lifetime learners - Dance Teacher magazine

LIFETIME
LEARNERS
Teacher Training
34 Summer
Programs for
Teachers
Ballet Meets
Big Sky in
Montana
Luna Dance
Turns 20
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DM12TT05_CV2r1
FORT WORTH
®
SYDNEY
EDITOR
Karen Hildebrand
DESIGNER
Emily Giacalone
Ballet
Montana
SALLYANN MULCAHY’S SUMMER
RETREAT FOR PROFESSIONAL DANCERS
RESEARCH ASSISTANT
Madeline Schrock
PROOFREADING
Sonje Berg
SR VICE PRESIDENT &
GROUP PUBLISHER
Amy Cogan
212.979.4862
REGIONAL ADVERTISING
MANAGERS
Rebecca Breau, 212.979.4871
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Brittany Wooten, 281.246.1602
CEO, Peter Callahan
PRESIDENT & COO, Carolyn Callahan
SR. VICE PRESIDENT/ADMINISTRATION
& TREASURER, Anna Blanco
SR. VICE PRESIDENT/ FINANCE
& OPERATIONS, Gerard J. Cerza Jr.
ON THE COVER: PIHOS: A Moving
Biography, by Melissa Pihos
Photo by: Sinru Ku, courtesy of
Melissa Pihos
hen Sallyann Mulcahy left home to study ballet
seriously, she never imagined she’d one day be
back in the mountainous terrain of Montana—and
even more amazing, running a much cherished
summer ballet company.
But following a 14-year professional performance career with
Royal Winnipeg Ballet and other companies, Mulcahy did exactly
that. Her summer company has grown to become a jewel in the
state’s busy tourist season. And though she never set out to be a
teacher, she now runs a dance school, and her incisive coaching
draws dancers at all stages of their careers to Helena, Montana,
each summer to learn, renew and soak up the fresh air.
It all started in 1991, when Mulcahy returned home from New
York City to recover from an ankle injury. (She had been working
with New Jersey Ballet and Finis Jhung’s Chamber Ballet.) With time
to reflect and heal, away from the hustle and bustle of the city, she
was able to slow down and consider her options. “I was burned
out with Manhattan,” she says.
Not long after, she was invited to Milwaukee Ballet for a brief
teaching engagement. Afterward, a group of students contacted
her and said they would be willing to travel to Montana if she was
willing to teach them. “What an amazing thing,” she recalls. “It
was such a compliment.” She had just begun teaching at Carroll
College, so she even had a place to hold classes.
From this group of soul-searching students sprang Ballet Montana in 1995 (it was first known as Artisan Dance). Every summer,
between 10 and 14 dancers from all over the nation gather for a
six- week, three-performance season.
Many return year after year with about three new dancers
per year. They range in age from 19–40, so there’s an exchange
between young and more mature dancers. Some have contracts
with regional companies (including Dayton Ballet, Louisville Ballet, Ballet Idaho, Smuin Ballet, Sacramento Ballet and Nashville
Ballet) and are off for the summer. Others are coming back from
an injury. The summer offers time to focus on technique and
artistry in a nurturing and beautiful environment.
W
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Mulcahy
performs below
with Robert Greer.
Company members,
at right (clockwise
from back row):
Case Bodamer,
Eduard Forehand,
Nathan Powell,
Erika Cole, Halliet
Slack and Keenan
McLaren
Although there have been repertory coaches from
time to time, such as Arnold Spohr, former artistic director
at RWB, Mulcahy does all of the teaching. Carroll College houses the dancers free of charge, and the company
rehearses in the school’s ballet studio. A typical day involves
a two-hour ballet class followed by rehearsal until 6 pm.
“They come for the work with me, for the training and the
coaching,” she says. “That’s the draw.”
Mulcahy does not hold traditional auditions. Instead, an
underground network of dancers simply know about the
program and call Mulcahy or send her a DVD. “The dancers
are normally very experienced—ranging from corps members to principals in their respective companies,” she says.
