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/vational College 
Choreography Initiative 
Bringing It Home 

A Third Wave of Creative Collaboration 

By Suzanne Callahan with Brooke Belott 


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The Value of Creativity, inside front cover 

A Third Wave of Creative Collaboration, 1 

NCCI Tours to Washington, 6 

From the Campus to the Real World, 8 

Snapshots of NCCI Projects, 11 

Artists Funded by NCCI, 28 

Schools Funded by NCCI, inside back cover 

From the Executive Director 

The Value of Creativity 

£ ^^^^ ance USA has long realized that direct contact 
M « with artistic leadership is the key to inspiring fu- 

%^~^^^J ture generations of dancers and artists. Colleges, 
universities, and conservatories have historically played a vital 
role in transmitting dance traditions, but in the latter half of the 
20th century, their influence waxed and waned. A renaissance of 
activity in university dance departments in the late 1960s and '70s 
was followed by a noticeable decline in the following decades, 
limiting the next dance generation s opportunities to experience 
firsthand the work of its predecessors. But as the 21st century 
unfolds, we witness a renewed appreciation for the symbiosis be- 
tween academe and the professional dance world. 

In recognition of the value of these relationships, Dance/ 
USA and the National Endowment for the Arts instituted the 
National College Choreography Initiative (NCCI) in 2001. Since 
then, NCCI has worked to support the link between universi- 
ties and professional dancers by funding colleges to bring guest 
choreographers onto their campuses to restage existing dances or 
create new works for students; many of these high-level profes- 
sionals also work directly with members of the community 

This is especially important at this moment in our country's 
life. As Stephen Tepper and Bill Ivey note in their book, Engaging 
Art: The Next Great Transformation of America's Cultural Life, 
notions of "high culture" are changing, and most Americans seek 
a more personal, interactive, and engaged artistic experience — 
which often includes contact with art and artists outside of tra- 
ditional concert venues. Tepper and Ivey also observe that the 
value of creativity has never been higher, as an increasingly high- 
tech world calls for people who can envision new ways of ap- 
proaching opportunities and challenges. 

Support for creativity is at the heart of Dance /USA's mission, 
and NCCI has been an integral part of our work For the past 
five years, Dance /USA has funded meaningful collaborations be- 
tween college campuses and dance artists for the benefit of lit- 
erally thousands of students who have learned not only specific 
dance works, but who have also gained firsthand knowledge 
about artists' creative processes and gotten a taste of the reali- 
ties of dancers' professional lives. NCCI has provided Si, 052, 500 
in funding support for 121 projects on college campuses; we 
hope this initiative has served as a model for discipline-based con- 
nections between college campuses and professional artists. 

This publication illustrates some of the ways in which this 

program has been transforma- 
tive for artists, students, adminis- 
trators, and dance audiences. 
The program has far surpassed 

the expectations with which the NEA and Dance /USA began. It 
has been a win- win situation — students learn from talented pro- 
fessionals; communities have access to the creative process and 
product; and choreographers and their dancers get work while 
creating relationships with college administration, faculty, and 

College and university dance departments are again becom- 
ing primary sites for the field's development. And, sparked by 
NCCI, Dance/USA created a forum for active dialogue between 
colleges and choreographers, which culminated in the publi- 
cation, Dance From the Campus to the Real World (And Back Again): 
A Resource Guide for Artists, Faculty and Students, and a series of 
national meetings that were held last fall based on its content. 
We applaud the universities' leadership, the artists' vision, and 
the young dancers' commitment to our field. 

Suzanne Callahan has been managing the project since its in- 
ception in 2001. During that time, she has produced a wonder- 
ful range of valuable tools and forums related to artists' 
residencies on college campuses, curriculum issues, and training 
students for careers in dance. This publication is the next excit- 
ing link in the chain. 

— Andrea Snyder, executive director, Dance /USA 

ON THE COVER: Martha Graham's Diversion of Angels, performed by Cornish Col- 
lege. Photo by Chris Bennion. 

© Dance /USA 2007 All rights reserved 

First printing date, March 2007 

ISBN: 1-931683-14-X 

Publisher: Dance /USA 

1111 16th Street NW, Suite 300, Washington, DC 20036 

The National College Choreography Initiative is a Leadership Initiative of the Na- 
tional Endowment for the Arts. The National Endowment for the Arts, an inde- 
pendent federal agency was established by an Act of Congress in 1965. The National 
Endowment for the Arts enriches our nation and its diverse cultural heritage by sup- 
porting works of artistic excellence, advancing learning in the arts, and strengthen- 
ing the arts in communities throughout the country. 

The National College Choreography Initiative is administered by Dance USA, the 
national service organizationfor the professional dance field, which sustains and ad- 
vances professional dance by addressing the needs, concerns, and interests of artists, 
administrators and organizations. For more information about NCCI, please con- 
tact consultant Suzanne Callahan, who manages NCCI. at 202-955-8325 or Calla- For more information about Dance USA, please contact the 
organization at 202-833-1717 or at danceusa(2, or check the website at 

Bringing It Home: 

A Third Wave of Creative Collaboration 

i\ n 2005, Dance /USA distributed the third 
m and final round of awards in the National 
^^f College Choreography Initiative (NCCI).* 
Building on the first two rounds, NCCI continued 
to experience unprecedented success, as evidenced 
by the thousands of artists, students, and audience 
members it served across the country. In keeping 
with its goal of fostering appreciation for American 
dance creativity, NCCI again brought classic Amer- 
ican dances and newly commissioned works to stu- 
dents and audiences across the country. A total of 
$340,000 was distributed to 34 colleges and univer- 
sities in 27 states and the District of Columbia, 
which received awards of $10,000 each to engage 
artists, students, and communities in one of two 
ways. Masterworks of the 20th Century provided sup- 
port to restage works by master American chore- 
ographers, and Dances by Contemporary Artists 
provided support for commissioning or restaging 
works by contemporary American choreographers. 

When colleges are awarded national funding to 
bring prestigious choreographers to their campuses, 
the presence of these dance artists generates waves 
of activity on the local level. And, their effects on 
students can be profound. Outreach was also an 
important component of all projects. Colleges in- 
volved the general public in a wide range of activi- 
ties beyond the performance of the dance work 
itself (such as panel discussions, lectures, open re- 
hearsals, and school performances), which allowed 
students and general audiences access to dance his- 
tory and the creative process. Having professional 
artists in residence inspired involvement on the part 
of musical ensembles, service organizations, stu- 
dios, schools, art galleries, and presenting institu- 

*Though NCCI was phased out with this third round, the NEA re- 
cently launched American Masterpieces: Dance — College Com- 
ponent (AMDCC), which is also managed by Dance /USA. The 
first round of AMDCC provided support for 28 colleges to engage 
professional artists who will restage masterworks on students dur- 
ing the 2006-07 and 2007-08 academic years. 

tions. And, dance departments collab- 
orated with other departments on 
their own campuses as well as with 
other colleges within their states. 

NCCI Reaches Artists, 
Colleges, and Communities 

Nationally NCCI has reached far and 
wide into communities across the 
country, as evidenced by the total 
numbers of artists, colleges, partners, 
students, and audiences in each of the 
34 local communities: 

In the 2005-2006 academic year, 29 
artists and ensembles worked in 27 
states and the District of Columbia to 
create or restage dance of the highest 
caliber with students. Many of these 
guest choreographers brought in ad- 
ditional professional artists from their own compa- 
nies to assist with teaching and reconstruction. And, 
a total of 35 other professional artists, from dance 
and other disciplines, contributed to these collabo- 

A total of 18 dances were restaged or reconstructed 
and another 23 new works were created. Many col- 
leges opted to capitalize on this rare funding op- 
portunity by commissioning multiple works. 

The project benefited 19,000 students, including 
3,000 college dance students who were intensely 
involved in the creative process. Dance students 
were afforded one-on-one experiences with profes- 
sional artists — and works — that they may not 
have known or only read about. An additional 6,000 
college students in other areas of study and more 
than 10,000 young people who attend elementary 
or high school participated in events that reached 
far beyond the campuses, such as school perform- 
ances, workshops, and lecture /demonstrations. 

Martha Graham's Panorama performed by 
members of the University of Utah Per- 
forming Dance Company (left to right): 
Monica Campbell, Mary Kate Sickel, 
Lessey Wentworth, Lisa Whittaker, 
Laurel Lakey. Photo by Brent Schneider. 

2 ~ 

Audiences totaled nearly 60,000. They were able to 
experience the artistry of choreographers, most of 
whom would not otherwise have appeared in their 
communities. Audience members participated in 
400 events, including 174 performances, as well as 
master classes, lectures, and a wide range of com- 
munity-based activities. 

Almost 450 local artists working in various disci- 
plines participated. Collaborations and professional 
development activities included master classes and 
workshops with guest choreographers. 

NCCI leveraged almost $700,000 in additional sup- 
port. Each S10,000 project grant leveraged addi- 
tional support, for a total of nearly $700,000 in cash 
and in-kind contributions, or more than double the 
amount of funding distributed by NCCI. In addi- 
tion to multiple funding sources from colleges 
themselves, such as set-aside funds, visiting artist 
funds, and endowment support, direct support was 
generated from 32 sources, through private foun- 
dations, state arts agencies, local arts councils, arts 
patrons, corporations, and local businesses. Univer- 
sities and other sources provided in-kind support 
of more than $285,000. 

Artists and ensembles received almost $320,000 in 
fees. That is more than the total of funds given by 
Dance /USA. 

Given the NCCI support, 16 colleges formed collabo- 
rations with other universities in their region or 
other departments within their school. Such col- 
laborations spread the resources of NCCI among 
a greater number of students and faculty. Other 
academic departments included: music, theater, 
musical theater, art, design, and African- American 
studies. Additionally 1 1 other universities partici- 
pated in residency-related activities. 

NCCI encouraged the presentation of professional 
companies. It provided touring opportunities for 32 
artists to travel outside of their home states. With 
this support, not only could colleges in more rural 
states bring in artists from urban centers, but 29 
artists also traveled from one region to another. 
Alonzo King went from California to Missouri; Billy 
Siegenfeld traveled from Illinois to Alaska; Josh 
Hilberman went from Massachusetts to Michigan; 
Mark Haim went from Washington State to Mary- 
land; and Wally Cardona traveled from New York 
to Kansas. Eleven dance departments either pre- 
sented, or assisted with the presentation of, com- 

Dianne Mclntyre and a student at Western Michigan 

panies that participated in residencies, including 
Keith Johnson/ Dancers, Ann Carlson, Doug Va- 
rone, David Dorfman, Sean Curran, Ririe-Wood- 
bury Dance Company, Mark Morris Dance Group, 
Pascal Rioult Dance Theatre, Collage Dance The- 
atre, Battleworks Dance Company, and Ronald K. 
Brown / Evidence. 


From Campus to Community 

While the numbers above indicate the breadth of 
NCCEs reach, the depth of its impact is perhaps 
more evident in the experiences that it fostered for 
students, faculty, and artists. The array of ways in 
which communities participated with professional 
artists illustrates the many points of entry and the 
depth of experience that these 34 residencies 
brought to the younger generation of dancers, as 
well as to professional artists. 

l.The Lineage of Master Artists 

As students had rare, maybe even once-in-a- 
lifetime, opportunities to reconstruct and perform 
work of great artists such as Jose Limon, Trisha 

Brown, Agnes de Mille, George Balanchine, and 
Mark Morris, they learned the roots of dance 
history. In 18 residencies, artists restaged master 
choreographers' works and in many cases, the re- 
staging process involved learning from a variety of 
materials and disciplines and personal interaction 
with mentors. 

When students from The Five College Dance 
Department had the extraordinary opportunity to 
learn Trisha Brown's masterwork Set and Reset 
(1983), they gave it an authentic presentation with 
set and costumes they recreated from Robert 
Rauschenberg's original instructions; Brown herself 
attended opening night and the performance toured 
to three local colleges. In Cornish College's month- 
long residency, former Martha Graham dancers 
Peter Sparling and Susan McLain mounted Diversion 
of Angels, which became the centerpiece of "Day of 
Dance: The Life and Legacy of Martha Graham," a 
community event that raised awareness of Gra- 
ham's contributions to modern dance. While learn- 
ing George Balanchine's Serenade from repetiteur 
Bart Cook, students at University of Cincinnati 
were visited by guest artists from the Royal Danish 
Ballet and Cincinnati Ballet, who coached them and 
shared stories of working with this master artist. 

