive Director.
The Creative Capital grant is administered through a national open call, a democratic process involving external review of thousands of applications by international industry experts, arts administrators, curators, scholars, and artists. The 2023 grantee cohort comprises 75% BIPOC artists, representing Asian, Black or African American, Latinx, Native American or Alaskan Native, Native Hawaiian or Pacific Islander, and Middle Eastern-identified artists; 10% of artists identify as having a disability; and 59% of artists identify as women, gender nonconforming, or nonbinary. The cohort includes emerging, mid-career, and established artists between the ages of 25 and 69. The artists are affiliated with all regions of the United States and its territories, as well as artists based in Cambodia, Burkina Faso, Germany, and Japan.
Kite also won a 2023 United States Artists Fellowship in Media. The award honors her creative accomplishments and supports her ongoing artistic and professional development. Kite is one of 45 USA Fellows across 10 creative disciplines who will receive unrestricted $50,000 cash awards. USA Fellowships are awarded to artists at all stages of their careers and from all areas of the country through a rigorous nomination and panel selection process. Fellowships are awarded in the following disciplines: Architecture & Design, Craft, Dance, Film, Media, Music, Theater & Performance, Traditional Arts, Visual Art, and Writing. Learn more about USA Fellowships here.
Souleymane ‘Solo’ Badolo is a Brooklyn-based dancer, choreographer, and founder of the Burkina Faso–based troupe Kongo Ba Téria, which fuses traditional African dance with Western contemporary dance. A native of Ouagadougou, Burkina Faso, Badolo began his professional career with the African dance company DAMA. He has also performed with Salia nï Seydou and the National Ballet of Burkina Faso, and worked with French choreographers Elsa Wolliaston and Mathilde Monnier. Badolo and Kongo Ba Téria are featured in the documentary Movement (R)evolution Africa. He appeared in the 2015 BAM Next Wave Festival; has created solo projects for Danspace, New York Live Arts, Dance New Amsterdam, Harlem Stage, the 92nd Street Y, and New York’s River to River Festival; and was commissioned to create a dance for Philadanco as part of James Brown: Get on the Good Foot, which was produced by the Apollo Theater and toured nationally and internationally. He was nominated for a Bessie Award in 2011 as outstanding emerging choreographer, received the Juried Bessie Award in 2012, and a 2016 Bessie for Outstanding Production for his piece Yimbégré, which “gloriously communicated the clash and reconciliation of the different traditions held within one’s life, one’s body.” The Suitcase Fund of New York Live Arts has supported Badolo’s ongoing research in Africa. He graduated with an MFA from Bennington in June 2013. He has been on the Bard College faculty since 2017 and previously taught at the New School, Denison University, and Bennington College.
Kite aka Suzanne Kite is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University for the forthcoming dissertation, sound and video work, and interactive installation Hél čhaŋkú kiŋ ȟpáye (There lies the road). Kite’s scholarship and practice explores contemporary Lakota ontology through research-creation, computational media, and performance. Kite often works in collaboration, especially with family and community members. Her art practice includes developing Machine Learning and compositional systems for body interface movement performances, interactive and static sculpture, immersive video and sound installations, poetry and experimental lectures, experimental video, as well as co-running the experimental electronic imprint, Unheard Records. Her work has been featured in various publications, including the American Indian Culture and Research Journal, the Journal of Design and Science (MIT Press), with the award-winning article, “Making Kin with Machines”, and the sculpture Ínyan Iyé (Telling Rock) (2019) was featured on the cover of Canadian Art.
Napping at Work? Sara Mednick ’95 Speaks with Discover Magazine about “How Naps Improve Memory Performance”
Asleep on the job? Dr. Sara Mednick ’95, Bard alumna and professor of cognitive science at the University of California, says that could be a good thing for productivity. Speaking with Discover magazine, Mednick shared insights into the cognitive benefits of naps, which “benefit everything that nighttime sleep helps, including emotional regulation, attention, alertness, motor function and memory.” The length and timing of a nap also impacts its effects on our well-being, with higher benefits from naps before 1 pm, leading many companies and universities to create “designated sleeping pods to allow students and employees to nap whenever they need to.” Building off of findings from a 2018 paper coauthored by Mednick, Discover outlines that while “the benefits of napping may vary across different individuals,” given their many cognitive benefits, it might be time to reconsider how naps fit into our personal and professional lives.
