Choreographer, performer, educator Kimberly Bartosik creates viscerally provocative, ferociously intimate choreographic projects that are built upon the development of a virtuosic movement language, rigorous conceptual explorations, and the creation of highly theatricalized environments. Her work, which is deeply informed by literature and cinema, dramatically illuminates the ephemeral nature of performance. Kimberly is a 2019 Guggenheim Fellow in Choreography. She is a 2019-20 Center for Ballet and the Arts at NYU Virginia B. Toulmin Women Leaders in Dance Fellow where she will create The Encounter , a project for 12-15 year old dancers aspiring toward careers in ballet. Kimberly was a member of the Merce Cunningham Dance Company for 9 years and received a Bessie Award for Exceptional Artistry in his work. She received her BFA in Dance from North Carolina School of the Arts, and MA in 20th Century Art and Art Criticism from The Graduate Faculty of Political and Social Research of the New School University. Kimberly was a 2016 Princeton Fellowship Finalist, and has been a guest artist/faculty at Hollins University, Princeton University, The Juilliard School, Rutgers University, Bates College, University of North Carolina School for the Arts, Arizona State University’s Hergberger Institute for Design and the Arts, SUNY/Purchase, Colorado College, and University of Buffalo
Describing her as “incomparable,” Dance magazine praised the performances of Achille, stating, “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.” In addition to teaching at Connecticut College, where she joined the faculty in 2009, Achille runs her own New York-based dance company, Eternal Works, founded in 2005. She is the recipient of the Bessie New York Dance Performance Award (2006) and ADF’s Martha Myers Choreography Award.
(Photo: Adam Campos)
Mohamed DaCosta, from Boké, Guinea, is a senior lecturer in African performing arts in the School of Theatre and Dance and the Center for African Studies, and affiliate faculty in the Center for World Arts at the University of Florida. One of a select number of practice-based cultural authorities on the traditional performing arts of Africa living in the United States, DaCosta speaks English, French, Fulani, Wolof, Mandinko, and Susu. DaCosta served as choreographer for the African Ballet of Gambia and performed with the company from 1980-85. In 1996, he performed across Europe as featured drummer with Culture Movement, commissioned by the U.S. Department of Defense. The internationally renowned Chuck Davis African American Dance Ensemble has also featured DaCosta in performance. As three-time University of Florida Center for World Arts artist-in-residence, DaCosta has used his exceptional command of West African performance traditions and engaging teaching persona to develop appreciation of West African culture at the University of Florida, New World School of the Arts, Santa Fe Community College, and in the greater communities of Florida and North Carolina. DaCosta’s abiding warmth, vitality, and artistry are an inspiration to students, fellow artists, community members, and audiences of all backgrounds.
As a professional dancer for 18 years, Britt Juleen spent most of her career in Europe at the Dutch National Ballet in Amsterdam and Germany’s SemperOper Ballet’s exquisite Opera House. She also performed with Ballet Arizona, Ballet Gamonet in Miami, Florida, and the contemporary dance companies’ iMEE, Jacoby&Pronk, and SFDanceworks. Juleen studied at the School of American Ballet, New World School of the Arts, Pacific Northwest Ballet School, and Houston Ballet Academy, and holds an M.F.A. in dance from Hollins. Juleen has taught at several schools and companies in the San Francisco Bay Area including Alonzo King LINES Ballet, ODC Dance Commons, Oakland Ballet, Marin Ballet, and Silicon Valley Ballet. She has most notably served as an assistant professor at San Jose State University as well as most recently the artistic director of Berkeley Ballet Theater.