2. New Repertory Across Cultures 

As they participated in creating new work by con- 
temporary artists such as Ann Carlson, Eiko and 
Koma, Wally Cardona, and Ronald K. Brown, stu- 
dents learned about the aesthetics, techniques, and 
goals of artists working today and explored their 
own creative voices. When artists delved into con- 
temporary issues about culture, their working 
process prompted connections with a broader com- 

Working with Howard University dance majors, 
Ronald K. Brown explored movement drawn from 
contemporary, social, and traditional dances from 
Cuba, Senegal, Guinea, Mali, Zaire, and the United 
States. His new piece, Rise Up . . . Catch the Fire, cre- 
ated a cross-cultural language to address themes of 
cultural legacy and the maintenance of tradition. In 
Bennington College's residency with Eiko and 
Koma, a unique interchange between Japanese, 
Cambodian, and American influences took place. A 
combined cast of visual art and dance students were 
introduced to huge paintings created by students at 
the Reyum Institute of Arts and Cultures in Phnom 
Penh, Cambodia and music by Cambodian pop 
artists, which formed the inspiration for the new 
work Of the Water. Drawn from their Japanese her- 
itage, Eiko and Koma's art often speaks to themes 

of life, death, culture, and compassion, and this was 
the foundation for the interplay of dance, visual art, 
and diverse cultural perspectives in this residency. 
While in residence at Bates Dance Festival, Sean 
Curran created a musically complex and challeng- 
ing new work, Allegro and Allegro, which features an 
idiosyncratic mixture of Irish step dancing, release 
technique, and improvisation, performed to the 
music of Mozart. Joshua Hilberman's residency at 
Wayne State University brought American tap 
dance to the forefront through "Tappin' on Broad- 
way-Detroit," an outdoor event that attracted hun- 
dreds of tappers and others for a master class, 
performances, and a highly successful open tap im- 
provisation jam. 

3. Webs of Collaboration Across Campuses 

The momentum on campuses was dramatic as 
NCCI residencies progressed. In order to finally 
work with choreographers who, up until that time, 
may have been unaffordable, dance departments 
took risks that sometimes involved large project 
budgets and complex logistics. Artists challenged 
students to explore complex, and sometimes diffi- 
cult, content through the creative process. Projects 
created camaraderie and forged professional con- 
nections between students and faculty in different 
departments and even from different schools. 

At Western Michigan University, Dianne Mcln- 
tyre painstakingly restaged a classic work by Helen 
Tamiris, How Long, Brethren? (1937), which exam- 
ines the difficult lives of plantation slaves. She 
shared her perspectives on dance history and her 
deep understanding of the social context of 
Tamiris's work with students in theater and general 
education courses, and worked with WMU's music 
ensemble, symphony orchestra, and chamber 
singers, who provided live accompaniment for per- 
formances. When the devastation inflicted by Hur- 
ricane Katrina put Sara Pearson and Patrik Widrig's 
scheduled residency at Tulane University on hold, 
the artists drastically re-imagined their project, in- 
stead creating Katrina, Katrina: Love Letters to New 
Orleans. Due to the generosity of the University of 
Texas at Austin, Tulane students were allowed to 
transfer there for the fall semester. Dancers from 
Louisiana and Texas developed relationships 
through classes and rehearsals, and reflected as a 
group about Katrina's impact on so many lives. At 
Washington University in St. Louis, Alonzo King 
brought together modern dance and ballet students 
with his unique approach to ballet choreography, 
which he discussed in seminar courses, including 
"Ballet as Ethnic Dance and Classical Art" and 


"Modern Dance and the African American Legacy." 
Through partnership with the Washington Univer- 
sity Center for the Humanities, King also partici- 
pated in a panel entitled "Understanding Dance as 
the Language We Embody." 

4. Reaching Beyond Campus 

NCCI residencies catalyzed connections between 
colleges and the broader community. Outside the 
dance departments, cultural participation took 
place on many levels in the surrounding communi- 
ties on and off campus. Scholars provided informa- 
tion and context about cultures, history, trends, and 
traditions, and the general public was enlightened 
about the value and diversity of artists' creative 
processes and the resulting products. 

University of Wisconsin-Milwaukee kicked off a 
year-long, citywide arts festival entitled 'Art, Faith 
and Social Justice" with Ronald K. Brown s NCCI 
residency as its centerpiece. Brown's new work, 
Truth Don' Die, raised issues of race, cultural her- 
itage, and self-expression in a way that could be 
understood by broad public audiences. When the 
University of Alaska Anchorage brought Jump 
Rhythm Jazz Project (JRJP) for three and a half jam- 
packed weeks, the reach of this project was stag- 
gering and spanned an immense geographic area in 
Alaska. JRJP's artists taught extensively at UAA, 
Alaska Dance Theatre, and in two high schools. 
UAA offered full-weekend workshops in the more 
remote communities of Kodiak Island and Homer. 
At Perm State Altoona, Martha Wittman of the Liz 
Lerman Dance Exchange made multiple visits over 
nine months to create Imprints on a Landscape: Min- 
ing Sketches for Altoona based on her interviews with 
young and elderly miners and other residents who 
had connections to coal mining. The cast of per- 
formers included dance and theater students and 
community members. 

5. New Audiences for Dance 

Community outreach helped build new audiences 
for dance through partnerships with public schools, 
organizations, and regional presenters. Wayne State 
University premiered Joshua Hilberman's new 
work, Three for Marijin, at the 52nd Annual ON- 
STAGE! Dance Theatre for Youth: That's Tap! This 
event was the first exposure to concert dance for 
many of the 3,000-plus Detroit Public School stu- 
dents who attended, and teachers were given a cur- 
riculum guide on CD-ROM. The work was also 
performed at the grand opening of a YMCA in 
Detroit, and was selected for the spring Gala at the 
Detroit Institute for the Arts and as part of Wayne 

State University's 2006 Winter Tour through met- 
ropolitan Detroit and Michigan. 

6. New Funding Sources 

The implicit endorsement of prestigious NEA fund- 
ing has allowed colleges to continue to successfully 
leverage funding through university budgets, pri- 
vate and government sources, and dance patrons. 
Several projects supported by NCCI were invited to 
participate in fundraising events. Following a sold- 
out premiere and a two-week run in SOLID, a Seat- 
tle dance festival, Cornish College's restaging of 
Martha Graham's Diversion of Angels was performed 
in 'An Evening in the Arts," Cornish's annual fund- 
raising gala, drawing more than 375 Seattle arts 

7. Press 

Local and even national press turned their attention 
toward campuses, resulting in coverage that ranged 
from college newsletters to citywide papers to re- 
gional and national outlets. Half of the residency 
projects received local press coverage, and several 
garnered national visibility for university depart- 
ments and the NCCI. 

Purchase College received press recognition in 
The New York Times and Dance View Times, an online 
dance journal. The Washington Post wrote a piece 
about Tulane University's performance at The 
Kennedy Center's Millennium Stage. A half-hour 
program built around Wally Cardona's residency at 
the University of Kansas, Lawrence, was aired sev- 
eral times on a local cable station the week before 
the performance, and Cardona was interviewed on 
the local NPR station that broadcasts to other major 
cities in Kansas. Dianne Mclntyre's residency at 
Western Michigan University was the topic of a 
major feature story in the Sunday arts section of the 
Kalamazoo Gazette. Southern Methodist University's 
restaging of Agnes de Mille's The Four Marys gener- 
ated substantial press, bringing particular visibility 
to the reconstruction process. With nearly three 
years of archival research completed before the 
restaging could begin, a vast array of materials were 
unearthed, which led to a radio interview with the 
repetiteurs on a classical music station. Articles on 
the reconstruction process were published in The 
Chronicle of Higher Education and The Dallas Morning 

8. Touring 

Through touring opportunities, NCCI residencies 
got students off campus. Fourteen residencies in- 
volved tours to local venues and schools, and trips 

to other states or regions, The Kennedy Center in 
DC, and even abroad. The Purchase Dance Corps 
performed Mark Morris's Gloria to an audience of 
1,600 over six nights at Purchase College, in three 
lecture /demonstrations at area schools and at 
Hunter College, and at the International Festival of 
Dance Academies in Hong Kong. 

9. Professional Development for Students 

As they developed close relationships with profes- 
sional artists, young dancers were inspired to reex- 
amine the role that dance plays in their own lives 
and in the broader world, and to pursue profes- 
sional training, sometimes with the NCCI artists 
who had mentored them. 

The highlight of Purchase College's residency 
with Mark Morris was the opportunity for students 
to take class at the Mark Morris Dance Center and 
rehearse with his company. The two casts of Gloria 
performed the 30-minute piece and then spent the 
afternoon with Morris, who gave personalized 
coaching and talked about the work's historical 
roots. Tulane students' participation in Sara Pear- 
son and Patrik Widrig's new work, Katrina, Katrina: 
Love Letters to New Orleans, resulted in additional 
professional opportunities for the full cast. The 
Kennedy Center invited Love Letters to be part of 
a Whistle Stop Tour from New Orleans to DC. 
And, individual dancers at the University of Cincin- 
nati were afforded unexpected professional oppor- 
tunities following their stellar performance of 
Balanchine's Serenade: two dancers were offered ap- 
prenticeships with Cincinnati Ballet, while another 
was offered a full corps contract from Dayton 

10. Services to Arts Education 

Several projects resulted in new products and cur- 
riculum that can be used in the future by dance his- 
torians and K-12 schools. 

A comprehensive project at The Ohio State Uni- 
versity incorporated the reconstruction of All Fours 
by Mark Morris, as well as the creation of notation 
and curriculum that would share this work with stu- 
dents and future generations. A Labanotation score 
created for the work, with added imagery provided 
by Morris, is now housed at the Dance Notation Bu- 
reau's Library. Sixteen complete lesson plans and an 
array of supporting materials were created for cen- 
tral Ohio public and private school systems, in ac- 
cordance with state curriculum standards. OSU 
faculty and dancers participated in a professional de- 
velopment seminar with Columbus Public School 
teachers to help them integrate dance into science, 

Local high 
dancers par- 
ticipate in a 
master class 
with Susan 
McLain as 
part of 
NCCI proj- 
ect. Photo 
by Michelle 

language arts, English as a second language, math, 
and social studies, using Morris's work as the inspi- 
ration. With the new curriculum to guide them, 
teachers introduced ideas about dance, choreogra- 
phy, and Labanotation to students who then en- 
joyed a matinee, generating a relationship between 
OSU and participating schools. 


Throughout all three rounds of NCCI, Dance /USA 
has reaffirmed the impact of this sustained national 
program in supporting both colleges and artists, and 
in bringing the worlds of professionals and students 
closer together. Wendy Rogers, dance professor at 
the University of California-Riverside, commented 
on the ways in which NCCI benefited professional 
artists working in colleges, based on her experience 
with the Ann Carlson residency: 

Although I was focused on providing an ex- 
ceptional opportunity for Ann to advance 
her work and for the student dancers to have 
the stellar experience of working with her, it 
is hard to imagine that anyone got more out 
of it than I did. It is a challenging matter to 
be both a practicing artist and full-time pro- 
fessor. However, Ann's conversations along 
the way and the creative wake of her resi- 
dency proved to be a renewable source of 
energy and inspiration. 

The National College Choreography Initiative 
is delighted to have facilitated the passing on of 
dance legacies and the creation of new work, and 
to have provided services and publications for pro- 
fessional artists and students. 

NCCI Tours to Washington: 

Six Colleges Perform at the 

John F. Kennedy Center for the Performing Arts 

y m mong the most successful outcomes 
^j^^^W °f NCCI was a national collaboration 
f ^ with The John F. Kennedy Center for 

the Performing Arts that began with the first round 
and continued throughout the project. Impressed 
with the intent and quality of NCCI projects, staff 
at The Kennedy Center once again dedicated two 
nights of performances on their Millennium Stage 
to NCCI projects in 2006. About 50 students pre- 
sented the works of six artists for audiences that to- 
taled over 1,000. Students were thrilled to perform 
in this world-renowned venue; it again served as a 
mark of achievement to be selected. The Kennedy 
Center found this performance opportunity a per- 
fect match for its Millennium Stage, a non-tradi- 
tional venue that presents daily performances. With 
NCCI participation, The Millennium Stage could 
offer free performances of historical works as well 
as creations by contemporary artists to hundreds of 
people every day, including students, local artists, 
and teachers. The Kennedy Center also dedicated 
an entire evening to the presentation of Sara Pear- 
son and Patrik Widrig's Katrina, Katrina: Love Letters 
to New Orleans because of the work's timeliness, 
focus on the largest natural disaster in American his- 
tory and appeal to the Center's demographic. 

"The Kennedy Center is so proud to have been 
involved in all three cycles of the National College 
Choreography Initiative," commented Kristin Brog- 
don, director of dance programming for The 
Kennedy Center. "This year's first evening show- 
cased a quarter century of dance works from some 
of our great contemporary choreographers, and it 
was especially important and rewarding for us on 
the second evening to present Katrina, Katrina: Love 
Letters to New Orleans in its entirety. All of the works 
performed by these six schools show the intellec- 
tual and emotional power of dance." 

The culminating Kennedy Center events pro- 
vided a perfect capstone for NCCI, offering power- 

ful recognition and visibility for choreographers, 
giving the works a longer performance life, and 
bringing students an unparalleled educational ex- 
perience. The young dancers had the opportunity 
to be part of professional repertory performances 
and to participate in everything needed to make 
them happen. They were energized by meeting a 
variety of student dancers from other colleges, en- 
countering artists whom they only had heard about, 
and seeing works they had only read about. 

Performances at the Kennedy Center 

Wednesday, May 17, 2006, 6:00-7:00 p.m. 

Gloria (1981) by Mark Morris 

Purchase College, State University of New York 

Purchase, New York 

Goldberg Variations #11 and #12 (1996) 

by Mark Haim 
University of Maryland 
College Park, Maryland 

Divinity Blue-print (Draft #2) (2005) 

by Keith Johnson 
Scottsdale College 
Scottsdale, Arizona 

Wien (1995) by Pascal Rioult, 

reconstructed by Joyce Herring 
Vassar University 
Poughkeepsie, New York 

Virginia Reel (2005) by Robert Battle 
Virginia Commonwealth University 
Richmond, Virginia 

Thursday, May 18, 2006, 6:00-7:00 p.m. 