Song of Songs, a Major New Dance-Theater Work from Pam Tanowitz and David Lang, Makes Its World Premiere July 1–3 as Part of Bard SummerScape 2022
Song of Songs Is Commissioned by the Fisher Center at Bard, Where Tanowitz Is Choreographer-in-Residence, and Which Also Commissioned and Premiered Her Renowned Four Quartets
The Fisher Center at Bard, which has become one of the world’s preeminent sources of major multidisciplinary performance works, presents a project that exemplifies its place on the cultural landscape: a new dance setting of the biblical Song of Songs created by the Fisher Center’s internationally celebrated choreographer-in-residence, Pam Tanowitz, with new music from Pulitzer Prize-winning composer David Lang, making its world premiere July 1-3 as part of the 2022 edition of the Bard SummerScape festival.
Spiritual and erotic, playful and mysterious, Song of Songs (also known as The Song of Solomon) is perhaps the greatest of all love poems—a hymn of yearning, steeped in images from the natural world. It has inspired artists and lovers for millennia; some scholars argue that the entire tradition of Western love poetry springs from its glorious verses. Based on this radiantly beautiful text, Tanowitz’s collaboration with Lang, in which she explores her Jewish identity, is a collage of movement, sound, and song that reimagines ancient rituals of love and courtship and holds the sacred and profane threads of the Song in perfect balance.
In addition to choreography by Tanowitz and music by Lang, Song of Songs features production design by Tanowitz and her longtime collaborators Reid Bartelme, Harriet Jung, and Clifton Taylor; sound design by Garth MacAleavey; music supervision by Caleb Burhans; and dramaturgy by Mary Gossy. Betsy Ayer is the production stage manager.
The performers include Pam Tanowitz Dance company members Christine Flores, Zachary Gonder, Lindsey Jones, Brian Lawson, Victor Lozano, Maile Okamura, and Melissa Toogood (rehearsal director); and musicians Emily Brausa (cello), Caleb Burhans (viola), Martha Cluver (soprano), Katie Geissinger (alto), Rebecca Hargrove(soprano), and Yuri Yamashita (percussion).
Song of Songs follows the resounding success of Tanowitz’s two previous Fisher Center commissions: I was waiting for the echo of a better day, chosen as one of The New York Times’s “Best of 2021,” and Four Quartets, which recently played at the Brooklyn Academy of Music and was, after its Fisher Center premiere, named “Best Dance Production of 2018” by the Times. The paper pronounced it “the greatest creation of dance theater so far this century.”
Pam Tanowitz, who is entering her fourth year as the Fisher Center’s choreographer-in-residence, says of the work, “I feel a deep personal connection with this work—an intimate, small-scale love story. In 2018, after my dad died, I started thinking about lineage, and Jewish identity, and wanted to make a piece that honors my father and my heritage, something I’ve never done. For me, the use of this text provides a framework to push myself artistically. I want to find a way to mirror the structure without being literal. I plan to deconstruct the duet form as I investigate how to give shape or feeling to a figure.”
David Lang explains, “It was Pam’s idea to make a big project that would be based on the biblical text Song of Songs.I responded to her suggestion by mapping out four different paths through the text, resulting in a new text for the music that I would write myself. Each of these paths applies a different literary filter to the original text, and each path tries to concentrate on the paradox that, for Judeo- Christian believers, the text is both a sensual description of the experiences of two lovers and, at the same time, a deeply spiritual exploration of a relationship with god. My hope is that, by examining this deep and powerful text from such different angles, these movements, taken together, may begin to reveal more of the original text’s emotional and spiritual powers.”
Bard SummerScape, described by The New York Times as “a hotbed of intellectual and aesthetic adventure” and as a producer of dance works that provide “reliable transcendence,” returns this year June 23 - August 14 and comprises eight weeks of live music, opera, dance, and theater. Additional highlights include the 32nd Bard Music Festival, Rachmaninoff and His World; a new production of Strauss’s The Silent Woman, directed by Christian Räth; and a new adaptation of Molière’s Dom Juan, directed by Ashley Tata; and more. More information about the 2022 festival is here.
Performance Schedule and Ticketing Performances of Song of Songs take place July 1 at 8pm, July 2 at 5pm, and July 3 at 2pm in the Sosnoff Theater at the Fisher Center (Manor Ave, Annandale-On-Hudson, NY 12504). Tickets, starting at $25 ($5 for Bard students), can be purchased at fishercenter.bard.edu or 845-758-7900.
About Pam Tanowitz Pam Tanowitz is a celebrated New York-based choreographer and collaborator known for her unflinchingly post-modern treatment of classical dance vocabulary. In 2000, she founded Pam Tanowitz Dance to explore dance- making with a consistent community of dancers. Tanowitz is currently the Fisher Center’s Choreographer in Residence.
