“The best part of the summer was the teachers. They demonstrated such a mastery of the material, demanded all of our presence and awareness, and pushed us (lovingly) to demand the very best from ourselves. This kind of teaching is uncommon, it’s the kind of teaching that the American Dance Festival is famous for, and it’s the kind that I crave all school year.” -2011 Student
Dafi Altabeb is the recipient of the 2012, 2013, and 2016 Excellence Award for young choreographers from the Israeli Ministry of Culture and the 2014 Rozenblum Award for Excellence from the Municipality of Tel-Aviv. Altabeb graduated from the Kibutzim College of Education with a B.Ed. and Teaching Diploma specializing in composition and EW Movement Notation. Altabeb started her career as a choreographer in 2005, creating works for Intimadance and Gvanim festivals and later participated in Curtain Up and International Exposure. Altabeb’s pieces are being performed in major venues in Israel and abroad: ADF (USA), Internationale Tanzmesse Dusseldorf (Germany), Les Brigittines Centre d’Art Contemporain (Belgium), Chang Mu International Dance Festival (S. Korea), Ballet Preljocaj–Pavillion Noir (France), Guang-Gue Modern Dance Festival (China), and Viva Dance Festival (Brazil), to name a few. In 2012 she was commissioned by the Napoli Theater Festival (Italy) to create a new piece for 6 dancers that premiered in an archaeology site. In 2014 Altabeb was commissioned to create the choreography for Stranger, a new Israeli film directed by Tova Asher. Altabeb is the artistic director of Dafi Dance Group and works collaboratively with Nini Moshe, her life partner. Dafi Dance Group is supported by The Dance Division of the Israeli Ministry of Culture, The Ministry of Foreign Affairs, Tel Aviv Municipality, and The Rabinovich Foundation. Altabeb creates for dance departments in Israeli high schools and gives composition and repertoire workshops to dance students and professional dancers in Israel and abroad. She offers a special workshop for children, providing them the opportunity to experience the inherent connection between dance and music.
Charles O. Anderson, a native of Richmond, VA, is artistic director of Charles O. Anderson Dance Projects (formerly known as dance theatre X). He is choreographer, performer, and head of the dance program at the University of Texas at Austin. He received his MFA in Dance from Temple University in 2002. Prior to moving to Austin in 2011, Anderson was based in Philadelphia, PA, where he gained national recognition for his choreographic work and funding support from such foundations and organizations as The National Performance Network, The Pew Foundation for Arts and Heritage, The Independence Foundation, The Puffin Foundation, and The Philadelphia Cultural Fund. As a specialist in contemporary African Diasporic dance, Anderson’s choreography has been presented throughout the US as well as internationally. Among his achievements in Afro-contemporary choreography and dance theater, Anderson was selected as one of “The 25 Artists to Watch” by Dance Magazine and is a Pew Fellowship in the Arts recipient. His latest work as an Austin-based choreographer was presented at the Austin Fusebox Festival and at New York Live Arts as part of the Live Ideas, James Baldwin, This Time! Festival. Anderson is deeply committed to arts and education as means for enacting social justice. His choreographic work with undergraduate students has twice been nationally showcased at the Kennedy Center through the American College Dance Festival Association, and he has also been twice recognized for outstanding achievement in experimental dance theater by the Kennedy Center American College Theatre Festival. Being an artist-educator and an advocate for diversity in the field of dance has made Anderson a highly sought after speaker and adjudicator for the American College Dance Association. His newly found project-based company, Charles O. Anderson Dance Projects, is comprised entirely of former students from the last five years with whom he has taught intensively both in the studio and the lecture hall. He approaches choreography as metaphor for kinetic storytelling. The goal of kinetic storytelling is testimony, the declaration of truth integral to the African-American oral and literary tradition, going back to the slave narrative and folk practices. Anderson also serves on the faculty of American Dance Festival’s summer dance intensive program and serves as president of the Council of Dance Administrators (CODA). www.charlesoanderson.me
Modern Technique and Composition (Kinetic Storytelling)
Photo credit: Lawrence Peart
Kira Blazek Ziaii