Katrina, Katrina: Love Letters to New Orleans 
(2005) by Sara Pearson and Patrik Widrig 
Tulane University 
New Orleans, Louisiana 

Dancers from the 
Newcomb Dance 
Company atTulane 
University and the 
cast of the Ameri- 
can College Dance 
Festival South Cen- 
tral Conference at 
the University of 
Texas at Austin 
perform Katrina, 
Katrina: Love Letters 
to New Orleans. The 
piece was con- 
ceived, choreo- 
graphed and 
directed by Sara 
Pearson and Patrik 
Widrig. Photo by 
Amitava Sarkar, Pho- 
tography Insight. 

From the Campus to the Real World 
(and Back Again) 

Epiphany Productions' In All We Dance, choreo 
graphed and directed by Kim Epifano. Photo 
by Andy Mogg. 


f~p\ ance/USA realizes that we are hv- 

M B^S *° a trm e when the field is 

C— ^^^J changing dramatically. Artists and 
educators at the national level have sparked dia- 
logue about the ways in which colleges and univer- 
sities are once again becoming primary sites for 
development in the dance field. Mid-career artists 
are returning to colleges through hundreds of resi- 
dencies each year and many are securing permanent 
positions as professors. At the same time, students 
are entering an increasingly challenging profes- 
sional world with diminished 
funding and different options for 
employment. From 2001 to 2004, 
Dance /USA facilitated the NCCI 
Forums, which brought artists 
and faculty to the same table and 
were valuable in not only shaping 
a more cohesive community of 
those who strive to serve post- 
secondary students, but in mov- 
ing the professional field forward. 

The culmination of the NCCI 
Forums was the creation of 
Dance from the Campus to the Real 
World (And Back Again): A Resource 
Guide for Artists, Faculty and Stu- 
dents. Drawing from the wisdom 
of 20 experts, including college 
faculty and adrninistrators as well 


as established and emerging pro- 
fessional artists, Dance from the 
Campus to the Real World serves as 
an up-to-date guide for what to 
expect and how to plan for the fu- 
ture. "Residencies 101" provides guidance to both 
artists and faculty in planning and implementing 
residency projects. "Universities 101" orients artists 
to the lay of the land on campus and guides those 
who are considering faculty positions on what to 

expect and ask. "Real World 101" orients young 
dancers (and faculty) to what life will be like once 
begin a professional dance career. Drawing from 
their outstanding work with The Field, an arts serv- 
ice organization that serves independent artists 
from all genres, Steve Gross and Diane Vivona pro- 
vide students with the tools to think through deci- 
sions before or immediately after graduation. 
Questions and exercises cover setting goals, assess- 
ing skills, deciding where to live and work, and get- 
ting started in performing and fundraising. Essays 
from professional artists cover a broad range of top- 
ics, offering real life experiences that augment the 

Dance /USA has worked actively to encourage 
the publications multiple uses, which are to: guide 
artists and college faculty in planning residencies 
and negotiating contracts; assist faculty by either 
serving as a textbook or as supplementary material 
for modifying curriculum; and arm students and 
emerging artists with the awareness and tools to 
prepare themselves to enter the professional dance 

Blue Print by Rebecca Stenn, performed by (from 
left) Eric Jackson Bradley, Eric Dunlap, Faith Pilger, 
Rebecca Stenn, and Trebien Pollard. Photo by Steven 

Esther Baker- 
Tarpaga, Gregory 
Barnett, Jeremy 
Hahn, and Ally 
Voye in Kristen 
Smiarowski's 13 
plus 7 plus one, 
performed at 
the Frank Gehry- 
designed Edgemar 

world and make career decisions. 

The response to this publication has been ex- 
tremely positive, and a number of colleges are using 
it as a textbook, including Cornish College, Pur- 
chase College and Dance Center at Columbia Col- 
lege Chicago. Laura Faure at Bates College com- 
mented, "Never has there been such a thorough and 
useful guide to this area of the field." Barbara Haley 
of Tulane University called this publication "one of 
the best collections of advice and procedures I have 
seen," and gave it to all graduating seniors in dance; 
faculty will also include it as part of the curriculum 
for the university's new M.F.A. in Theatre Manage- 

Based on the book's content, Dance /USA held 
workshops in 2006 in New York, San Francisco, and 
Los Angeles, where a panel of professional artists 
and faculty joined audiences of students as well as 
emerging and established artists to discuss and 
learn. The book and /or summary were also dis- 

seminated at national gatherings, including the 
National Performance Network and the Association 
of Performing Arts Presenters annual conference. 
Choreographer Keith Johnson, who is on fac- 
ulty at University of California at Santa Barbara, 
participated in the panel in Los Angeles, and found 
it to be a life-altering experience. He says: 

My life has gotten so much better since the 
Dance /USA panel. That was an important 
day for me and I left, re-grouped, and really 
thought about what I wanted out of acade- 
mia and the professional world. Then I 
began asking myself and others if it was pos- 
sible. And it is! Our new chair has been so 
supportive of me that I feel like I'm in a new 
job. I am thrilled. Thanks to you all for hav- 
ing a forum that is helping aspiring teachers. 
Once I had the opportunity to voice my con- 
cerns, I found that I had the desire to find 
my way. . . . and I am. 


New York 

David Dorfman, artistic director, David Dorfman 

Dance; associate professor, Connecticut College 
Peggy Schwartz, professor of dance and coordinator 

of dance, University of Massachusetts at Amherst 
Rebecca Stenn, artistic director, Rebecca Stenn 

Company; dancer, choreographer, and teacher 
Jill Sigman, artistic director, Jill Sigman/Think- 

dance; choreographer, performer, writer, and 


San Francisco 

Delia Davidson, professor, theater and dance at 
UC Davis; artistic director of Sideshow Physical 

Joe Goode, artistic director, Joe Goode Performance 
Group; choreographer, writer, and director 

Kim Epifano, artistic director, Epiphany Produc- 
tions; adjunct professor, University of San 
Francisco and UC Davis 

Erika Chong Shuch, artistic director of the ESP 
Project (Erika Shuch Performance Project); 
co-founder and co-director of EPI, the Experi- 
mental Performance Institute, at New College 

Los Angeles 

Keith Johnson, associate professor at California 

State University, Long Beach; performer and 

Victoria Marks, professor at UCLA's Department 

of World Arts and Cultures; choreographer 
Wendy Rogers, professor at University of California 

at Riverside; choreographer 
Kristen Smiarowski, visiting artist and faculty at 

Loyola Marymount University; choreographer 

Dance from the Campus 
(and Back Again) 

Bonnie Brooks 
Wally Cardona 
Ann Carlson 
Terry Creach 
Jacqueline Davis 
David Dorfman 
Steve Gross 
Bonnie Oda Homsey 
Jane Jerardi 
Amii LeGendre 

to the Real World 

Bebe Miller 
Tere O'Connor 
Sally Sommer 
Ivan Sygoda 
Linda Tomko 
Diane Vivona 
Julia Ward 
Charmaine Warren 
Tricia Henry Young 

Erika Chong Shuch in the ESP Pro- 
ject's 51802. Photo by Nolan Calisch. 

David Dorfman in Doyenu. Photo by 
Beatriz Schiller. 

Delia Davidson's ... the desire to return to the safety of Day, performed by Jane 
Schnorrenberg, Kegan Marling, and Eric Kupers. Photo by Vivian Tseng. 


Snapshots of NCCI Projects 
Around the Country: RoundThree 

state: Alaska 

school: University of Alaska Anchorage 
artist: Jump Rhythm Jazz Project 
community partners: Alaska Dance Theatre, East 
High School Dance Department, West High School 
Dance Department, Woodland Dance Studio, 
Homer Council on the Arts 

With NCCI support, three artists from Jump 
Rhythm Jazz Project (JRJP) spent three and a half 
jam-packed weeks at University of Alaska Anchor- 
age to set Getting There on the UAA Dance Ensem- 
ble and interact with the community Artistic 
Director Billy Siegenfeld, along with company 
members Brandi Coleman and Glenn Leslie, intro- 
duced JRJP's high-energy technique, which incor- 
porates scatting as well as dance. The cast was 
challenged and inspired to learn this contemporary 
technique to which students in Alaska typically have 
limited access. 

JRJP's artists taught extensively at UAA. In three 
levels of modern dance technique, jazz, tap, dance 
for musical theater, dance appreciation, and reper- 
tory and ensemble, students gained insights into the 
origins of jazz music. The music and theater de- 
partments collaborated to extend these experiences 
to music students through workshops during "UAA 
Jazz Week." JRJP also taught technique and tap 
through Alaska Dance Theatre and at two local high 
schools. UAA also reached the more remote com- 
munities of Kodiak Island and Homer, offering full- 
weekend workshops for all age groups. 

JRJP's Getting There was performed nine times 
by the UAA Dance Ensemble and received rousing 
response from audiences. The project's extensive 
outreach spanned a large geographical area in An- 
chorage, Homer, and Kodiak Island communities. 

state: Arizona 

school: Scottsdale College 

artist: Keith Johnson 

Scottsdale College commissioned choreographer 
Keith Johnson as part of their year-long project, 
"Life as an Artist: Is There a Career after College?" 
Johnson created Divinity Blueprint (Draft #2) during 
the two-week residency with Instinct Dancecorps. 

This work, a physical and stylistic challenge for 
students, took a poignant and occasionally light- 
hearted look at the relationships within a close-knit 

Johnson s company took part in the residency, 
with each professional dancer mentoring a student 
during the creation process and coaching them in 
movement and performance skills. Students re- 
ceived a firsthand look at life in a professional dance 
company and could consult the professionals about 
career paths. Johnson's daily master classes for the 
Arizona dance community had a high turnout and 
attracted students and professionals from through- 
out the state. In a lecture /demonstration at Mc- 
Clintock High School, more than 200 students took 
class, watched Scottsdale students perform material 
from the residency, viewed repertory performed by 
Keith Johnson/ Dancers, and participated in an en- 
ergetic group discussion. 

The culminating event was a full evening per- 
formance by Keith Johnson /Dancers in the Scotts- 
dale College Performing Arts Center. As the 
Arizona valley rarely has the opportunity to host 
performances of this caliber, the evening was well- 
attended and generated a great deal of interest in 
the upcoming performances of Divinity Blueprint 
(Draft #2). The students' performance of the new 
work was a success and, in a wonderful ending to 
the project, they received an invitation to perform it 
for the American College Dance Festival Gala Con- 
cert at The Kennedy Center. 

state: California 

school: University of California, Riverside 
artist: Ann Carlson 

community partners: UCR's Cultural Events, 
UCR's Gluck Fellows Program of the Arts 
NCCI support enabled choreographer Ann Carlson 
to develop material for her large-scale work CAke, 
incorporating dance students at University of Cali- 
fornia, Riverside as an integral part of her artistic 
investigation. Developed by Carlson with video 
artist Mary Ellen Strom, CAke is a site-specific proj- 
ect and video installation that addresses the ways in 
which the art of dance has had an impact on lives, 

Artists, students 

and community 

partners connect 

in 27 states and the 

District of Columbia 


Sixteen students 
Carlson's persistent 
pursuit of an idea 
through her daily 
physical practice. 

12 ~ 

using the human body as a medium. In Carlson s 
two-week residency at UCR, students were invited 
into this early work-in-progress as a vital part of the 
experiment. Students found this uncommon op- 
portunity to work closely with an artist of Carlson s 
stature, and potentially to influence her next work, 
to be transformative. 

Carlson focused on creating a movement cho- 
rus based on 1913 archival film footage from the 
first efficiency motion studies. Sixteen graduate and 
undergraduate students experienced Carlson's per- 
sistent pursuit of an idea through her daily physical 
practice, and recognized her ability to turn prob- 
lems into new opportunities — such as incorporat- 
ing long strips of white photographic paper, hung as 
a substitute for a performance eye, into a movement 
chorus reminiscent of manufacturing behavior, ac- 
companied by video of the famous "I Love Lucy" 
scene in which Lucy tries in vain to keep pace with 
a candy assembly conveyer belt. This material was 
shown three times in an Open Lab setting that 
reached large, diverse audiences who responded en- 

Carlson's work was seen even more widely as a 
result of support from the Gluck Fellows Program 
of the Arts, which produces community perform- 
ance and activities by students, faculty, and guest 
artists. The Gluck Contemporary Ensemble, a 
group of eight undergraduate dancers, performed 
Carlsons Open Lab material in 10 community 
events for K-12 students, a disabled veteran's hospi- 
tal audience, and at the Riverside Art Museum. The 
post-performance discussions provoked conversa- 
tion about both routine and metaphor-rich move- 
ments, indicating that Carlson's work-in-progress 
was already intriguing audiences. 

state: Connecticut 
school: Connecticut College 
artist: DougVarone 

community partners: Arts Programming Office, 
The Children's School, The Holleran Center's 
Program in Community Action 
Eddie Taketa, a longtime member of the Doug 
Varone Company and Dancers, restaged Varone's 
Of the Earth Far Below on two casts at Connecticut 
College. The students worked with dedicated spirit, 
and the first cast met the challenges of this intense 
schedule with a successful performance in Decem- 
ber. In February, students were thrilled to have 
Varone and the full company in residence for two 
days, during which they taught a master class for the 
dance department and presented two workshops for 
pre-school students at The Children's School. 