Peiling Kao, assistant professor of dance at University of Hawaii at Manoa, is a Taiwanese choreographer, educator, and dancer. Since moving to the U.S. in 2007, she has been working with choreographers of different aesthetic frameworks, collaborating with interdisciplinary artists, as well as creating her own work. Kao’s research and creative interests have been focusing on movement improvisation, bicultural and hybrid movement, dance lineages, and interdisciplinary collaboration. In May 2010, she finished her M.F.A. in dance at Mills College and received an E.L Wiegand Foundation Award for excellence in performance and choreography. Kao is a recipient of Lo Man-Fei Dance Fund from Cloud Gate Foundation in Taiwan (in 2016), Dean’s Travel Fund from the University of Hawaii, Manoa College of Arts and Humanities (in 2016), and has been awarded one Isadora Duncan Dance Awards (in 2012) and nominated for another (in 2013). She has taught modern/contemporary dance technique, movement improvisation, choreography, and Taiwanese/Chinese folk dance as a visiting faculty and guest artist at Mills College, Alonzo King LINES Ballet Training Program, and B.F.A. program at Dominican University of California, Hollins, UC Santa Cruz, Western Washington University, Austin Peay State University, California State University East Bay, Shawl-Anderson Dance Center, and Chinese American International School in San Francisco. www.peilingkaodances.com
Paul Maley is the director of dance at Mid-Pacific Institute in Honolulu, Hawai`i where he has served on the faculty since 1992. He received his initial dance training from the Richmond Ballet in Virginia and continued his studies as a scholarship student at the North Carolina School of the Arts. After receiving his B.F.A., he toured the U.S. and Canada with the North Carolina Dance Theatre. He continued his career with the Nikolais Dance Theatre and then with the Atlanta Ballet, performing soloist and principal roles in both classical and contemporary works. He also held the position of director of educational programs and rehearsal assistant for Atlanta Ballet and Atlanta Ballet II. Since making Hawai`i his home, he has served as principal dancer/ballet master for Ballet Hawai`i, as well as an instructor in the company-affiliated school. He received an M.A. in dance from the University of Hawai`i at Manoa and additionally taught ballet at the University of Hawai`i for 21 years.
Originally from Zurich, Switzerland, Yvonne Meier has lived and worked in New York City since 1979, where she became a member of the original group around Performance Space 122, regularly collaborating with Ishmael Houston-Jones and many others in the US and Europe. Her work, spanning anywhere from big spectacles to quiet solos, has been supported by three Fellowships in Choreography from the New York Foundation for the Arts, the National Endowment for the Arts, NEA Inter Arts, Franklin Furnace, and Pro Helvetia. The American Master Piece program of the NEA has supported the upcoming recreation of her performance-instillation work, The Shining. She has received three “Bessie” Awards for her works The Shining (1993 and 2011) and Stolen (2009). She has twice been supported through the Movement Research Artist-in-Residence program. Meier has been teaching Releasing Technique and Authentic Movement nationally and internationally for the last 30 years. After a life-long commitment to improvisation, she has developed her own improvisation technique known as Scores. Meier also teaches children’s dance classes in NY Public Schools through Movement Research’s Dance Makers program.
Tarik Darrell O’Meally was born in Queens, New York, and raised in DMV. He earned his B.F.A in dance and choreography from Virginia Commonwealth University. He has worked and performed with companies such as Johnnie Cruise Mercer/The RED project NYC, Amaranth, in addition to Abby Z & the New Utility. O’Meally is currently a company member of the Marvin Gaye Dance Project, VT Dance, and Ashani Dances. O’Meally is a four time, full scholarship recipient at the American Dance Festival. As a choreographer, his work has been presented at The Clarice Smith 34 Annual Choreographers Showcase, New Releases Choreographer Showcase, the 15th Annual Richmond Choreographer Showcase, the Richmond Dance Festival, the Baltimore Theater Project, ARAS Dance series, Morgan State University, and the Mid-Atlantic North Gala performance at the American College Dance Association. O’Meally, the artistic director of the UNUM Dance Collective, is the 2016-2017 artist-in-residence at Coppin State University. He is currently 2017-2018 New Releases Commissioned Artist.
John Guy Owens
Jon Guy Owens has directed Hollins Outdoor Program since 2001. He was born and raised in the Great Smoky Mountains near Cherokee, North Carolina, and got his start in adventure recreation as a river guide on the Nantahala River in North Carolina, while earning his undergraduate degree in therapeutic recreation. He is certified as: instructor/trainer from the Wilderness Education Association; wilderness first responder; and single pitch instructor from the American Mountain Guiding Association. He lives in Roanoke with his wife, Anna Copplestone ’06, and son, Henry.
Jenna Riegel, a native of Fairfield, Iowa, has been a New York-based dancer, performer, and teacher since 2007. Riegel holds an M.F.A. in dance performance from the University of Iowa and a B.A. in theatre arts from Maharishi University of Management. Since moving to NYC, Riegel has performed with Daara Dance (choreographer Michel Kouakou), Carolyn Dorfman Dance Company, Shaneeka Harrell, Tania Isaac Dance, and johannes weiland. She has also toured and performed nationally and internationally as a company member of David Dorfman Dance, Alexandra Beller/Dances, and Bill Young/ Colleen Thomas & Company. In 2011, Riegel joined the Bill T. Jones/Arnie Zane Company. Riegel teaches classes in Contemporary Technique in New York City at Gina Gibney Dance Center, Mark Morris Dance Center, 100 Grand Dance, and Barnard College, as well as Contemporary Partnering at The Juilliard School. In addition, she has taught master classes at The Joffrey Ballet School, Columbia College, NYU, The New School, Ohio State University, SUNY Purchase, Bard College, Connecticut College, Emory College, Arizona State University, Brigham-Young University, Dartmouth College, Williams College, Skidmore College, LIU, University of Maryland, University of Nebraska-Lincoln, University of Wisconsin Madison, University of California-Berkeley, University of Iowa, the American Dance Festival, and the Bates Dance Festival.