Kira Blazek Ziaii is a dancer, choreographer, and teaching artist originally from Houston, TX. She has performed with Hubbard Street 2, Douglas Dunn & Dancers, Christopher Williams, anoukvandijkdc, Pilobolus Creative Services, Phantom Limb Company, and Shen Wei Dance Arts, among others. Her choreography has been presented in New York, Sarasota, Tulsa, Austin, and Los Angeles, as well as featured in music videos for Beach House and De Lux. Kira holds a BFA from Oklahoma University and an MFA from California Institute of the Arts. She has been a certified Countertechnique teacher since 2012 and is on faculty at the University of North Carolina School of the Arts. Other teaching engagements have included Gibney Dance Center, Princeton University, California State University Long Beach, Hope Stone, Austin TBXS, Oklahoma University, and company classes for BODYTRAFFIC and Diavolo. kirablazek.com
Countertechnique and Improvisation for Performance
Photo credit: Amanda Vincelli
SHANI COLLINS ACHILLE
Shani Collins Achille / SNIC is crowned “Contemporary Revolutionary” by Thomas Lax in The Studio Museum Harlem Summer Magazine and featured in Dance Magazine as “Warrior Woman” by Eva Yaa Assentawa who says: “It’s a sure bet that when she takes the stage, she will deliver not only the movement but the core, the bedrock, the very meaning and spirit of a dance.” A native of Greensboro, North Carolina, Shani studied as a young dancer at The Greensboro Ballet, The American Dance Festival (ADF), The Alvin Ailey American Dance Theater, Urban Bush Women’s Summer Institute, and received a high school diploma from The North Carolina School of the Arts. Her professional growth developed at Hollins University (where she received a B.A. in Dance) and at the American Dance Festival where she first met and studied with some of her most influential teachers. A recipient of the Martha Myers Choreography Award and a “Bessie” New York Dance and Performance Award, Shani is a world-renowned artist for her performances with Urban Bush Women and Ronald K. Brown/ Evidence. She has performed as a guest artist with Bill T. Jones/ Arnie Zane Dance Company and was granted a teaching fellowship at Duke University/ Hollins University/ ADF M.F.A. program, where she earned her M.F.A. and has visited its faculty since 2006. Her choreographic and performance work span from NYC Off Broadway Production of The Vagina Monologues at New World Stages to choreographer in the Lincoln Center Director’s Lab. Her projects through, SNIC/ Eternalworks DANCE, is dedicated to fostering healing em(power)ment & intercultural relationships. Her work presents itself through performance, research/ creative scholarship, community activism, youth empowerment, and dance workshops at dance festivals /venues throughout the East Coast, U.S., and abroad. Shani is currently Associate Professor and Chair in the Department of Dance at Connecticut College.
Modern Technique and Body as Archive Composition Repertory
Photo Credit: Rebekah Chappell
Robbie Cook is a Brooklyn-based dance artist working as an Assistant Professor of Dance at Hofstra University in Hempstead, NY. During the summer, he teaches at both the American Dance Festival and Bates Dance Festival. Robbie has taught internationally through Japan Contemporary Dance Network as a member of the Liz Lerman Dance Exchange in Sapporo, Japan, The i-Dance Festival in Hong Kong, and Chadwick International School in Incheon, South Korea and has been invited two times to Universidad de Las Américas in Puebla, México to teach and set choreography on the students. While living in Los Angeles, he played percussion with String Theory Productions at the 2014 Emmy’s Governor’s Ball, led a contact improvisation workshop for the BODYTRAFFIC Company, and was on the dance faculty at Loyola Marymount University from 2011 to 2015. Robbie has also been on the dance faculty of Shenandoah Conservatory, Idyllwild Arts Academy, CSSSA @ Cal Arts, and TCU. As a dancer he has performed for Michel Kouakou, Rosie Herrera, Ishmael Houston-Jones, Douglas Dunn, Liz Lerman, Edwaard Liang, Margaret Jenkins, Liz Gerring, Keith Thompson, Stacy Spence, Laurel Jenkins, Jan Erkert, Third Rail Projects, Lucky Plush Productions, Dallas Opera’s Production of Boris Godunov, and Deborah Hay (SPCP ’01 & ’07) and performed Yvonne Rainer’s Trio A as a duet with Hope Mohr. Robbie’s choreography has been performed nationally and internationally in Chicago, New York City, San Francisco, Los Angeles, Alaska, and Tokyo, Japan, and on students at Pepperdine, UDLAP, Idyllwild, ADF, and Shenandoah Conservatory. He earned an MFA in Dance from Bennington College and a BFA from School of the Art Institute of Chicago. Robbie’s classes draw from his study of Functional Anatomy with Irene Dowd and his continual investigation of the eight limbs of Yoga. Robbie Cook Dance.