Varone and company members also led an in- 
triguing Cultural Mapping Workshop, guiding 30 
non-dance students through a series of movement 
and verbal exercises to explore their identities, aspi- 
rations, backgrounds, and beliefs. The workshop 
skillfully transformed the room into a global map 
that participants could travel while engaging in in- 
dividual and group expression about religion, race, 
gender, economics, and class. Participating in- 
creased students' curiosity about dance and led 
many to attend the Doug Varone and Dancers con- 
cert, which proved to be one of the area's best-at- 
tended professional dance performances in recent 

Halee Beucler and Joshua Knowlton of Connecticut 
College in 0/ the Earth Far Below, choreographed by 
DougVarone. Photo by All EmirTapan. 

Varone and his company attended cast re- 
hearsals and provided feedback, which gave stu- 
dents a rare opportunity to work directly with 
professional artists of the highest caliber. Experi- 
encing such close artistic interaction and then 
watching the company's masterful performance 
made students feel closely connected to Varone's 
work, and had a profound impact on their artistic 
development. After four weeks of technique classes 
and additional rehearsal time with Taketa, both 
casts performed Of the Earth Far Below in numerous 
concerts over four months. 

A staging still 
from Alwin Niko- 
lais's work Pond at 
Florida State Uni- 
versity. Still im- 
ages were taken 
at key staging 
points through- 
out the dance to 
support accurate 
spatial grid on 
the stage helps to 
clarify the 
dancers's coordi- 
nates on the 
stage, facilitating 
a more accurate 
Photo by Marc Ray. 

state: Florida 

school: Florida State University 
artist: Alwin Nikolais/Alberto DelSaz 
community partners: Tallahassee Cultural 
Resource Commission, Boys and Girls Club, 
Belleview High School, Tallahassee Community 
College, FSU Friends of Dance 
With NCCI support, Florida State University invited 
Alberto Del Saz, director of the Nikolais /Louis 
Foundation, to restage Alwin Nikolais's work POND 
in conjunction with outreach activities about Niko- 
lais's legacy. Del Saz introduced students to Ni- 
kolais's work in a Dance Forum panel discussion, 
presenting images, video excerpts of repertory, and 
taped interviews with artists, including Murray 
Louis. Students and faculty gained substantive back- 
ground on Nikolais's work and development as an 
artist. Del Saz conducted an audition /master class 
for 60 dance majors, from whom he selected a 14- 
person cast. All auditioners were invited to continue 
taking daily classes in Nikolais's technique. 

POND, created in 1982, demonstrates Nikolais's 
pioneering integration of technology and move- 
ment from a historical perspective. By rehearsing in 
the actual performance space, the cast came to un- 
derstand the importance of lighting, staging, and 
video projection in Nikolais's approach to "total the- 
ater." Three evenings of rehearsal were dedicated 
to documenting the restaging, demonstrating to 
students the value of creating an important preser- 
vation tool. The performance integrated a presen- 

tation about Nikolais's legacy, giving the audience a 
deeper understanding of his work and energizing 
the post-performance discussion. Young students 
from Belleview High School and the Boys and Girls 
Club were invited to an afternoon presentation of 
POND, which included one low-tech performance in 
rehearsal clothes and a second with full lighting and 
costumes, illustrating the importance of Nikolais's 
multimedia aesthetic to his work. 

As this cast may be one of the last generations 
to learn Nikolais's work firsthand from a company 
member, the restaging of POND and the documen- 
tation of that process were particularly valuable 
both for student learning and in preserving Niko- 
lais's legacy. 

state: Hawaii 

school: University of Hawaii 
artist: Alberto Del Saz 

community partners: Leeward Community 
College, Kapiolani Community College, 
Mid-Pacific Institute 

At the University of Hawaii, NCCI support gave 
students the opportunity to learn one of Alwin 
Nikolais's signature works, Tensile Involvement, from 
longtime company member Alberto Del Saz and to 
expose the community to Nikolais's legacy through 
outreach activities. Master classes at Leeward Com- 
munity College, Kapiolani Community College, 
Mid-Pacific Institute, and University of Hawaii at 
Manoa introduced elements of Nikolais's technique 


Many who attended 
were unfamiliar 
with Nikolais's work 
and were amazed at 
the multiple layers 
of expertise required 
to perform the 

14 ~ 

and choreography to college students and high 
school dancers throughout the region. Many who 
attended were unfamiliar with Nikolais's work and 
were amazed at the multiple layers of expertise re- 
quired to perform the choreography Students in a 
dance history class were intrigued by a lecture given 
by Del Saz, in which he spoke about professional 
dance touring and used photo projections to illus- 
trate the theoretical premises of Nikolais's chore- 
ography. Learning the work directly from Del Saz, 
the cast gained a deep understanding of this inno- 
vative, landmark piece, created in 1953 and still vi- 
sually stunning more than half a century later. 

The cast shared the process of mounting Niko- 
lais's masterpiece with the community through 
open rehearsals, five public performances, and one 
invited preview performance. These performances 
marked the work's premiere in Hawaii and helped 
to draw 60 people to two pre-show lectures about 
dance reconstruction, using the NCCI project as a 
model. Tensile Involvement, in which the dancers ma- 
nipulate long, elastic bands to create a changing 
scene of lines, frames, and webs, was the closing 
piece on "Dance: Connection and Extension," a 
program that highlighted interaction with non- 
dance elements such as music, video, props, and 
light. Nikolais's work was enthusiastically received; 
in fact, the cast performed two encores of the entire 
work to rapt audiences. 

state: Illinois 

school: The Dance Center, Columbia College 

artist: Bebe Miller 
community partners: N/A 

As part of The Dance Center's Repertory Perform- 
ance Workshop, a credit-bearing course that creates 
opportunities for Columbia College's student dance 
company to work with professional choreogra- 
phers, 14 students participated in a fascinating col- 
laborative process with Bebe Miller to create This is 
the Story of a Fable. Miller worked directly with stu- 
dents and collaborated with Darrell Jones, a Dance 
Center faculty member who is a dancer in Miller's 
company. As this was the last of three works to be 
set on the student dance company throughout the 
semester, the cast was eager to use the skills they 
had developed in working with professional artists. 
Over three weeks, the cast used improvisation and 
other choreographic processes to develop seven 
duets that became raw material for the creation of 
Miller's new work. Initially rehearsing with Jones, 
students explored the possibilities of partnering as a 
way to deal with the concept of "personhood" in 

relationships. Miller then added her own phrases 
and edited the work, creating an unconventional 
narrative structure. 

Working with both Miller and Jones provided 
students with valuable insight into choreographic 
collaborations, and being treated as full participants 
allowed them to develop ownership in the finished 
product. Students had previously experienced a one- 
week residency with Miller, including company per- 
formances, which had familiarized them with her 
aesthetic and enhanced their ability to offer intelli- 
gent contributions to her creative process. The per- 
formance was promoted as part of a campus-wide, 
end-of-semester celebration, resulting in a sold-out 
performance that attracted numerous non-dance 

state: Illinois 

school: Illinois Wesleyan University 

artist: David Dorfman 

community partners: N/A 

Choreographer David Dorfman created an original 
work, now &-..., during two weeks of residency 
with students in Illinois Wesleyan University's The- 
atre Arts Dance Program. Since the student body 
includes musical theater students, dancers, and ac- 
tors, Dorfman's interest in the collaborative process 
and his commitment to involving those with little 
or no formal dance training were essential to the 
success of the residency. The student cast had the 
opportunity to rehearse alongside Dorfman's pro- 
fessional company. To reach the wider student body, 
Dorfman conducted a daily master class for dance 
and acting students and made himself available for 
questions about his work, careers in dance, and the 
life of a contemporary working artist. In addition, 
an extremely well attended community master class 
attracted students who are not ordinarily part of the 
dance program. 

In line with IWU's goal to give students expo- 
sure to leading dance artists as well as hands-on ex- 
periences in the arts, a wide range of non-dance 
students were invited to work directly with Dorf- 
man and his company, including costume designers, 
lighting designers, and sound designers. The resi- 
dency culminated with six performances of now 
&■ . . . on the 2006 Dance Concert series, drawing a 
great deal of interest from students and faculty 
across campus. 

state: Kansas 

school: University of Missouri-Kansas City 
artist: Wally Cardona 

community partners: Lawrence High School, Free 
State High School, 940 Dance Company, 
University of Missouri-Kansas, Elizabeth Sherbon 
Dance Theatre 

University of Kansas students benefited greatly 
from working with choreographer Wally Cardona 
in a three-week residency to create a work entitled 
Flat. Cardona introduced them to his approach to 
composition, encouraging them to think as chore- 
ographers and performers simultaneously. The re- 
sulting work has an urban, stark aesthetic with a 
techno sound score and movable mirrors that both 
hide and reflect the dancers. This scenic element is 
manipulated by the dancers throughout the piece, 
playing with the viewer's perspective of what is hid- 
den and what is revealed. 

in the 
of Kansas's 
of Flat by 
by Earl 




M ■, 

^^^^^^E HNS 

"'""■ imini ' 

Local newspaper previews, radio interviews on 
an NPR affiliate, and a half-hour television program 
featuring Cardona rehearsing the students brought 
fresh ideas in dance to the Lawrence community, 
and resulted in large audiences for three perform- 
ances at the 2,000-seat Lied Center. Cardona 
promoted dance in other ways by teaching inter- 
mediate/advanced modern technique and environ- 
mental choreography, speaking with a music class 
about the choreographer /composer collaborative 
process, and leading a lively discussion on "Dance in 
the Real World," featuring clips of his recent work. 
These events were open to dancers in the region, 
and members of the 940 Dance Company and stu- 
dents from the University of Missouri-Kansas City 

took advantage of the opportunity Rounding out 
Cardona's community involvement were improvi- 
sation classes designed to intrigue non-movers at 
two local high schools and open rehearsals, which 
attracted art students with sketchbooks, a women's 
dance discussion group, a local arts organization, 
and a world dance history class. 

The residency reverberated throughout the 
dance community at the University of Kansas, giv- 
ing students new frameworks for developing their 
own artistic voices and audiences a deeper under- 
standing of experimentation in dance. 

state: Louisiana 
school: Tulane University 
artist: Sara Pearson, Patrik Widrig 
community partners: NORD/NOBA Center for 
Dance, One River Mississippi, Contemporary Arts 
Center of New Orleans, University of Texas at 
Austin, New Orleans community 
When the devastation inflicted by Hurricane Kat- 
rina put Sara Pearson and Patrik Widrig's scheduled 
residency at Tulane University on hold, the artists 
drastically re-imagined their project, instead creat- 
ing Katrina, Katrina: Love Letters to New Orleans for 
Tulane's Newcomb Dance Company in spring 2006. 

Due to the generosity of the University of Texas 
at Austin and Holly Williams, head of UT's per- 
formance unit in dance, Tulane students displaced 
by Hurricane Katrina were allowed to transfer to 
UT for the fall semester; the rehearsal process in- 
volved students from both schools. During their 
month in residence, Pearson and Widrig taught 
intermediate /advanced modern technique and en- 
couraged the 12-person cast to share their experi- 
ences with Katrina and its aftermath through group 
discussion, writing, and improvisation. More than 
150 people from Tulane and New Orleans con- 
tributed personal narratives about Katrina in an 
open workshop. This material, along with projected 
photographs and video footage of the ravaged city, 
was artfully woven with improvisation to create the 
new work. 

Love Letters is an hour-long rumination, at vari- 
ous times he art- wrenching and wryly comic, about 
Katrina's impact on the lives of people in New Or- 
leans. It was previewed in New Orleans, with an es- 
timated 600 people packed into a large studio 
theater, including Tulane's president and several 
deans. It was then given a special performance at 
the University of Texas at Austin, as part of the 
American College Dance Festival South Central 
Region Conference. Newcomb Dance Company 


Dancers from the 
Newcomb Dance 
Company atTulane 
University and the 
cast of the American 
College Dance Festi- 
val South Central 
Conference at the 
University of Texas 
at Austin perform 
Katrina, Kotrino: Love 
Letters to New Orleans. 
The piece was con- 
ceived, choreo- 
graphed and directed 
by Sara Pearson and 
PatrikWidrig. Photo 
by Amitava Sarkar, 
Photography Insight. 


was invited to perform Love Letters in its entirety on 
The Kennedy Center's Millennium Stage in Wash- 
ington, DC, along with members of Pearson/ 
Widrig Dance Theatre. This performance was given 
a positive review in The Washington Post. 