Wendi Wagner began her career in dance in the Washington, D.C. Metro area. She worked as artist-in-residence for dance at Bethesda Academy of Performing Arts, adjunct dance faculty at Montgomery College, and musical theater choreographer at Watkins Mill and Walt Whitman High Schools. Upon her return to Roanoke, she was hired as a dance educator in Roanoke City Schools and continued in that position from 1996-2016. As she pursued graduate work, an interest in movement, cognition, and pedagogy transformed into an interest in educational practices that liberate and empower students. The dance education program in Roanoke City began hosting under-graduated dance education majors as student teachers, providing a collaborative space where university and public school, college student and high school student, academic advisor and public school teacher could participate in dialogue and action research. Hollins’ M.A.L.S. (interdisciplinary studies, 2003) and M.F.A. (dance, 2008) programs were the inspiration for much of the research and reflection that took place around the role of dance in development and re-integration of physical body and critical mind, as well as themes of theory and practice in the dance classroom. Over the last decade, these interests have expanded to the realm of healing, trauma, recovery, and wellness. Recent studies include an E-RYT (Educator Registered Yoga Teacher) 200-hour certification and in depth study of the Vagus System/Polyvagal Theory as it relates to the Autonomic Nervous System and trauma recovery. Currently, Wagner is an instructor in Uttara Yoga’s 200-hour Yoga Teacher Training program and a freelance yoga instructor in the Roanoke area, and member of a team of instructors who offer yoga and mindfulness in Roanoke City’s 21st Century after-school program.
Wendy Houstoun has worked as an independent London based artist since 1980. She classifies herself as a performer who makes work and has created a body of solo pieces that also reflect much of her collaborative and directed work with companies and artists over this period. Early work in the 80s and 90s included her performances with Lumiere and Son Theatre Company, DV8 Physical Theatre, Nigel Charnock, and Rose English established her reputation for honesty and courage with performances on film, stage, and site specific. The last 20 years has reflected a move toward language, process based work, and slower investigative work involving research periods and creations with Candoco, Matteo Fargion, Kate Macinstos, Charlotta Overholm, Khamlane Halsackda, Gary Clarke, Vivienne Wood, Jane Mckernan, Charlotte Vincent, Julie-Anne Long as well as maintaining a performance profile with Forced Entertainment, Vlatka Horvat, and Gary Stevens. Early solos (Haunted, Happy Hour, Desert Island Dances, Keep Dancing) all toured extensively and the last two works 50 Acts and Pact with Pointlessness marked a formal and emotional shift attempting to deal more directly with the complications of aging and death. Her associations with Arts Admin, The South Bank, Greenwich Dance Agency, Islington Arts Factory (all London), Dance 4 (Nottingham), and Performance Space in Sydney, have been especially important in her continuing work. A new text and sound work is in development with Carriage Works in Sydney for 2019.
Born in California, Christine Kono-Pohlmann studied classical ballet with Igor Schwezoff in Los Angeles (1955-1961). She worked with George Balanchine, Martha Graham, Kazuko Hirabayashi, Anna Sokolow, Donald McKayle, and was a soloist for the Pennsylvania Ballet Company and Eliot Feld’s American Ballet Company. Established in Europe since 1972, she worked with Kurt Jooss, Christopher Bruce, and Glenn Tetley and danced with the Tanz Forum Köln. In 1981 she obtained her master’s degree for teaching dance at the Folk wang Hochschule in Essen. She was codirector of the dance department of Gymnasium Essen-Werden from 1981-1987. She was ballet mistress for Pina Bausch’s Wuppertaler Tanztheater from 1987-1994 as well as for Joachim Schlömer from 1994-1999. For the last 18 years, she is dedicated to her own movement research with Dimitris Kraniotis. In collaboration with Dimitris Kraniotis, David Kern, Thomas McManus, Paolo Rudelli, and Elizabeth Waterhouse, she has created dance events which have been presented in France, Germany, and Greece. Recently, she has taught for different companies and schools, notably for Wuppertaler Tanztheater, Ballet Preljocaj, The Forsythe Company, Dance On/ Diehl+Ritter, and the Centre National de la Danse in Paris.