WFSS Yoga and Floorwork
Photo credit: Ben Viatori
LEAH COX (Dean)
Leah Cox is an educator, performer, and choreographer. In addition to being Dean of the American Dance Festival, Cox holds the position of Term Associate Professor at Bard College. Leah is an avid educator, teaching classes for all ages and levels of ability nationwide. She has been on faculty at the American Dance Festival, Peridance, and Dance New Amsterdam and is a master teacher and adjudicator for YoungArts. Cox worked with the Bill T. Jones/Arnie Zane Company in various capacities from 2001 to 2014. She began as a company dancer, briefly occupied the role of rehearsal assistant, became the company’s first education director, launching its education programs, and regularly reconstructed the company’s works on students and professional dancers. When the company merged with Dance Theater Workshop to form New York Live Arts, Cox continued in her education capacity, developing Live Arts’ education programs. Most notably, she oversaw the six-year partnership between Live Arts and Bard College. Her choreography has been presented in New York City at the 92nd Street Y, Dixon Place, the DUMBO Dance Festival, and the CoolNY Festival, in addition to other locations beyond NYC. Cox is inspired by the way that her teaching, performing, and creative practices inform one another and provide a richly layered perspective on dance as it functions in contemporary culture.
Photo credit: Grant Halverson.
Joy Davis is a dance artist, educator, and scholar. Her initiative joyproject produces collaborative and location-based dance performance since beginning in 2006. She was a Chicago Dancemakers Forum(CDF) Greenhouse Artist, a Choreographic Resident at the Workspace for Choreographers in Virginia, and has premiered work through various presenters in Boston, Chicago, Nashville, Seattle, Philadelphia, and San Diego. Joy has the honor of dancing in works by Erica Mott, Chris Aiken, Kathleen Hermesdorf, Jen Polins, Barbie Diewald, and Shaina Cantino and collaborates with Mountain Empire Dance Collective, School for Contemporary Dance and Thought, and Alexander Davis. Joy began studying Countertechnique with founder Anouk van Dijk in 2005 and completed CTTT teacher’s certifications in 2012 and 2016. She teaches Countertechnique workshops at Gibney Dance (NYC), Moving Target (Boston), BodyVox (Portland), Fact/SF (CA), New Dialect (TN), Mocean Dance (Halifax), and the Seattle Festival of Dance Improvisation, among others. She was honored to join the faculty at the American Dance Festival and the second annual Lion’s Jaw Festival in Boston in 2017. Joy received an MFA in Choreography and Performance from Smith College under the mentorship of Angie Hauser and has since taught on faculty at Smith College, Wesleyan University, and Harvard University. Joy is an Associate Professor at the Boston Conservatory at Berklee.
Countertechnique and Improvisation for Performance
Photo credit: Stephanie Mitchell
E. Moncell “ill kozby” Durden
Moncell is the new assistant professor of practice in Hip-Hop for the Glorya Kaufman School of Dance at the University of Southern California. Before USC, Moncell taught at the Yale School of Drama, Wesleyan University, and Bennington College. Moncell specializes in pedagogical practices that provide cultural and historical context in AfroDiasporic social dance formations. He began his professional career opening up for visiting recording artists in his hometown of Harrisburg, PA. In 1992 Moncell befriended and began dancing with Hip-Hop pioneer and commercial choreographer Emilio Austin Jr., who played a key role in Moncell’s comprehension of NYC “street” dance culture. In 1998 Moncell was invited to become a member of Philadelphia Hip-Hop theater company Rennie Harris Puremovement, which awarded him international travel and exposure to concert dance. Moncell held an appointment for 7 years at Drexel University until 2010, when he was accepted into an MA program to study Anthropology of Dance at Roehampton University in the UK. Moncell has published articles in Jazz Dance: A History of the Roots and Branches and the Encyclopedia of African Cultural Heritage in North America, is currently writing an article for the Oxford University Press, and is working on his own book, Hip-Hop Dance in Context, as well as developing a documentary on the genealogy of Hip-Hop dance.