As the project continues to evolve, Tulane 
dancers have been given additional professional op- 
portunities. The Kennedy Center invited Love Let- 
ters to be part of a Whistle Stop Tour from New 
Orleans to DC and to be performed again on the 
Millennium Stage in September 2006. For partici- 
pants and audiences in New Orleans and Austin, 
Love Letters was a timely, compelling, and even ther- 
apeutic, experience, an opportunity to both mourn 
the destruction of the old New Orleans and reflect 
on the spirit of the people to survive and rebuild. 

state: Maine 

school: Bates College 

artist: Sean Curran 

community partners: Bates Dance Festival 

The Bates Dance Festival (BDF) and the Bates Col- 
lege Dance Program (BCDP) joined forces to host 
two residencies by Sean Curran that focused on the 
creative process and new work. During the Festival, 
Curran collaborated with scholar Suzanne Carbon- 
neau in a three-week "Making Dances" workshop 
that immersed students in the dance-making 
process, utilizing video, observation, group dia- 
logue, and creative writing. Also during the Festi- 
val, Curran's company spent a week in residence to 
work on completing Aria and open the studio for a 
work-in-progress showing for peers and students. 
Not only did students grow through this challeng- 
ing "Making Dances" workshop, but Curran him- 

self was inspired to use the same approaches with 
his own company. He performed his stunning trib- 
ute to Meredith Monk, St. Petersburg Waltz, on the 
Faculty Gala concert and gave a master class for 60 
young people. 

For the second component, during the BCDP 
residency, Curran created a musically complex and 
challenging new -work, Allegro and Allegro, for 10 stu- 
dents. Curran broadened their horizons with his 
idiosyncratic mixture of Irish step dancing and re- 
lease technique performed to Mozart, played live by 
a trio of musicians from the Department of Music. 
Curran also incorporated the cast's improvised ma- 
terial into the piece. Their full investment in the cre- 
ative process was evident in five public concerts at 
Bates, and the work was selected for the New Eng- 
land regional American College Dance Festival 

During his residency, Curran worked with the 
full dance department through open classes that in- 
corporated a variety of contemporary approaches, 
such as yoga and release, and spent a significant 
amount of time interacting on a personal level with 
students in the studio and at post-rehearsal dinners. 

state: Maryland 
school: University of Maryland 
artist: Mark Haim 

community partners: Clarice Smith Performing 
Arts Center, Mary "Mother" Harris Elementary 

With NCCI support, Mark Haim created Wannabe 
for the Maryland Dance Ensemble and restaged five 
solos from The Goldberg Variations. Wannabe was cre- 
ated for seven dancers and two understudies during 

a nine-day residency. It was previewed on campus 
in informal showings for the Department of Dance 
and the Honors program for more than 200 stu- 
dents, as well as at a free "Take Five" lecture /per- 
formance in the Clarice Smith Performing Arts 
Center that attracted more than 100 people. These 
interactive programs introduced the work to a 
broad audience. Set to an original score by Haim, 
Wannabe was given a full performance on the Mary- 
land Dance Ensemble's fall and spring concerts for 
a total audience of 2,000 and was also performed in 
a free program on Maryland Day for 150 attendees. 
In evening rehearsals, Haim restaged The Goldberg 
Variations. Students performed excerpts on the 
Maryland Dance Ensemble fall concert with live ac- 
companiment from a doctoral candidate in music, 
in two graduate thesis concerts, and on the Millen- 
nium Stage as part of The Kennedy Center's Cele- 
bration of College and University Dance. 

One particularly successful outreach activity 
was a mini-residency at Mary Harris Elementary 
School in Adelphi, Maryland, modeled after Haim's 
program for the Lincoln Center Institute for the 
Arts in Education. After an informal showing, Haim 
and 12 dance students encouraged 100 third-graders 
to talk about the performance and to dance them- 
selves. The UMD students were inspired by the chil- 
dren's responses and hope to form a long-term 
connection with the school. 

Due to the extended scope of this project, Haim 
was able to interact deeply with the cast, the full 
dance department, and the community. His pres- 
ence at the university over the course of two se- 
mesters exposed students to the creative process 
and generated ongoing conversations. 

state: Massachusetts 
school: Five College Dance Department 
artist: Trisha Brown 

community partners: Weissman Center for 
Leadership at Mount Holyoke College 
NCCI support gave students from The Five College 
Dance Department the extraordinary opportunity 
to learn Trisha Brown's masterwork, Set and Reset, 
from Abby Yager, a former member of the Trisha 
Brown Dance Company (TBDC). Two dancers from 
each campus were in the cast and, during the Five 
College January term, Yager taught daily technique 
classes and restaged the work. Guest assistance from 
Lani Nahale and Mariah Mahoney two former 
TBDC members, expanded the students' contact 
with professional dancers. An open rehearsal featur- 
ing a performance and a lively question-and- 
answer period attracted a large audience from the 

general community. Yager left students a set warm- 
up, with each student responsible for a section. This 
additional training in how to prepare for a perform- 
ance was invaluable to the dancers' mind-set and 
physical awareness. Sets and costumes were recre- 
ated by Five College faculty members, based on 
Robert Rauschenberg's original instructions. 

The cast gave nine performances of the work, 
touring to Hampshire College, Amherst College, 
and Smith College. Trisha Brown attended opening 
night, and students were honored to speak with her 
after the performance, as well as attend a question- 
and-answer session and a lecture in which Brown 
spoke about her evolving creative interests. Over the 
course of their performances, the cast's under- 
standing of the construction of the piece deepened. 
Hundreds of academic and community members 
were privileged to see one of the major works in 
20th Century American dance. 

Performance of Trisha 
Brown's Set and Reset/ 
Reset. Five College 
Dance Department. 
Dancers: Kellie Lynch, 
Ashley Hensel- 
Browning. Photo by 
Jim Coleman. 


state: Michigan 

school: Wayne State University 

artist: Joshua Hilberman 

community partners: Detroit Public Schools, 

Detroit Opera House, Detroit Institute of Arts, 

Swing City Dance 

NCCI support brought American tap dancer and 

choreographer Joshua Hilberman to the Detroit 

metropolitan area for a 10-day choreography and 

teaching residency at Wayne State University, 

culminating in the creation of Three for Marijin. 

Hilberman created the work for the Wayne State 

University Dance Company, drawing on historical 


tap and vocabulary such as the buck and wing and 
the Charleston. He skillfully mixed classic tap vo- 
cabulary with contemporary dance-making prac- 
tices, and encouraged active student participation 
in creating the new work. 

Significant outreach included Hilberman's mas- 
ter classes for Detroit Public Schools and area 
dancers and teachers and a lecture / demonstration 
on the process of creating Three for Marijin. An out- 
door tap event, "Tappin' on Broadway-Detroit," 
brought hundreds of tappers and audience mem- 
bers for a free master class, performances by Hilber- 
man, and a highly successful open tap improvisation 
jam. The new work was first performed at the de- 
partment's 52nd annual "ONSTAGE! Dance The- 
atre for Youth: That's Tap!" This event exposes 
many of the 3,000 Southeast Michigan children and 
youth to concert dance for the first time, and in- 
cludes a teacher's curriculum guide on CD-ROM. 
Hilberman's work was also performed in WSU's 
Departmental Concert and the grand opening of a 
new YMCA in Detroit, and was one of six adjudi- 
cated works selected for the spring gala at the De- 
troit Institute for the Arts. The WSU Dance Touring 
Company exposed many students throughout met- 
ropolitan Detroit and Michigan to Three for Marijin 
on its 2006 Winter Tour, and the work has now be- 
come part of the department's active repertory. 

The project had substantial impact in enhanc- 
ing current partnerships, forging new connections, 
and enlivening WSU's youth dance curriculum with 
the energy and artistry of Hilberman's tap style. 

state: Michigan 

school: Western Michigan University 
artist: Dianne Mclntyre, Amina Claudine Myers 
community partners: Five public schools from 
Kalamazoo, two public schools from Battle Creek, 
Education for the Arts County Dance Program, 
Southern Methodist University 
With NCCI support, Dianne Mclntyre restaged 
Helen Tamiris's How Long, Brethren? on students at 
Western Michigan University. The work, which ex- 
amines the difficult lives of plantation slaves, pre- 
miered in 1937 and was all but lost until Mclntyre 
painstakingly recreated it in 1991 by tracking down 
and interviewing the original dancers. WMU 
dancers helped to preserve Tamiris's dance for an- 
other generation. During rehearsals, Mclntyre im- 
parted the historical context of the work and its 
precise images, asking dancers to study the physi- 
cality of slaves doing hard labor such as picking cot- 
ton. Describing the creative process as "detective 
work," Mclntyre encouraged the dancers to re- 
search the time period, find personal meaning in the 
lyrics of spiritual songs, and share their insights. 

Students from several disciplines benefited from 
Mclntyre's perspectives on dance and history and 
her deep understanding of the social content in 
Tamiris's work. Mclntyre taught modern technique 
classes for dance and music theater students, dis- 
cussed her career in a senior seminar, hosted an 
open rehearsal, and lectured in dance history and 
general education courses. She worked collabora- 
tively with Amina Claudine Myers, the music con- 
sultant and conductor for How Long, Brethren?, to 

How Long, 
Brethren? by 
Helen Tamiris, 
performed by 
Western Michi- 
gan University 
dancers. Photo 
byjohn Lacko. 


familiarize the dancers with working with live 
music provided by WMU's music ensemble, sym- 
phony orchestra, and chamber singers. A special lec- 
ture and performance was held for seven public 
schools in Kalamazoo and Battle Creek and home- 
school students in the countywide Education for the 
Arts Dance Program. A feature story in the Sunday 
arts section of the Kalamazoo Gazette stimulated in- 
terest in the residency. 

How Long, Brethren? was presented in celebration 
of the 10th anniversary of the dance department's 
Great Works Dance Project, a growing endowment 
set aside for this kind of creative project. Audiences 
were impressed by the combined power of live 
music and dance and by the students' skill in giving 
an authentic, yet fresh, take on Tamiris's work. 

state: Missouri 

school: Southwest Missouri State University 
artist: Shirley Ririe 

community partners: Theatre Arts and Dance 
Program at The University of Arkansas at Little 
Rock, Ozarks Dance Academy, The Odyssey Project 
of the College of Arts and Letters at Missouri 
State University, The Springfield Ballet, Temple 

Southwest Missouri State University brought cho- 
reographer Shirley Ririe to campus to restage 
Ha'Shoa, her acclaimed dance drama dealing with 
the Holocaust, for a 20-person cast consisting of the 
students' Inertia Dance Company, resident profes- 
sionals, and community performers. This powerful 
26-minute work depicts the physical, emotional, 
and spiritual trek of one family leaving behind their 
home and walking toward their death. The work is 
set to the intense music of Krzysztof Penderecki 
and features a cantor performing a haunting Jewish 
prayer in Hebrew. 

Ha'Shoa was performed in Missouri State's 
Spring Dance Concert, as well as at the University 
of Arkansas at Little Rock, to extend outreach for 
the project beyond Springfield. As the University of 
Arkansas is working to reinstate their dance pro- 
gram, this outreach was timely and appreciated. 
The Little Rock audience included many first-time 
dancegoers: university administrators, faculty, and 
students; area high school students and teachers; a 
large contingent from three synagogues; and the 
only known living Holocaust survivor in the state. 
An exhibit of Holocaust art in the theater's lobby 
added to the experience. A post-performance 
symposium entitled "Imagining the Unthinkable: 
Testimony and the Aesthetic Memory" at each uni- 
versity allowed the audience to discuss the per- 

formance and hear Ririe speak about creating 
Ha'Shoa. Panelists representing perspectives from 
various fields included professors in dance, film and 
mass media, philosophy and art, as well as a rabbi 
from Springfield. Additionally, middle and high 
school students in Springfield, only a handful of 
whom had previously seen live dance performance, 
attended a separate performance and symposium. 
The cross-cultural focus of the project created 
new relationships with the Jewish community and 
helped bring both important knowledge about the 
Holocaust and a new appreciation for dance to au- 
diences in both the Springfield and Little Rock areas. 

Dancers from Southwest Missouri State University in Shireiy Ririe's Ha'Shoa. 
Photo by Loyal Auterson. 

state: Missouri 

school: Washington University in St. Louis 
artist: Alonzo King, Arturo Fernandez 
community partners: The Washington University 
Center for the Humanities, West End Community 
Conference Center, Missouri Dance Education 

With NCCI support, Alonzo King, founder and 
artistic director of LINES Ballet in San Francisco, 
became the first major guest artist from the West 
Coast to visit Washington University Assisted by Ar- 
turo Fernandez, King restaged two excerpts from 
Koto on a student cast trained in modern and ballet. 
Though King identifies his work as ballet, students 
found that his approach to teaching and choreog- 
raphy expanded the meaning of the term. In re- 
hearsal, King challenged the cast to embrace both 
physical virtuosity and their own personal inter- 


Washington University in St. Louis: Vivan Chen (left) Marquita Redd (above right), 
and Anisa Baldwin Metzger. Photo by David /Merchant. 



pretations of the movement with complete com- 
mitment. Though demanding, the residency was re- 
warding for students who developed a real affinity 
for King's strong verbal encouragement to plunge 
into each challenge. 