Her 2017 dance New Work for Goldberg Variations, created in collaboration with pianist Simone Dinnerstein, was called a “rare achievement” (The New York Times). Four Quartets (2018), inspired by T.S. Eliot’s literary masterpiece and set to music by Kaija Saariaho, was called "the greatest creation of dance theater so far this century” (The New York Times).
In 2016, Tanowitz was presented with the Juried Bessie Award for “using form and structure as a vehicle for challenging audiences to think, to feel, to experience movement; for pursuing her uniquely poetic and theatrical vision with astounding rigor and focus.” She has been commissioned by New York City Ballet, The Royal Ballet, The Joyce Theater, The John F. Kennedy Center for the Performing Arts, Bard SummerScape, Vail International Dance Festival, New York Live Arts, The Guggenheim Museum’s Works & Process series, Danspace Project, Lincoln Center Out of Doors, Chicago Dancing Festival, Baryshnikov Arts Center, Jacob's Pillow Dance Festival, Duke Performances, Peak Performances, FSU's Opening Nights Series, and the Institute for Contemporary Art/Boston.
About David Lang David Lang embodies the restless spirit of invention as a passionate, prolific, and complicated composer. Lang is at the same time deeply versed in the classical tradition and committed to music that resists categorization, constantly creating new forms.
Lang is one of America's most performed composers. Many of his works resemble each other only in the fierce intelligence and clarity of vision that inform their structures. His catalog is extensive, and his opera, orchestra, chamber and solo works are by turns ominous, ethereal, urgent, hypnotic, unsettling and very emotionally direct. Much of his work seeks to expand the definition of virtuosity in music — even the deceptively simple pieces can be fiendishly difficult to play and require incredible concentration by musicians and audiences alike.
Lang's “Simple Song #3,” written as part of his score for Paolo Sorrentino's acclaimed film Youth, received many award nominations in 2016, including the Academy Award and Golden Globe. Recent works include his opera Prisoner of the State, co-commissioned by the New York Philharmonic, Rotterdam's de Doelen Concert Hall, London’s Barbican Centre, Barcelona’s l’Auditori, Bochum Symphony Orchestra, and Bruges Concertgebouw; his opera The Loser, which opened the 2016 Next Wave Festival at the Brooklyn Academy of Music; the Public Domain for 1000 singers at Lincoln Center’s Mostly Mozart Festival; and his chamber opera Anatomy Theater at Los Angeles Opera and at the PROTOTYPE Festival in New York. His 2008 composition The Little Match Girl Passion won the Pulitzer Prize for Music.
Lang's works are performed around the globe by prominent orchestras, ensembles, festivals, and venues. His music is used regularly for ballet and modern dance including works with such choreographers and companies as Twyla Tharp, the Paris Opera Ballet, the New York City Ballet, and Benjamin Millepied. Lang is the recipient of numerous honors and awards, including the Pulitzer Prize, an Academy Award and a Golden Globe nomination, Musical America's Composer of the Year, the Rome Prize, a Bessie Award, Obie Award, and a Grammy Award. Lang is co-founder and co-artistic director of New York's legendary music collective Bang on a Can. His work has been recorded on the Sony Classical, Harmonia Mundi, Teldec, BMG, Point, Chandos, Argo/Decca, and Cantaloupe labels, among others.
Funding Credits The 2022 SummerScape season is made possible in part by the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Advisory Boards of the Fisher Center at Bard and Bard Music Festival, and Fisher Center and Bard Music Festival members. The 2022 Bard Music Festival has received funding from the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature.
Commissioning funds for Song of Songs are provided by Jay Franke and David Herro, with additional support received from the O’Donnell Green Music and Dance Foundation. The Fisher Center on behalf of Pam Tanowitz Dancereceived a 2020 NDP Finalist Grant Award for Song of Songs, made possible by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, to address sustainability needs during COVID-19.