Hip Hop and Social Dance
Photo Credit: Kate Singh (Aevum Images)
Ramón began his formal dance training on scholarship at the School for the Pennsylvania Ballet and later attended the School of American Ballet. Four years after joining the Pennsylvania Ballet Company, as its first African-American male dancer, he moved to Europe for 12 years as a principal ballet dancer. He spent seven years with the legendary, internationally renowned Maurice Béjart, performing in major cities in over 60 countries on every continent. He later moved to Germany to dance with William Forsythe, director of the Frankfurt Ballet, and then to Madrid to work with choreographer Nacho Duato and the Compañía Nacional de Danza de España.
He returned to North America to dance with Montreal’s Les Grands Ballets Canadiens, where repertoire encompassed pieces by all the choreographers for whom he’d danced in Europe, as well as the works of George Balanchine. He left Canada to return to his first love for dance, musical theater, and was featured in several Broadway shows, including Matthew Bourne’s Swan Lake, Cats, The Lion King, The Green Bird, The Boy From Oz, and Hot Feet. He also appeared in Broadway national tours with Chita Rivera in The Dancer’s Life and the original production of A Chorus Line in the role of Richie, as well as in commercials, film, and television. Ramon received his BA in French from The City College of New York, CUNY, and his MFA in Dance from The University of Iowa.
Photo Credit: Robert Kim
Saar was born on a farm in Israel to an artistic family and danced until the age of 18. At that age, he joined the Israeli special forces for 6 years. He left the Army and started to dance again at the age of 24. In 1998 he created his first work as an independent choreographer for a dance festival at the Suzanne Dellal Centre in Tel Aviv. In 2001, Saar established LeeSaar The Company with Lee Sher, relocating to NYC in 2004. The company has been commissioned to create full evening dance programs by theaters and festivals in New York City, Portland, Austin, Seattle, Vancouver, Montclair, ADF, Jacob’s Pillow, the Joyce Theater, and Baryshnikov Center, among other places. Saar is a Gaga teacher and the Manager of Gaga USA and has been on faculty at ADF, The Pillow, The Juilliard School, Purchase University, Mark Morris Center, and Gibney dance. Saar received an American green card for his art making. He is the recipient of the Six Point Fellowship in choreography, a Guggenheim Fellowship in choreography, and the New York Foundation for the Arts Fellowship.
Gaga and Creative Process
Gerri Houlihan began her professional career at the Juilliard School, studying with Antony Tudor, Alfredo Corvino, and members of the Martha Graham and Jose Limon dance companies. She performed with the Metropolitan Opera Ballet Company and the Paul Sanasardo Dance Company and spent five years as a soloist with the Lar Lubovitch Dance Company touring extensively throughout the United States and Europe. Ms. Houlihan has taught or choreographed for such institutions as NY’s High School of Performing Arts, the University of Wisconsin-Milwaukee, the Bates Dance Festival, the Boston Ballet, Meredith College, the University of South Florida, the North Carolina School of the Arts, the University of North Carolina–Greensboro, and Virginia Commonwealth University. From 1984 to 1987 Houlihan directed her own school and company, The Boston Dance Project. She was one of five finalists in the Boston Ballet’s International Choreography Competition. From 1988 to 1999, Ms. Houlihan was on the faculty of the New World School of the Arts in Miami, FL. During that time, she was also the artistic director of Houlihan and Dancers. The recipient of two Florida Individual Artist Fellowships in Dance/Choreography in 1991-92 and 1996-97, Houlihan and Dancers was on the touring roster for the state of Florida. Ms. Houlihan is on the Advisory Board for the American College Dance Association and the American Dance Festival. She has been on the faculty of the American Dance Festival from 1981 to 1983 and from 1987 to the present. As an international representative for ADF she has participated in seventeen international linkages, teaching in Korea, China, Brazil, Paraguay, Chile, Estonia, Poland, the Philippines, Moscow, and Mongolia. She is the 2005 recipient of ADF’s Balasaraswati, Joy Anne Dewey Beinecke Endowed Chair for Distinguished Teaching. She was Co-Dean and then Dean of the ADF School from 2010 to 2015. Completing her undergraduate work at Virginia Commonwealth University, she went on to get her MFA from the Hollins/ADF MFA program. She joined the dance faculty at Florida State University in 2007 and received the Pearl S. Tyner Distinguished Professor in Teaching award from FSU in 2012. She recently retired from FSU and currently teaches year-round at the American Dance Festival studios and as a guest artist at Elon University.