Hannes Langolf has worked and collaborated with numerous artists and companies throughout Europe. These names include William Forsythe, Angelin Preljocaj, Wayne McGregor, Akram Khan, Fabulous Beast, and Punchdrunk to name a few. In 2007 he joined DV8 Physical Theatre to be part of the original cast of the critically acclaimed stage productions “To Be Straight with You” (2007-2009, nominated for an Olivier Award) and “Can We Talk About This?” (2010- 2012), both conceived and directed by Lloyd Newson. In 2014, Langolf was appointed DV8’s creative associate for the production “John”, in which he also played the title role. He is currently involved in the recreation of DV8’s “Enter Achilles,” produced by Rambert and Sadler’s Wells. As independent choreographer he has created work for The London Eye Company, Munich Dance Festival, London Contemporary Dance School, and Verve among others. He has recently choreographed and directed two full-length productions: “Dandelion” (with Ermira Goro for The Onassis Cultural Center in Athens), and “Unruhe” (for and with the Susanne Linke Dance Company). He is a sought after teacher and workshop leader working internationally across dance, physical theatre, and vocal/text work and is committed to exchanging ideas and supporting new talent. Langolf is part of a selected collective of 50 international artists from 29 different countries that had the unique opportunity to spend a 10-week intensive period with David Zambrano in Costa Rica in 2010. He has integrated the philosophies of “Flying-Low” and “Passing Through” in his own artistic work and teachings. Langolf is also a certified yoga teacher and has completed his teacher training under the guidance of Cat Alip-Douglas at the renowned Sangyé Yoga School in London. In 2015, Langolf was nominated as one of the 100 most influential and innovative people working across Britain’s creative industries by The Hospital Club London. Visit www.hanneslangolf.com for more information.
Naomi Perlov was in born in 1959 in Israel. She received her education from the Bat Dor School of Dance in Tel Aviv, the Schola Cantorum in Paris, and in 1984, she graduated with honors from the Benesh Institute of Choreology in London. After graduated Perlov worked as a choreologist and repetiteur for the Paris Opera, and enjoyed four years of work and touring with the company of Regine Chopinot. In 1988, Perlov began work with Angelin Preljocaj, and since then has assisted his creations and restaged his ballets all over the world. Notable works of his include “Le Parc”, (1994, Paris Opera), “ L’Oiseau de Feu”, (1995, Munich Oper) “La stravaganza” (1997, New York City Ballet), “Casanova” (1998, Paris Opera), “Sacre du Printemps (2001, Berlin Oper) and “Medee” (2005, Paris Opera). She has since restaged various Preljocaj works for the Paris Opera, Berlin Oper, New York City Ballet, Teatro alla Scala, Danish National Ballet, Royal Swedish Ballet, Ballet de Capitole, The Mariinsky Theatre, ArtEZ in the Netherlands, and for the Ballet Preljocaj itself. From 1994 until 1998, Perlov served together with Ohad Naharin as Co-Artistic Directors of the Batsheva Ensemble. For four separate years (1999, 2001, 2003, 2005) Perlov also served as the Artistic Director for the Shades of Dance Festival, a national competition for emerging Israeli choreographers, held at the Suzanne Dellal Center. Perlov also assisted and restaged works for other choreographers, including Emanuel Gat’s 2009 work, “Winter Variation” to be presented at Lincoln Center and The American Dance Festival, and in 2010, Itzik Galili’s “For Heaven’s Sake”, set on the Berlin Opera Ballet. In September 2009, Perlov, along with Offir Dagan, founded the Maslool – Professional Dance Program – Bikurey Ha’Itim Arts Center in Tel Aviv. The Maslool brings young dance students from Israel and the world for a two-year program which utilizes vigorous technique training and repitory from a wide range choreographers to prepare for successful careers in dance. Maslool students have performed the works of Matthew Bourne, Idan Cohen, Nacho Duato, Sharon Eyal, Itzik Galili, Emanuel Gat, Yasmin Godder, Maguy Marin, Barak Marshall, Angelin Preljocaj, and many more. In addition to teaching her modern technique classes for the students of the Maslool Professional Dance Program, Perlov has also taught at Codarts-Rotterdam in the Netherlands, Livorno in Italy, the Jerusalem Academy in Israel, and Hollins University in the United States. She served as a jury member for the 2010 Cross Connection International Choreography Competition in Copenhagen, and in 2013 she organized an audition for the National Opera of Tirana in Albania. Also in 2013 she initiated the project “Silent Warriors”, a set of three performances, and was invited to Theatre de Chaillot in Paris to showcase the work. In 2014, Naomi Perlov restaged Preljocaj’s “Noces” on the students of the Maslool Professional Dance Program to perform in the Suzanne Dellal Center.