As the university's dance program seeks to pro- 
vide students with a global perspective on dance, 
hearing King talk about his interest in other cultures 
and his experiences with cross-cultural collabora- 
tions added great value to the residency. King par- 
ticipated in more discussion of his aesthetic and its 
relation to contemporary dance in a seminar 
course, "Ballet as Ethnic Dance and Classical Art," 
and a lecture /studio class, "Modern Dance and the 
African American Legacy." Additionally, King led a 
group of 25 upper-level students through a choreo- 
graphic workshop, and Fernandez taught a master 
class to local teachers and high school students. 
Through partnership with the Washington Univer- 
sity Center for the Humanities, King participated in 
a panel entitled "Understanding Dance as the Lan- 
guage We Embody," which was well-attended by 
the general public. King also visited local teens in a 
hip-hop class at the West End Community Confer- 
ence Center in a primarily African American neigh- 
borhood. After showing a DVD of company 
repertoire, King fielded enthusiastic questions about 
dancing on MTV and auditioning, providing stu- 
dents with both pragmatic advice and inspiration. 

state: New Jersey 
school: Rutgers University 
artist: David Dorfman 
community partners: N/A 

NCCI support allowed David Dorfman to create un- 
derground now, a work about contemporary ac- 
tivism, for 15 students at Rutgers University. From 
the beginning, this project was unique in that the 
cast included students from both the B.A. and B.F.A. 
degree programs in dance, who forged a strong 
bond in working through Dorfman's community- 
based artistic process. Though activism is a regular 
topic of Dorfman's work, the choreography for un- 
derground now emerged from the students at Rut- 
gers. With guidance from Dorfman and his three 
artistic assistants, the cast investigated the idea of 
modern protest and translated it into movement by 
working through autobiographical material and 
structured improvisations. Creating the work de- 
manded an intense commitment to self-reflection 
and the ability to transform intention into action, a 
challenge that students enthusiastically met. The 
powerful new work had four nearly sold-out per- 
formances at Rutgers' New Theater and brought a 
new type of dance experience to audiences of ap- 
proximately 1,200. Audiences responded viscerally 
to the work's intense images of war and its spirit of 
protest, giving standing ovations throughout the 
run of the concert. 

In addition to the successful performance, Dorf- 
man's residency awakened a spirit of student ac- 
tivism, leading dance students to participate in 
rallies against university budget cuts and to apply 
their new knowledge of community-based artistic 
process to other political action on campus. 

state: New York 

school: Purchase College, State University of 
New York 

artist: Mark Morris 

community partners: Davis Elementary School, 
Maimonides Academy, Cherry Lane Elementary 
School, Still meadow Elementary School, 
Prompter's Language of Dance program, Affiliates, 
Hunter College, Purchase College Chorus, Purchase 
Symphony Orchestra, Mark Morris Dance Group 
NCCI funding allowed the Purchase Dance Corps 
to be the first company, other than the Mark Mor- 
ris Dance Group (MMDG), ever to perform one of 
Morris's signature works, Gloria. After former 
MMDG dancer Megan Williams restaged the work, 
students traveled to the Mark Morris Dance Center 
for class and an afternoon of rehearsal with Mark 
Morris and his company. Both student casts per- 

formed the 30-minute piece and Morris spent hours 
coaching, providing background information on the 
work's historical roots and perfecting rhythms. Four 
company members worked one-on-one with the 
students who were performing their respective 
parts. This close interaction with professional 
dancers was a highlight for students, as was the 
MMDG performance of Gloria at BAM, to which 
the cast, singers, and conductors received compli- 
mentary tickets. 

The work was performed by two student casts 
on the Purchase Dance Corps Spring Concert, 
which drew audiences of 1,600 over six nights. Set 
to Vivaldi's Gloria in D, the piece was accompanied 
by the Purchase College Chorus and the Purchase 
Symphony Orchestra, led by conductors from Pur- 
chase's Conservatory of Music. On-campus activi- 
ties included classroom workshops for Art and 
Design students and the cast of Gloria, who dis- 
cussed momentum and the human body in the con- 
text of culture and society Students performed 
three lecture /demonstrations in local area schools, 
and children from Prompter's Language of Dance 
program were bused in for a special performance 
of Gloria in The Performing Arts Center. Williams 
led a "Prelude" talk for audience members and a 
fundraising luncheon for a senior volunteer group. 
The performances garnered press recognition in 
The New York Times and Dance View Times, an online 
dance journal. 

The dancers benefited greatly from additional 
performance opportunities, including presentations 
at The Legacy Project at Hunter College, The Pres- 
ident's Club Gala in Westchester, The Kennedy 
Center's Millennium Stage, and the International 
Festival of Dance Academies in Hong Kong. The 
exceptional scope of this nine-month project was 
matched only by the unforgettable day that the Pur- 
chase Dance Corps spent working directly with 
Mark Morris. 

state: New York 

school: Sarah Lawrence College 

artist: Neil Greenberg 

community partners: N/A 

During their NCCI residency, students at Sarah 
Lawrence College were introduced to new ideas in 
dance making when choreographer Neil Greenberg 
created Three. Greenberg videotaped as he led the 
cast through improvisations and then taught them 
the movement from videotape. After a month, 
Greenberg structured the material to create Three in 
a practice that stretched the imagination of students 
and deepened their relationship to technology. 

Greenberg's performance aesthetic encouraged 
students and technical faculty to re-imagine the per- 
formance space with new light lines, entrances 
downstage from the proscenium, and gallery space 
along the perimeter of the theater. Greenberg 
taught a master class based on improvisational 
structures and presented a lecture /demonstration 
about his artistic interests and choreographic meth- 
ods. The residency culminated in two well-attended 
performances of Three, presented in the De Carlo 
Performing Arts Center. Each was followed by a 
question-and-answer session that helped the audi- 
ence better understand Greenberg's approach. The 
opportunity to observe an artist who works with 
technical elements and uses theater in a non-tradi- 
tional way has led students to expand their ap- 
proach to presenting their own work. 

state: New York 
school: Vassar College 
artist: Pascal Rioult 

community partners: Bardavon Opera House, 
Poughkeepsie Middle School, Dutchess Day School 
Nine dancers from Vassar Repertory Dance Theatre 
participated in a 10-day intensive with Pascal Rioult 
as he restaged his signature work Wien. In what 
turns out to be a dark, violent piece, dancers are 
costumed in 1940s clothing and perform to a Vien- 
nese waltz by Ravel. Learning repertory from a pro- 
fessional company sparked an invigorated interest 
in dance among the cast and a higher level of tech- 
nical accomplishment. Rioult taught a master class 
for 35 students and a lecture / demonstration about 
his choreographic process with the help of his com- 
pany, Pascal Rioult Dance Theatre. 

The residency caught the community's atten- 
tion through a lecture /demonstration that brought 
together Dutchess Day School, a small, private, sub- 
urban institution, and Poughkeepsie Middle School, 
a larger, inner-city public institution. The 50 stu- 
dents in attendance were mesmerized by the per- 
formance and discussed the choreography, demon- 
strating the power of art to bring together diverse 
groups of people. Rioult spoke about Wien and the 
success of the residency at a brunch attended by the 
president of Vassar College and other prominent 
community members, which elevated the project's 
visibility. The annual Gala at Bardavon Opera 
House featured Wien along with other works by 
Vassar Repertory Dance Theater; the audience of 
1,500 included students from the two schools who 
were given free vouchers. Wien was also performed 
at The Kennedy Center and will be featured in the 
opening of a new dance theater at Vassar next year. 


At the high schools, 
varsity athletes and 
students from fine 
arts and physical 

education classes 

discovered the 

physically and 

challenging aspects 
of dance. 

As a result of Pascal Rioult Dance Theater's ex- 
tended residency, Vassar formed a strong relation- 
ship with the company and will collaborate on a 
new project by seeking funds from the New York 
State Council on the Arts for a summer dance work- 
shop in 2007. 

state: North Dakota 

school: Dickinson State University 

artist: Ririe-Woodbury Dance Company 

community partners: Roosevelt Elementary 
School, Dickinson High School, Trinity High 

NCCI funds supported a successful one-week resi- 
dency with Ririe-Woodbury Dance Company at 
Dickinson State University and the creation of a 
work for 12 dancers from the university's Form and 
Fusion Dance Company. The cast was challenged 
but felt a deep sense of satisfaction in being part of 
the creative process. A series of master classes with 
Ririe-Woodbury were open to Dickinson students 
and four local dance studios. A creative movement 
class was also very successful; the adult participants 
commented on their enhanced understanding of 
dance and their pride in trying something new. 

A cross-disciplinary project on "Motion," in col- 
laboration with the Art Department, resulted in a 
gallery presentation of artwork in the Student Cen- 
ter. Additionally, the company's technical director 
was a guest speaker for a course on lighting design 
and offered a master class in lighting dance per- 
formances. Living up to its motto of "Dance is for 
everybody!," Ririe-Woodbury Dance Company ex- 
tended the impact of this residency with activities at 
Roosevelt Elementary School, Dickinson High 
School and Trinity High School. At Roosevelt, 150 
grade school students, 20 teachers and administra- 
tors, and two members of the North Dakota Coun- 
cil on the Arts attended a lecture /demonstration. 
Creative movement classes at each of these schools 
helped to increase awareness of dance and Dickin- 
son State University's dance program. At the high 
schools, varsity athletes and students from fine arts 
and physical education classes discovered the phys- 
ically and mentally challenging aspects of dance and 
encouraged their principal to consider hiring a 
dance teacher. 

The Ririe-Woodbury Dance Company's culmi- 
nating performance to an enthusiastic audience of 
600 garnered a resounding standing ovation, 
demonstrating the Dickinson community's appre- 
ciation for having a professional dance company in 

state: Ohio 

school: The Ohio State University 
artist: Mark Morris 

community partners: (Schools): Indianola, 
Rosemont, Starling Middle School, Duxberry Park, 
Fair Ave Elementary School, Monroe Middle 
School, Beck, Arts Impact Middle School, 
Columbus School for Girls Middle School, 
Columbus School for Girls Upper School 
Three faculty members of The Ohio State Univer- 
sity (OSU) created a comprehensive project to re- 
construct All Fours by living master Mark Morris, 
and to create notation and curriculum to share this 
work with students and future generations. Faculty 
members Susan Hadley and Valarie Mockabee con- 
ducted technique class and rehearsals, and notator 
Sandra Aberkalns finalized the Labanotation score, 
adding imagery given by Morris in rehearsals. This 
completed score is now housed at the Dance Nota- 
tion Bureau's Library. Learning a work in the cur- 
rent repertory was an unprecedented opportunity 
for students, particularly as they benefited from 
Morris's detailed and insightful feedback in re- 
hearsals over a two-day period. 

The project culminated in four performances of 
All Fours accompanied by live music by Columbus's 
Chamber Orchestra ProMusica as part of OSU- 
DanceDowntown at the Capital Theatre. The out- 
comes of this project extended far beyond the dance 
community: sixteen complete lesson plans and an 
array of supporting materials were created for 
central Ohio public and private school systems, in 
accordance with state curriculum standards. OSU 
faculty and dancers participated in a professional 
development seminar with Columbus Public School 
teachers to help them integrate dance into science, 
language arts, English as a second language, math, 
and social studies, using Morris's work as the inspi- 
ration. Guided by the new curriculum, teachers 
introduced ideas about dance, choreography, and 
Labanotation to students, who then enjoyed the 
children's matinee performance, generating a re- 
lationship between OSU and the participating 
schools. An informational three-minute DVD by an 
OSU student describing the reconstruction of All 
Fours was presented four times during Gallery Hop, 
one of Columbus's most vibrant artistic events, 
drawing approximately 280 audience members. 

The work of choreographer Mark Morris had a 
strong impact on OSU dancers, Ohio public school 
students, and general audiences in the greater 
Columbus area. The resulting notation will serve 
the dance field at large. 


state: Ohio 

school: University of Cincinnati 
artist: George Balanchine 

community partners: Fairview English/German 
Bi-Lingual Elementary School, Sheill School for 
the Performing Arts, School for the Creative and 
Performing Arts, De L'Arts 

Dance students at the University of Cincinnati were 
presented with the challenge and opportunity to 
learn George Balanchine's timeless work, Serenade, 
from repetiteur Bart Cook. Recreating the master- 
piece generated camaraderie. Guest artists visiting 
throughout the rehearsal period included Vivi Flindt 
of the Royal Danish Ballet, who told stories about 
learning Serenade at age 13 from Balanchine himself, 
and Patricia Rozow, former ballerina with Ballet 
West and Cincinnati Ballet, who had performed 
every female role in the work and volunteered to 
coach the students. 

Outreach activities included an open rehearsal 
for 400 elementary school students and dance en- 
thusiasts. Cook balanced an entertaining discussion 
with a productive rehearsal, which highlighted chal- 
lenging lifts, and the young audience had many 
eager questions about the performance of the full 
piece. A lively panel discussion attracted more than 
100 dance majors from School for the Creative and 
Performing Arts, and 60 children and parents took 
advantage of a free Saturday matinee performance. 
Serenade was chosen as the closing work for an event 
at Xavier University that featured almost every per- 
forming dance group in Cincinnati. 