Limon Influenced/Classic Modern
Photo credit: Sara D. Davis/ADF
Yangkeun Kim, choreographer/teacher/dancer/writer, is a professor at Soongeui Women`s College, Artistic Director of Garion Dance Company, and vice president of The Modern Dance Promotion of Korea. She has performed her work with Garion Dance Company, Korea Contemporary Dance Company, and Wansoon Yook`s Dance Company, touring Europe, US, and Asia. She is also the Director of JD-KSDF (JD-Korea Summer Dance Festival). Ms. Kim has organized KDF (KADF) since 1990, Seoul International Choreographer’s Festival since 1995, and workshops and JD-KSDF since 2016. She founded Y-Conditioning Association and somatic research along with other choreographers and dance teachers. She has taught Healing Technique at ADF since 2004.
Nia Love is an artist, choreographer, activist, mother, warrior, and educator continuing to expand conversations of intersectionality through dance. She was invited to apprentice with the world renowned Ballet Nacíonal De Cubá, Havana (1978). She is a graduate of Howard University (BFA) and Florida State University (MFA). Awarded Fulbright Fellowships (2001-2003), she continues to work nationally and internationally. Nia worked and danced with Min Tanaka, the celebrated Japanese Butoh master and has had her work presented at Judson Church, Harlem Stage, Bates Dance Festival, PS122, Projcet Artaud, and Tanzanian–Time 2Dance Festival, to name a few. Love was awarded the Alvin Ailey NDCL grant, the Suitcase Fund, and CUNY Choreographic Initiative and most recently the Movement Research Artist-in-Residence 2016-17.
Modern Root[ed] Technique and Site Specific Composition
Photo credit: Grant Halverson
Momar Ndiaye is an internationally recognized dance artist from Senegal who has taught and toured his work both in the States and abroad. He received his MFA in Dance from the University of Illinois Urbana-Champaign, where he taught contemporary and traditional African dance forms from Senegal, Guinea, Mali, Congo, etc., as well as video dance documentation. Ndiaye has worked with many well-known choreographers from Africa, Europe, Asia, and America through the program Aex. Corps initiated by the Association Premier Temp in Senegal. Since 2010, Momar has danced for internationally acclaimed choreographer Andreya Ouamba in the Dakar-based company Premier Temps and was selected as a Dance Web participant at Impuls Tanz Festival in Vienna, Austria, in 2012. He has been developing work with his own company, Cadanses, since 2004 and has created and toured several staged contemporary dance works. In 2015, Ndiaye’s evening length piece Toxu was a finalist laureate in the Danse L’Afrique Danse (Africa and Caribbean in Creation) Festival in St. Louis and Senegal and was toured to Europe as part of the Belluard Festival in Switzerland. In 2016, Momar was selected to participate in two intercultural projects, Shifting Realities, supported by Tanz Haus and Hellerau in Germany, and 1space, a collaboration between KVS Brussel, Exodus in Ljubljana, Slovenia, and Alkantara Lisbon, Portugal. www.lacadanses.com
Afro-fusion: From bare-feet to sneaker and Improvisation: Exploring Tight Spaces
Photo credit: Katja Illner
Jillian Peña is a dance and video artist whose work seeks to make visible the confusion and desire of the self in relationship to itself and others. Her work is in dialogue with psychoanalysis, queer theory, pop media, and spirituality. Jillian was nominated for a 2016 “Bessie” award for Emerging Choreographer in New York and was awarded the Prix Jardin d’Europe, the European Prize for Outstanding Emerging Choreography, 2014, at ImpulsTanz Dance Festival in Vienna. She has been presented internationally, including at Danspace Project, The Chocolate Factory, Dance Theater Workshop, and The Kitchen in New York and at American Dance Institute, ImPulsTanz Vienna, Sophiensaele Berlin, Modern Art Oxford, and the International Festival of Contemporary Art Slovenia. Jillian has created work for American Ballet Theater and the University of the Arts. She has been in residence at LMCC, PS122, Brooklyn Arts Exchange, Movement Research, the National Dance Center of Bucharest, and Archauz Denmark. She was a Jack Kent Cooke Graduate Scholar during which she was awarded an MFA from the Art Institute of Chicago, where she was a fellowship recipient, and a Practice-based MPhil at Goldsmiths University.