Martin Nachbar is a choreographer, teacher, and writer in the field of contemporary dance and performance. He is one of 50 dance artists listed by the Goethe-Institut. As dancer and performer he worked for companies and choreographers such as Les Ballets C. de las B., Vera Mantero, Thomas Lehmen, Jochen Roller, and Meg Stuart. Since 2004 he has choreographed more than 20 small and larger scale pieces such as Urheben Aufheben with a reconstruction by Dore Hoyers Affectos Humanos. With Repeater he brought family relations with and through movement on to the stage. This duo with his 70-year-old father has toured worldwide. Since 2008 Nachbar has taught for institutions such as Trinity Laban, Parts, SNDO, SEAD, HZT, and FU Berlin und Universität Hamburg.
Brit Rodemund is a dancer and teacher based in Berlin. Rodemund studied at the Staatliche Ballettschule Berlin and began her career at the Deutsche Staatsoper Berlin, where she became a soloist after one year and subsequently joined the aalto ballett theater Essen and later joined the Ballett Nürnberg. In 2000 she made the decision to work with an array of choreographers and artists, among them Marco Santi, Christian Spuck, Nina Kurzeja, Efrat Stempler, Dansity Amsterdam, Helena Waldmann, Maya Matilda Carrol, and Tim Plegge. In November 2015 she became a grounding member of the Dance On Ensemble under the artistic direction of Christopher Roman, initiated by Diehl+Ritter, where she has worked with Matteo Fargion,Lucy Suggate, Rabih Mroué, Kat Valastur, William Forsythe, Deborah Hay, Jan Martens, Johannes Wieland, and Ersan Mondtag until May 2018. Since 1999 she has taught classical ballet and continues to teach for dance companies, professional-level studios, and post- secondary institutions.
Michael Schumacher is a performing artist with roots in classical and modern dance. He has been a member of several groundbreaking companies, including Ballet Frankfurt, Twyla Tharp Dance, Feld Ballet, Pretty Ugly Dance Company, and Magpie Music Dance Company. As an independent artist, he has appeared in productions by Peter Sellars, William Forsythe, Dana Caspersen, Sylvie Guillem, Mark Haim, Paul Selwyn Norton, and Anouk van Dijk. Working as dancer, choreographer, and teacher, Schumacher has developed a unique approach to the discipline of improvisation. He has collaborated with several pioneering artists, including Han Bennink, Katie Duck, Mary Oliver, Kirstie Simson, and Alex Waterman. Schumacher has created original works with the dancers of Ballet Frankfurt, Netherlds Dance Theater III, The Dutch National Ballet, Dansgroep Amsterdam, and Jin Xing Dancer Theatre. In recent years, Schumacher’s work has come to the forefront in several productions of the Holland Dance Festival. With Jiři Kylian, he created the hauntingly beautiful Last Touch First, which has been performed throughout Europe and the U.S. to great acclaim. Together with Sabine Kupferberg, Schumacher created Queen Lear, a magical distillation of Shakespeare’s epic King Lear. In 2008, Schumacher was awarded both the Gouden Zwaan and the Jiři Kylian Ring, the first dancer/choreographer ever to receive the two awards at the same time. Michael Schumacher began dancing in musical theatre productions in his hometown of Lewiston, Idaho. After moving to New York, he received a B.F.A. in dance from the Juilliard School. He currently resides in Amsterdam and conducts workshops in movement analysis and improvisation worldwide.
Stella Zannou was born in Athens and has studied dance at London College of Dance, London Studio Centre, the American College of Greece (BA), and the Greek State School of Dance. She formed Smack Dance Company in Greece and currently lives in Berlin, working as a freelance dancer, teacher, and choreographer. As a dancer she has worked with, amongst others, Johannes Wieland, Walter Bickmann, Maya Lipsker, Clint Lutes, Xaris Mandafounis, Thomas Mettler, Richard Siegal, Michael Klein, etc. As a choreographer she has created/presented work, among other places, for Staatstheater Kassel, S.E.A.D. – Bodji project, One small step festival, Dock 11, Athens International Festival, Gnarl Festival, and No ballet fest. She is teaching dance in places such as Staatstheater Braunschweig/Kassel, S.E.A.D.- Salzburg, cie Toula Limnaios, Proda – Oslo, Nachschub – Basel, Potsdamer Tanztage, One small step festival – Corfu, etc. Zannou has won the price of the audience for the duet “We like men strong cause they last longer,” in Budapest Solo and Duo Dance Festival, in 2003 (choreographed by Stella Zannou for Prosxima Dance Company), and was voted as “dancer of the year” for the Ballet Tanz magazine by Katja Werner 2003 and from Arnd Wesemann in 2010.