The project's grand finale, two performances of 
Serenade together with The Firebird on the Univer- 
sity of Cincinnati campus, drew full audiences of 
college administrators, students, regional dancers, 
and the public. Performances were stellar and, in 
fact, two dancers were offered apprenticeships with 
Cincinnati Ballet, while another was offered a full 
corps contract from Dayton Ballet. 

state: Oregon 

school: Reed College 

artist: Collage Dance Theatre 

community partners: Portland Institute for 

the Contemporary Arts, Conduit Studios 

In a week-long residency, Collage Dance Theatre 

worked with students at Reed College on Site- 

Reedings, which used the ancient text of Beowulf 

as thematic material and added modern concepts 

of performance. With the help of community 

partners Portland Institute for the Contemporary 

Arts and Conduit Studios, the residency brought 

the concept of non-traditional performance 

University of Cincinnati dancers Rachel Cahayla-Wynne and Britton Spitler in 
George Balanchine's Serenade. Photo by Rene Micheo. 

space to dancers in the Portland community. 

To launch the residency, Collage Dance Theatre 
artists and sisters Heidi and Merridawn Duckler led 
a three-hour workshop in the campus dining hall 
where 40 students from various disciplines devel- 
oped movement for this alternative space, utilizing 
tables, windows, partitions, and chairs. Students 
honed and presented group movement studies in 
several sites in the dining hall, and the discussion 
around these compositions was energetic. This 
practice was repeated several times throughout the 
week, transforming public spaces such as class- 
rooms, chapels, lounges, and lecture halls into 
works of art. By bringing dance out of the theater 
and the studio, the project increased public access. 

The culminating performance, an evening of 
dance entitled "How to Read Beowulf," featured two 
casts of students and company members; the audi- 
ence followed the performers from one non-tradi- 
tional dance space to the next. Performance in 
alternative site-specific locations proved very acces- 
sible to audiences and gave students at Reed Col- 
lege a broader sense of the possibilities of per- 

state: Pennsylvania 
school: Penn State Altoona 
artist: Martha Wittman 
community partners: Southern Alleghenies 
Museum of Art 

Martha Wittman of the Liz Lerman Dance Ex- 
change made multiple visits to Penn State Altoona 
over nine months to create Imprints on a Landscape: 



Mining Sketches for Altoona. Part of a larger dance 
work in development with the Dance Exchange, Im- 
prints is inspired by the story of Wittman's father, a 
coal miner and WPA artist who documented the 
mining community through printmaking. 

Wittman made site visits before the residency 
to interview local people who had connections to 
coal mining, including young and elderly miners, 
executives at the Windber Coal Heritage Center, 
local artists, and a landscape historian. Traveling to 
sites such as the Acid Mine Drainage Art Park to 
shoot video footage of landscape added a wealth of 
raw material. Along with colleagues Margot Green- 
lee and Matt Mahaney Wittman led an introduc- 
tory workshop for students and faculty to meet 
potential participants and assembled four different 
casts consisting of dance minors, theater students, 
and community members. 

The creative process explored the connections 
between life, work, and landscape and incorporated 
movement, video, still projections, and spoken text. 
The choreography was based on specific images, 
such as the labor of coal mining and the techniques 
used in printmaking. The physicality required to 
tunnel, dig, carve, and work in tight spaces was em- 
bodied by the cast and transformed into movement 
sections. The final work was performed in May 
2006 in the Wolf Kuhn Theatre, giving a rural Penn- 
sylvania community the opportunity to reflect on 
the history of coal mining in their region through 
contemporary dance theater. 

state: Texas 

school: Southern Methodist University 
artist: Agnes de Mille; Gemze de Lappe; 
Glory Van Scott 

community partners: N/A 

With NCCI support, Southern Methodist Univer- 
sity restaged Agnes de Mille's The Four Marys, a 
nearly forgotten masterwork that had not been per- 
formed in more than 30 years. The Four Marys is set 
in the antebellum South and offers a sympathetic 
portrayal of slaves, a significant artistic and politi- 
cal choice by de Mille given that the work pre- 
miered in 1965, in the heart of the civil-rights era. 
The restaging of the choreography began after 
nearly three years of archival research to collect ma- 
terials that would help in the reconstruction 
process, such as de Mille's choreographic notes, the 
musical score, and silent films of the ballet. 

During a 12-day residency, Glory Van Scott, a 
member of the original cast, and Gemze de Lappe, 
de Mille's principal repetiteur, acquainted SMU 
Dance Division students with de Mille's aesthetic 

and the history of the ballet. Two casts undertook 
the painstaking process of piecing together the bal- 
let from old film footage and the guest artist's mem- 
ories. The complexity of de Mille's musical phrasing 
was preserved in pianist Jeff Lankov's recreation of 
the score and live accompaniment in rehearsal. To 
embody the drama of this work, students were 
challenged to seamlessly integrate acting, dancing, 
and gesture, and encouraged to read slave narratives 
and write autobiographies of their characters to add 
nuance to their portrayals. To take advantage of this 
historic restaging project, the Dance Division took 
oral histories of De Lappe and Van Scott, and de- 
Mille Productions arranged for the professional 
videotaping of a dress rehearsal. 

The ballet's eight performances were received 
enthusiastically by audiences of 2,500 and resulted 
in discussion about slavery and de Mille's portrayal. 
Pre-performance lectures, an interview with De 
Lappe and Van Scott on Dallas's classical music 
radio station, and comprehensive articles in The 
Chronicle of Higher Education and The Dallas Morning 
News on the reconstruction process brought knowl- 
edge of de Mille's work and the importance of 
restaging dance masterworks to a wider audience. 

state: Utah 

school: University of Utah 

artist: Deborah Hay 

community partners: University of Utah's 

College of Fine Arts 

In a two-week residency at the University of Utah, 

Deborah Hay created Poof for a cast of 14 women. 

Students were excited by the chance to interact with 

a master artist and challenged to understand the 

philosophical underpinnings of her post-modern 

aesthetic and experimental process. Hay also 

restaged Exit, a work marked by a slow procession 

traveling across and exiting the stage into a bright 

light. These two large works gave many students an 

opportunity to perform. The restaging of Exit, in 

particular, helped develop a new audience, as the 

cast was primarily made up of non-dancers. 

Hay was extremely generous in sharing her 
artistic process with students, and even after her de- 
parture, students were so eager to continue the 
work that the cast of Poof staged a 30-minute im- 
provisational event in the student union. The buzz 
about this event provided an opportunity to pro- 
mote the upcoming concert, resulting in high at- 
tendance. Hay's residency provided an opportunity 
for deep experiential learning that profoundly im- 
pacted students' thinking about improvisation, 
process, and performance. 

state: Vermont 
school: Bennington College 
artist: Eiko and Koma 

community partners: The Park McCullough 
Estate, The Carving Studio and Sculpture Center 
Japanese artists Eiko and Koma spent half the fall 
semester in residence at Bennington College, work- 
ing with a cast of visual art and dance students to 
create Of the Water. Since this project was part of a 
course, students could devote the extensive time the 
work demanded. In rehearsals, the cast was intro- 
duced to huge paintings created by students at the 
Reyum Institute of Arts and Cultures in Phnom 
Penh, Cambodia and to music by Cambodian pop 
artists, which formed the inspiration for the new 
work. The mural-like paintings surrounding the 
performance space depicted women floating on 
water, and Eiko and Koma invited the cast to paint 
additional panels for the floor. 

Of the Water was performed on three consecu- 
tive weekends in three locations: outside on the 
grounds of the Park-McCullough Estate in North 
Bennington, in a black box theater at Bennington 
College, and at a smaller gallery space at the Carv- 
ing and Sculpture Studio in West Rutland, Vermont, 
challenging students to adapt to different environ- 
ments. The interplay of dance, visual art, and cul- 
tural perspectives from Japan and Cambodia 
opened students to a new range of possibilities for 
art-making, and sparked a deep interest in Eiko and 
Koma's body of work, which students learned 
through video. Eiko's two "Delicious Movement 
Workshops" for students and the broader commu- 
nity cultivated a deeper understanding of her aes- 
thetic, which often explores themes of life, death, 
culture, and compassion. 

This project stimulated conversations among 
audiences at the two post-performance talks. After 
being so immersed in the process of creating Of the 
Water, students added to the audience's insights into 
the work by speaking passionately and articulately 
about their own experiences working with Eiko and 

state: Virginia 

school: Virginia Commonwealth University 

artist: Robert Battle 

community partners: Richmond City Parks and 

Recreation, the Richmond Ballet, Richmond City 

Public Schools, the Richmond Black History 


Choreographer Robert Battle guided dance majors 
at Virginia Commonwealth University through a 
seven-week rehearsal process, culminating in the 

creation of Virginia Reel. Set to an original percus- 
sion score composed and performed live by Robbie 
Kinter and Marc Langelier, the work's driving 
rhythm, explosive energy, and powerful choreogra- 
phy reference both the grim history of slavery and 
the transcendence of the African American spirit. 
Early in the process Battle and the cast took an 
African American History Tour of Richmond, 
which added fascinating historical context to the de- 
velopment of the work. This experience, combined 
with a work-in-progress and public dialogue event 
with the African American Studies Department, 
provided a rich background for the creation of the 
new work. 

While developing the new work, Battleworks 
Dance Company performed in Richmond two 
nights, where Battle taught several master classes 
and the cast presented Virginia Reel at Armstrong 
and Thomas Dale High Schools in a lecture/ 
demonstration. Students discussed the issues raised 
by the work and learned steps from the dance. The 
community's reaction to these events was over- 
whelmingly positive. For the cast, the opportunity 
to work as teaching artists and share the work with 
the Richmond community was very rewarding and 
strengthened VCU's commitment to outreach ac- 
tivities. Virginia Reel was presented at the Grace 
Street Theater to audiences who were enthralled 
with the energy and passion of Battle's choreogra- 
phy and the cast's performance. VCU's cast was also 
selected to perform the work at the Celebration 
of College and University Dance at the John F. 
Kennedy Center for the Performing Arts. 

state: Washington 
school: Cornish College of the Arts 
artist: Martha Graham 

community partners: The Moore Theater, Seattle 
Theater Group, Pacific Northwest Ballet School, 
Dance Fremont, Cornish College Preparatory 
Dance Program, Tacoma School of the Arts, DANCE 
This, Velocity Dance Center, KICK, Kaleidoscope 
Children's Dance Company, Fremont Dance Works, 
Seattle Academy of Arts and Sciences, Northwest 
School, Arts Corps, Treehouse for Kids, Ewajo 
Dance, TTAAP Central, Chinese Drill Team, Leela 
Kathak Dancers, Tsimshian Hayuuk Dance, Big 
Brother/Big Sisters of King County 
With funding from NCCI, Cornish College cele- 
brated its enduring connection to Martha Graham 
by restaging Diversion of Angels in a month-long res- 
idency with two former Graham dancers. In 1930, 
Graham spent a summer teaching and performing 
at Cornish and now, 75 years later, her lasting legacy 

The interplay of 
dance, visual art, 
and cultural 
perspectives from 
Japan and Cambodia 
opened students to 
a new range of 
possibilities for 


Diversion of Angels by Martha Graham, performed by Cornish College's 
Christopher Tucker and Jamie Karlovich. Photo by Chris Bennion. 

was commemorated. Former principals Peter Spar- 
ling and Susan McLain spent two weeks each at 
Cornish, leading daily classes for 90 dance majors 
and rehearsals for the cast and understudies. Physi- 
cally and mentally challenging, the choreography 
requires performers to delve into their own psyches 
to convey a strong, emotional presence. 

In a dance department where Graham tech- 
nique remains a foundation of the ongoing cur- 
riculum, having the opportunity to learn from 
artists who bring a personal connection to Graham 
left an indelible imprint. A broader community 
residency was the centerpiece of "Day of Dance: 
The Life and Legacy of Martha Graham" at The 
Moore Theater, which featured a performance of 
Diversion of Angels and Graham technique by Cor- 
nish students, along with a lecture /demonstration 
narrated by McLain and audiovisual materials from 
the Martha Graham Resources. High school age 
dancers came to master classes, and an open re- 
hearsal attracted 50 community members whose 
curiosity was sparked by strong media coverage. 
After opening to sold-out houses, Diversion of Angels 
was performed in SOLID, a two- week Seattle dance 
festival. A pre-performance lecture provided insight 
into Graham's choreography and added a historic 
context. The piece was also performed in 'An 
Evening in the Arts," Cornish's annual fundraising 
2 g _ gala, drawing over 375 Seattle arts patrons, and 

again in July 2006 for an audience of 6,000 at the 
Seattle Theatre Group. 

Looking back at the experience, students re- 
flected on the value of learning seminal choreogra- 
phy from its original dancers, and the ways in which 
this hands-on mentoring builds a lineage for the art 

state: Washington 
school: University of Washington 
artist: Sarah Stackhouse/Jose Limon 
community partners: Jose Limon Dance 
Company, UW School of Dance, Cornish College for 
the Arts, Dance Fremont, UW School of Drama 
Professional Actor Training Program, Hengda 
School of Dance, Creative Dance Center, Pacific 
Northwest Ballet 

Continuing a tradition of re-creating historical 
dances, University of Washington's Chamber 
Dance Company invited Sarah Stackhouse, a prin- 
cipal dancer in the Jose Limon Company from 1958 
to 1969, to restage There is a Time, choreographed 
by Jose Limon in 1956. The cast of undergraduate 
and graduate students, community members, and 
faculty were honored to work with this master 
teacher over several weeks. The restaging of There 
is a Time was performed on a concert called 
"Echoes," which explored 80 years of modern 
dance by key names in the genealogy of American 
dance. Fifty years after its creation, the power and 
impact of this Limon piece was unmistakable. In 
total, approximately 2,500 individuals, including 
more than 600 UW students and 300 community 
dance students, attended the performances. 