Video Art + Dance and Footprints
Photo credit: Chris Sellers
Instructor, choreographer, and dancer Sherone Price is currently Associate Professor of Dance at Appalachian State University. He has been a Lecturer at UNC-Greensboro, Visiting Instructor of Dance at Florida International University in Miami, and Artist in Residence/Henry Bascom Professor of Dance at University of Wisconsin-Madison. He has had selected choreography performed by Moving in the Spirit Touring Company, Atlanta, GA, at the White House hosted by President George Bush for a reception for the President of Liberia, Ellen Johnson Sirleaf. He has a BFA from University of North Carolina-Greensboro and an MFA from Hollins University in Roanoke VA. He has been a Principal Dancer with Chuck Davis’ African American Dance Ensemble and a guest performer with Gamble Dance Theater and Jan Van Dyke Dance Group. He performed Talley Beatty’s Mourner’s Bench at the 1995 Scripps/ADF Award ceremony.
West African Technique and WFSS Repertory
Photo credit: Grant Havlerson/ADF
Sara Procopio is a Brooklyn-based dance artist, educator, and arts manager. She is a founding company member and former Artistic Associate of Shen Wei Dance Arts. From 2001 to 2012 her work with Shen Wei included originating roles in 10 works and performing and teaching at renowned venues and festivals throughout Europe, Asia, Australia, and the United States. Sara has taught internationally at the Paolo Grassi School of Milan and the Korea International Dance Festival in Seoul, as well as at colleges, universities, youth programs, and festivals across the US including The University of the Arts, The University of North Carolina School for the Arts, Connecticut College, Rutgers University, Middlebury College, Hollins University, Marymount Manhattan College, Florida School of the Arts, Greenville Fine Arts Center, Brooklyn Arts Exchange (BAX), and Jacob’s Pillow Dance Festival. From 2012 to 2013, she was an Arts Management Fellow through a program of the DeVos Institute of Arts Management at the Kennedy Center in conjunction with the Brooklyn Academy of Music’s Professional Development Program. Sara currently performs in the work of choreographer and media artist Jonah Bokaer, serves as Finance and Development Manager for Big Dance Theater, and teaches at The University of the Arts where she also serves as Assistant Director in the School of Dance. Sara earned both her undergraduate and master’s degrees from Hollins University. ADF faculty since ’08.
Shen Wei’s Natural Body Development Technique and Shen Wei Dance Arts Repertory
Photo credit: Sara D. Davis
RAY ELIOT SCHWARTZ
Ray Eliot Schwartz attended high school at the North Carolina School of the Arts and received his BFA from Virginia Commonwealth University and his MFA from University of Texas-Austin. He is the Academic Coordinator of the Dance Program of the University of the Americas-Puebla in México, founder of Performática: Foro Internacional de Danza Contemporánea y Artes del Movimiento, a research associate at the Center for Mind Body Movement, and a consultant and teaching artist for ArcDanz International Dance Workshop. Ray co-founded four contemporary dance projects in the southern US: Sheep Army, The Zen Monkey Project, Steve’s House Dance Collective, and THEM. He has been fortunate to share his love of movement practice with diverse populations in the US, Turkey, South East Asia, South America, and Mexico and has served on the faculty of the American Dance Festival, Bates Dance Festival, MELT, the ZMP Summer Dance Intensive, Verano Chilango, Camp_iN, the Colorado College Summer Dance Festival, SFADI, and the Mexican television series showcasing national and international talent in the Mexican contemporary dance scene, Opera Prima@elcolectivo, among others. He is a published scholar who writes in Spanish and English about the interface of somatic movement education and contemporary dance practice. His somatic studies include certifications in Body-Mind Centering® and the Feldenkrais Method™. Additional studies include zero-balancing, gross anatomy (dissection), cranio-sacral therapy, and traditional Thai massage.