Post Date: 03-14-2022
Dance Events
4/25
Thursday
Faculty Dance Concert
Thursday, April 25, 2024 Fisher Center, LUMA Theater7:30 pm – 8:30 pm EDT/GMT-4 A dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
7:30 pm – 8:30 pm EDT/GMT-4 Fisher Center, LUMA Theater
4/26
Friday
Faculty Dance Concert
Friday, April 26, 2024 Fisher Center, LUMA Theater7:30 pm – 8:30 pm EDT/GMT-4 A dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
7:30 pm – 8:30 pm EDT/GMT-4 Fisher Center, LUMA Theater
4/27
Saturday
Faculty Dance Concert
Saturday, April 27, 2024 Fisher Center, LUMA Theater2:00 pm – 3:00 pm EDT/GMT-4 A dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
2:00 pm – 3:00 pm EDT/GMT-4 Fisher Center, LUMA Theater
4/27
Saturday
Faculty Dance Concert
Saturday, April 27, 2024 Fisher Center, LUMA Theater7:30 pm – 8:30 pm EDT/GMT-4 A dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
7:30 pm – 8:30 pm EDT/GMT-4 Fisher Center, LUMA Theater
5/09
Thursday
Senior Projects in Dance
Thursday, May 9, 2024 Fisher Center, LUMA Theater7:30 pm – 8:30 pm EDT/GMT-4 Choreographed by rising artists in the Bard dance program, this concert of Senior Projects represents the culmination of four years of intensive choreographic inquiry and research. Their concepts have been realized with the support of a professional staff of designers.
7:30 pm – 8:30 pm EDT/GMT-4 Fisher Center, LUMA Theater
Campus Center, Multipurpose Room12:00 pm – 3:00 pm EDT/GMT-4 "Capoeira Angola is an Afro-Brazilian martial art and dance with a liberatory purpose and strong musical tradition at its core. In this introductory class to Capoeira Angola, we will go over the fundamentals of movement and music that define the art form. Alongside physical training, we will sing songs and play the musical instruments of Capoeira. In addition to being a dance and martial art, Capoeira Angola is also, and maybe most importantly, a ‘game.’ Come ready to play, in loose-fitting clothes that you feel comfortable moving in, and ready to enjoy yourself."
Taganyahu Swaby is a professor of Capoeira Angola and an eastern medicine practitioner. Tagan has practiced the art form for more than two decades. Originally from Jamaica, Tagan first began training Capoeira Angola in Bahia, Brazil, in 2000. He has trained extensively with masters including Mestre João Grande. Mestre Boca Do Rio, and Mestre Alberto “Chorão” Nunes. He received the title of professor from his master, Mestre Chorão, in 2018. Tagan founded the group Acupe Do Brooklyn (formerly Angoleiros Do Brooklyn) in 2010 and has created, directed, and participated in presentations for Brooklyn Museum, Bam Dance Africa, Odunde Festival in Philadelphia, and the Brooklyn African Street Festival. Originally trained as a visual artist, Tagan also explores and celebrates Capoeira Angola in his award-winning Portuguese-Language films Se Safando and Flavio, and Through Printmaking.
Sunday, March 10, 2024
Fisher Center, LUMA Theater1:30 pm – 2:30 pm EST/GMT-5 Choreographed and performed by Bard students, assisted by professional lighting and costume designers, this concert gives students a chance to explore new territory in dance-making. Dances are presented in partial fulfillment for acceptance into the Dance Program.
Saturday, March 9, 2024
Fisher Center, LUMA Theater7:30 pm – 8:30 pm EST/GMT-5 Choreographed and performed by Bard students, assisted by professional lighting and costume designers, this concert gives students a chance to explore new territory in dance-making. Dances are presented in partial fulfillment for acceptance into the Dance Program.
Saturday, March 9, 2024
Fisher Center, LUMA Theater1:30 pm – 2:30 pm EST/GMT-5 Choreographed and performed by Bard students, assisted by professional lighting and costume designers, this concert gives students a chance to explore new territory in dance-making. Dances are presented in partial fulfillment for acceptance into the Dance Program.
Friday, March 8, 2024
Fisher Center, LUMA Theater7:30 pm – 8:30 pm EST/GMT-5 Choreographed and performed by Bard students, assisted by professional lighting and costume designers, this concert gives students a chance to explore new territory in dance-making. Dances are presented in partial fulfillment for acceptance into the Dance Program.
Thursday, March 7, 2024
Fisher Center, LUMA Theater11:50 am – 1:10 pm EST/GMT-5 Cetiliztli Nauhcampa is a cultural, spiritual, artistic, political, and educational circle of community and family members who carry on the ancient traditions of the Native peoples of this continent. Join us for a movement workshop and conversation!
GRAHAM STUDIO SERIES: NEW@Graham with Baye & Asa
Be the first to see a preview of a brand new work created for the Company by Baye & Asa that will premiere at the Joyce Theater this April! The evening will include a full rehearsal runthrough of the new work, as well as a conversation with the choreographers and comments from the dancers who have been part of the creative process! IN-PERSON and LIVE-STREAMED from the Martha Graham Studio Theater, NYC