Stackhouse's technique classes, lecture /demon- 
strations, rehearsals, and a "Meet the Artist" brown 
bag session gave students from all disciplines a 
chance to observe the restaging process. Pre-per- 
formance lectures addressing the history of Limon's 
choreography drew young dancers, high school stu- 
dents and individuals from two senior centers, and 
group discount tickets allowed a number of dance 
and community organizations to attend perform- 
ances. The impact of restaging Limon's work was 
enhanced by these outreach activities, which high- 
lighted the lineage of his movement language and 
resulted in renewed interest in historical dance 
amongst the UW community. 

state: Washington, DC 
school: Howard University 
artist: Ronald K. Brown 
community partners: Watoto Independent 
School, Ujamma Independent School, Dono Dance 
and Percussion Ensemble, Kankouran West African 
Dance Company 

Choreographer Ronald K. Brown created Rise 
Up . . . Catch the Fire for a cast of dance majors at 
Howard University, as well as individual artists from 
Kankouran West African Dance Company and 
Dono Dance and Percussion Ensemble. Inspired by 
the academic environment, Brown approached the 
project as a thesis paper and led the cast through the 
process from hypothesis to research to synthesis of 
the material into a finished work. With movement 
drawn from contemporary, social, and traditional 
dances from Cuba, Senegal, Guinea, Mali, Zaire, 
and the United States, Brown created a cross-cul- 
tural language of technique and choreography to 
address themes of cultural legacy and the mainte- 
nance of tradition. Throughout the process, Brown 
spoke with the cast about these traditional dance 
languages and their significance both as a universal 
form of communication and as a cultural founda- 
tion for people of African descent. 

Over several months, the cast was challenged to 
work with Brown s choreographic phrasing, the 
rhythm of the music, and an awareness of their 
own "human spirit" within the work. During that 
time, two master classes for students at Howard 
University and the general public brought Brown s 
artistry to the wider DC community. In June 2006, 
Rise Up . . . Catch the Fire was performed to sold out 
audiences as part of Dono Percussion and Dance 
Ensemble's concert. Audiences engaged in post- 
performance discussion about the spiritual symbol- 
ism of the work and asked questions about Brown's 
life and career as a professional dancer. The work's 
universal language of rhythm and movement capti- 
vated the diverse DC community. 

state: Wisconsin 

school: University of Wisconsin-Milwaukee 

artist: Ronald K. Brown 

community partners: The Peck School of the Arts 

at the University of Wisconsin-Milwaukee, 

Alverno Presents, Marquette University's 

Department of Performing Arts 

NCCI supported the creation of Truth Don' Die 

by Ronald K. Brown. A week-long residency with 

Brown and his company, Evidence, kicked off the 

University of Wisconsin-Milwaukee's year-long, 

Ronald K. Brown's choreographic work, Rise Up . . . Catch the Fire, per- 
formed at Howard University's Ira Aldridge Theatre. Photo by Ron Caesar. 

citywide arts festival, Art, Faith and Social Justice," 
which encompassed performances, exhibitions, 
screenings, lectures, debates, and a national aca- 
demic conference, as well as community-based ac- 

During his initial visit, Brown /Evidence per- 
formed twice and participated in nine community 
activities that reached children, elders, the local 
dance community spoken word poets, and artists 
involved in social justice work. Brown began devel- 
oping relationships with the local community 
taught an intergenerational dance class, and partic- 
ipated in a roundtable exploring the festival's theme. 
In a second week of residency, Brown created Truth 
Don' Die for nine UWM dance students and five 
dancers from Kho-Thi Dance Company. Cast mem- 
bers not only had the chance to work with a promi- 
nent contemporary artist, but also to build 
connections within the local dance community. 
Brown skillfully blended the dance students' mod- 
ern dance training with the company's work in 
African and Caribbean dance. The work was per- 
formed four times at UWM and twice on Kho-Thi's 
concert, reaching diverse audiences of over 2,400, 
including groups from a local synagogue and 
African American churches in the area. Additional 
outreach included an 'Arts Day" for elders, free 
master classes for high school students and open re- 

In a year-long dialogue, Brown's dance and his 
role in the 'Art, Faith and Social Justice" festival 
raised issues of race, cultural heritage and self-ex- 
pression in a way that could be understood by broad 
public audiences. 


National College Choreography Initiative: 

Artists Funded Over All Three Rounds 

Pedro Aguilar (aka "Cuban Pete") with 

Barbara Craddock, N. Miami Beach, FL 
Jill Bahr, Charleston, SC 
George Balanchine, New York, NY 

(reconstruction by Bart Cook, Fiona 

Fuerstner, and Patricia McBride) 
Robert Battle, New York NY 
Lori Belilove, Isadora Duncan Dance 

Foundation, New York NY 
Alexandra Beller, New York NY 
Charlotte Boye-Christensen, Ririe-Woodbury 

Dance Company, Salt Lake City, UT 
Ellen Bromberg, Salt Lake City, UT 
Ronald K. Brown, Ronald K. 

Brown/ EVIDENCE, Brooklyn, NY 
Trisha Brown, Trisha Brown Company, New 

York, NY 
Danny Buraczeski, JAZZDANCE, 

Minneapolis, MN 
Wally Cardona, Brooklyn, NY 
Ann Carlson, New York NY 
Feme Caulker, Ko-Thi Dance Company, 

Milwaukee, WI 
Merce Curiningham, Cunningham Dance 

Foundation, New York NY 
Sean Curran, Sean Curran Dance Company, 

New York, NY 
Agnes de Mille, New York NY 

(reconstructions by Gemze de Lappe and 

Glory Van Scott) 
David Dorfrnan, David Dorfrnan Dance, New 

York NY 
Heidi Duckler, Los Angeles, CA 
Eiko and Koma, New York NY 
Doug Elkins, Doug Elkins Dance Company, 

New York NY 
Kim Epifano, San Francisco, CA 
Bill Evans, Bill Evans Dance Company, Sandia 

Bob Fosse (reconstruction by Bill Hastings, 

Ridgewood, NJ) 
Joe Goode, Joe Goode Performance Group, 

San Francisco, CA 
David Gordon, Pick Up Performance Co(S.), 

New York, NY 
Martha Graham, New York NY 

(reconstructions by Bonnie Oda Homsey 

and other artists) 
Acia Gray, Austin, TX 

Neil Greenberg, Dance by Neil Greenberg, 

New York NY 
Mark Haim, Seattle, WA 
Deborah Hay, Austin, TX 
Josh Hilberman, Jamaica Plain, MA 
Bonnie Oda Homsey, American Repertory 

Dance Company, Los Angeles, CA (for 

reconstruction of works by Martha 

Graham and Michio Ito) 
Lin Hwai-min, Cloud Gate Dance Theater, 

Fu-Hsing, Taipei, Taiwan 
John Jasperse, Thin Man Dance, Inc., New 

York, NY 
Brian Jeffery XSIGHT!: Performance Group, 

Anchorage, AK 
Margaret Jenkins, Margaret Jenkins Dance 

Companv, San Francisco. CA 
Keith Johnson, Keith Johnson, Dancers, Long 

Beach, CA 
Marianne Kim, Lincolnshire, IL 
Alonzo King, Alonzo King s LINES BALLET, 

San Francisco, CA 
Nicholas Leichter, nicholasleichterdance, 

Brooklyn, NY 
Jose Limon, Limon Foundation, New York 

NY (reconstructions by Sarah Stackhouse, 

Risa Steinberg, Clay Taliaferro, and Ann 

Loretta Livingston, Los Angeles, CA 
Lar Lubovitch, Lar Lubovitch Dance 

Company, New York NY 
Frankie Manning, Corona, NY 
Susan Marshall, Susan Marshall & Company, 

Putnam Valley, NY 
Gesel Mason, Mason /Rhynes Productions, 

Takoma Park, MD 
Gabriel Masson, San Diego, CA 
Dianne Mclntyre, Cleveland, OH (for 

reconstruction of work by Helen Tamiris) 
Carol Mendelsohn, Roy Hart Theatre, 

Anduze, France 
Bebe Miller, Bebe Miller Company, New York 

Celeste Miller, Liz Lerman Dance Exchange. 

Takoma Park, MD 
Meredith Monk, New York NY 
Mark Morris, Mark Morris Dance Group, 

Brooklyn, NY 

Nita Little Nelson, Nita Little Nelson Dance 

Theater, Santa Cruz, CA 
Alwin Nikolais and Murray Louis, 

Nikolais / Louis, New York NY (for works 

reconstructed by Alberto del Saz and 

Murray Louis) 
Tere O'Connor, Tere O'Connor Dance, New 

York, NY 
David Parsons, Parsons Dance Company, 

New York NY 
Sara Pearson and Patrik Widrig, 

Pearson / Widrig and Company, New York 

Dwight Rhoden, COMPLEXIONS, New 

York NY 
Pascal Rioult, Pascal Rioult Dance Theatre, 

New York NY 
Shirley Ririe, Ririe-Woodbury Dance 

Company, Salt Lake City, UT 
Wendy Rogers, Riverside, CA 
David Rousseve, David Rousseve / REALITY, 

Pasadena, CA 
Sue Schroeder, Core Performance Company, 

Decatur, GA 
Vicki Schick New York NY 
Billy Siegenfeld, Jump Rhythm Jazz Project, 

Evanston, IL 
Deborah Slater, Deborah Slater Dance 

Theater, San Francisco, CA 
Mark Taylor, Dance Alloy, Pittsburgh, PA 
Paul Taylor, Paul Taylor Dance Company, 

New York NY 
Michael Thomas, Brooklyn, NY 
Antony Tudor /The Antony Tudor Estate. 

St. Louis, MO (reconstruction by Muriel 

Doug Varone, Doug Varone & Dancers, New 

York, NY 
Martha Wittman, Liz Lerman Dance 

Exchange, Takoma Park MD 
Marlies Yearby, Movin' Spirits Dance Theater, 

Inc., Brooklyn, NY 
Jawole Willa Jo Zollar, Urban Bush Women, 

New York, NY (for original choreography 

and reconstruction of work by Pearl 

Stanley Zompakos, Charleston, SC 
Sherry Zunker, Chicago, IL 

Colleges Funded Over All Three Rounds 

AK University of Alaska Anchorage 

AL Huntingdon College 

AR Henderson State University 

AZ Arizona State University 

AZ Scottsdale College 

CA California State University, Hayward 

CA UC Santa Barbara 


CA University of California, Irvine 

CA University of California, Riverside 

CO University of Colorado at Boulder 

CT Connecticut College 

CT Trinity College 

DC Howard University 

DE University of Delaware 

FL New World School of The Arts 

FL Florida State University 

GA Brenau University 

GA University of Georgia 

HI University of Hawaii 

HI University of Hawaii at Manoa 

IA University of Iowa 

ID University of Idaho 

IL Columbia College Chicago 

IL Illinois Wesleyan University 

IL University of Illinois at Urbana- 


IN Ball State University 

KS University of Kansas 

KS Wichita State University 

KY Western Kentucky University 

LA Loyola University New Orleans 

LA Tulane University 

MA Five Colleges, Incorporated 

MA University of Massachusetts Amherst 

MD Towson University 

MD University of Maryland 

ME Bates College 

MI University of Michigan 

MI Wayne State University 

MI Western Michigan University 

MN University of Minnesota-Twin Cities 

MO Southwest Missouri State University 

MO Washington University in St. Louis 

MS University of Mississippi 

MS University of Southern Mississippi 

MT University of Montana 

NC Duke University 


Dickinson State University 



University of North Dakota 



University of Nebraska-Lincoln 



Keene State College 



Montclair State University 



Rutgers University 



Eastern New Mexico University 



University of Nevada, Las Vegas 



Purchase College, State University 


of New York 



Sarah Lawrence College 



Vassar College 



The Ohio State University 



Ohio University 



University of Akron 



University of Cincinnati 



University of Central Oklahoma 



Lane Community College 



Reed College 



Franklin & Marshall College 



Penn State Altoona 

University of the Arts 
Rhode Island College 
Columbia College 

Washington Pavilion of Arts & Science 
University of Memphis 
Southern Methodist University 
University of Houston 
University of Texas at Austin 
University of Texas-Pan American 
Southern Utah University 
University of Utah 
James Madison University 
Virginia Commonwealth University 
Bennington College 
Cornish College of the Arts 
University of Washington 
University of Wisconsin-Milwaukee 
University of Wisconsin-Stevens Point 
West Virginia Wesleyan College 
University of Wyoming 

How Long, 


by Helen 



by Western 




Photo by 

John Lacko. 

Alwin Nikolais's Tensile Involvement, performed by Mayuko Ayabe, Jennifer Sherburn, Tiana 
DeBell, Carolyn Wilt, Allison Lee, Mikaela Brady, Sarah Hartley and Marissa Yogi of the Uni- 
versity of Hawaii at Manoa. Photo by Karis Lo. 

Five College Dance Department performance 
of Trisha Brown's Set and Reset/Reset. Dancers: 
Ashley Hensel-Browning and Loren Robertson. 
Photo byjohn Crips/n. 



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