Somatics and Dancing and Contact Improvisation
Photo Credit: Gabriel Morales
Otto Vazquez “AQUABOOGY”
Prolific street dancer, choreographer, published author and poet, filmmaker, and grand educator, Otto Vazquez has taught at over 100 universities both in the United States and abroad. He is one of the only talents that is still requested to judge and compete against (or “battle”) dancers that are considered top tier in the popping world and is considered by many as one of the top wavers of today. Some of Aquaboogy’s two decades of credits include Kanye West, Pitbull, Ne-Yo, i-Luminate from America’s Got Talent, Dr. Pepper’s “One in a Billion” national commercial (also featuring Misty Copeland), and Turk-Cell’s international commercial (also featuring Hedo Turkoglu from the Orlando Magic). He’s toured the world with the off-Broadway show, Break, The Urban Funk Spectacular. He’s worked as a professional robot/mime and entertainer for the Clevelander Hotel in South Beach, Hard Rock Casino, Cirque Du Soliel, HBO, and the Miami International Airport. He’s performed for Donald Trump’s High Rollers Club (Trump Towers, Atlantic City). He’s performed alongside music legends like Grand Master Flash, Cyndi Lauper, Tony Touch, and Nice & Smooth in an event hosted by Fab 5 Freddy. He worked with underground artists like Lyric’s Born, RJD2, Metal Headz, Aphrodite, Diverse, TC Islam, and DJ Monk (from Rabbit in the Moon), performing at legendary concerts/raves like Zen Fest, Bob Marley Festival, Future Sounds of Breaks, and many more. He’s been on VH1, MTV, MTV Asia, MTV Australia, and the Latin Billboard Awards. He choreographed the red carpet intro to the Premios Juventud International Award Show in 2008 with Kilo (aka Down) and his hit “Lean like a Cholo” and worked two contracts with Carnival Cruises onboard the Carnival Inspiration. He’s been a featured instructor for Rennie Harris’s Iladelph Legends. He was the only US soloist in the Sadler Well’s Breakin’ Convention 2015 US tour. He showcased a piece featuring his dance company Nu Paradigm in the 2016 US tour. Aquaboogy is most recently starring in an independent musical film set in the 1940s called Enter the Zoot Suit Riot, set to hit the world in 2018. He’s had major sponsors like Diesel NYC, Echo Unlimited, Sprite, Bacardi, And1, and Nike.
Hio Hop and Social Dance
Photo credit: J Wharton
Christian von howard
Christian von Howard is the Artistic Director of the VON HOWARD PROJECT, a contemporary dance company based out of New York City. Born in Honolulu, HI, and nurtured in the big ole state of Texas, Christian is an international performer, teacher, and choreographer. His professional career began as a teenager at Ballet Concerto, under the Artistic Direction of Margo Dean. He would later become a founding member and Assistant Director of JAADE Dance Theatre (a sister company to Fort Worth’s Jubilee Theatre) under the direction Keisha Breaker-Haliburton. In Texas, Christian also worked with Contemporary Dance/Fort Worth, Darryl B. Sneed (former Assistant Director of Dallas Black Dance Theater), Dancers Unlimited, Mary Kay Industrials, Dian Clough West, NOVA Dancing Company, and many others. Overseas he graced the stage with the Trier Ballet (Germany) and Let’s Dance/Teatro de Reggio (Italy). In 1997, Christian cofounded 1*4*8 The Collective, a collaborative dance and theater company of seven artists creating work in the NYC area. From 2000 to 2003 he served as the Artist in Residence at Columbia College (SC) and the Associate Director of The Power Company, a South Carolina contemporary dance company under the artistic direction of Martha Brim. As a concert performer, Christian has worked with such artists as Doug Varone, Fernando Bujones, Douglas Becker, Mark Dendy, and Randy James and danced with the Fred Benjamin Dance Company, Daniel Gwirtzman Dance Company, and the Alpha Omega Theatrical Dance Company, to name a few. In 2006, Christian was awarded a Choreography Fellowship from the New Jersey State Council of the Arts. In 2010, his choreographic work was presented at the National Conference of the American College Dance Association Festival at the Kennedy Center in Washington, DC. His choreography has been produced in various venues across the globe including Germany, Japan, Bulgaria, Colombia, Chile, and South Korea and in the states at Dance Theater Workshop (now New York Live Arts), Joyce SoHo, Dixon Place, DanceNow/NYC Festival, d.u.m.b.o. arts festival, the Ailey School, and the Spoleto Festival (SC). He has also set work on various colleges and universities including the University of Illinois Urbana-Champaign, Columbia College (SC), Jacksonville University, Texas Christian University, Winthrop University, and various other schools of dance across the country. Christian has also been a member of the dance faculties of the Texas Christian University, Morris County Academy of Visual & Performing Arts, Mason Gross School of the Arts-Rutgers University, Columbia College (SC), and the Interlochen Arts Academy. Christian is a 2013/2014 recipient of the Distinguished Achievement in Teaching Award from Virginia Commonwealth University’s School of the Arts, where he was part of the teaching faculty in the Department of Dance & Choreography from 2008 to 2014. He is an Associate Professor in the Department of Theatre & Dance at Montclair State University and concurrently teaches at the Alvin Ailey School in NYC where he has been on faculty since 1998. Christian serves as the Northeast Regional Director of the American College Dance Association. He holds advanced degrees in Performance and Choreography from the School of Classical and Contemporary Dance at Texas Christian University and from Tisch School of the Arts, New York University.
Contemporary Dance Technique and Exploring Moving Pathways using Contemporary Partnering – Repertory Workshop
Bio coming soon!
Clarice Young is an artist, performer, choreographer, and teacher who researches the intersection of African diasporic dance and contemporary modern dance. Melding elements of Afro-Caribbean, modern. and West African styles, she uses fundamentals from each to uncover ways to stabilize and release the body. Young is an original member of Camille A. Brown & Dancers where she served as an assistant to the director. She also performed with Ronald K. Brown’s Evidence, A Dance Company, as an apprentice from 2003 to 2006 and as a member from 2007 to 2017. She was appointed rehearsal director in 2011 and filled that role until 2017. Her roles in both companies created opportunities to expand her pedagogical skills as well as find her own path as a creator. Her choreographic work has been presented at her alma maters, the University of Louisiana at Lafayette and Hollins University, where she received her BFA and MFA in Dance respectively. Her most recent work is a collaboration with artist Francine E. Ott titled Outta the Box, showcased in 2017 at Dixon Place in New York. Presently, Young is creating a full-length piece celebrating women of color and is also writing about the language of the movement style of Ronald K. Brown. She is an Assistant Professor at The University of North Carolina at Greensboro.
Modern Technique: Embodied Afro-Modern and Ronald K. Brown Repertory
Photo credit: Sarnia Kurimbukus
Abby Zbikowski is a choreographer, Assistant Professor of Dance at the University of Illinois, Urbana-Champaign, and on faculty at the American Dance Festival. She is the recipient of the 2017 juried “Bessie” award for choreography and is a 2017-2019 Choreographer-in-Residence at the Lewis Center of the Arts at Princeton University. Her company, Abby Z and the New Utility, has been presented by the Gibney Dance Center, Movement Research at Danspace Project, the Abrons Arts Center, and more. Abby has studied intensively at Germaine Acogny’s L’École de Sables in Senegal and holds a BFA in dance from Temple University and an MFA in dance from Ohio State University, where she worked closely with mentors Bebe Miller and Vickie Blaine. As a performer, Abby has worked with Charles O. Anderson/Dance theater X, Vincent Mantsoe, and the Baker & Tarpaga Dance Project. She has been on faculty at The Ohio State University and has taught technique and creative process abroad at the Academy of Culture in Riga, Latvia as part of GPS (Global Practice Sharing) sponsored by Movement Research. www.abbyznewutility.org
Contemporary dance practice: the new utility and Footprints
Photo credit: Effy Falck