“There is a common thread that unites every dancer who
comes here: They have a passionate work ethic and a strong
desire to grow and satisfy their need for personal fulfillment
as dancers.”
Former Milwaukee Ballet trainee Megan Wrigg came to
Montana in 1999 at a low point in her dance life. “What
I found was a dance haven. It was a place that you could
dance as an individual,” she says. “Sallyann puts dance into
your body, no matter what that body is like, instead of my
previous experiences where every company wanted you to
be a clone of their latest star. You have to come to Montana
already a dancer—which is really a state of mind with a
desire and passion—and then she can put her technique,
inspiration and style into you. From there it is the dancer in
you that expresses it.”
As to why the dancers keeping returning, Mulcahy has
an idea. “My dancers say I’m brutally honest. We all need
honesty to grow into who we can be, and there are different rates of maturity,” she says. “I paid attention, looking
at dance from the inside. I know how to put ballet into
people’s bodies. I get the diamond out. They come in so
rough, I can chisel it out of them.”
Now, after 17 years, the residents of Helena believe their
summers should include ballet, thanks to Ballet Montana’s
steady presence. “The weather is warm and dry, it’s a perfect
summer refuge for the dancers,” says Mulcahy. “Everything
lights up when they come. You can hear people say, ‘Look,
here are the dancers.’”
The company presents a mix of classical and contemporary choreography by Mulcahy (and occasionally by company
members) at the Myrna Loy Center. This year, the repertory
includes Voices in Hand, and a reprise of The Inquisition of
Don Miguel. “It’s important to me that our rep offers a full
diverse mix with compelling intensity, that it’s dramatic and
highly energized—both through music selection and by
challenging the dancers’ ballet technique and the audience’s
emotions,” says Mulcahy.
Two years ago Mulcahy established the Ballet Montana
Academy which offers three levels of classical-ballet technique for serious students who enroll by audition. The idea
is that local residents will finally have a place to study with
mentorship provided by summer company members. “They
take class with the company and even learn rep,” she says.
“I had to get out of Montana to train, but finally they don’t
have to leave home like I did.” —Nancy Wozny
Photos by Al Lefohn, courtesy of Ballet Montana
“What I found was a dance
haven. Sallyann puts dance
into your body, no matter
what that body is like.”
—Megan Wrigg, dancer
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The Summer Institute
pairs six dance
teachers with six
classroom teachers.
LUNA DANCE INSTITUTE
CELEBRATES 20 YEARS
t’s the simple questions that have long driven Patricia
Reedy, founder of the 20-year old dance education
resource hub Luna Dance Institute.
For instance, she wondered what it would be like if
every kid knew how to choreograph a dance the same way
that they know how to write five-paragraph essays when
they graduate from high school. When she first opened the
doors to LDI, she wondered if a community dance organization had to follow the same nonprofit models as everyone
else. Most importantly, it seems, the growth of LDI into an
organization that serves hundreds of kids with dance classes
and summer camps, that partners with local schools and districts to help frame dance curricula, and that offers extensive
professional training and support, has been driven by the
question, How can we all keep learning together?
“My whole life I’ve only wanted to be two things: a
dancer and a teacher,” says Reedy. “I grew up in a family
that was very conscious of social justice, and I’ve always
been an activist. I knew that that would also be a part of
whatever I did.”
As Reedy describes it, it was almost a whim that led her
to start Luna Dance Institute. As a young college graduate, she had been teaching dance in Oakland, California,
at Citicenter Dance Theatre, which closed soon after the
Loma Prieta earthquake in 1989. After a couple of years of
working toward her graduate degree at Mills College and
teaching elsewhere, Reedy, who was restlessly looking for
new ways to intermesh dancemaking and dance education,
spotted a large space for lease in Oakland. (In 2010, LDI
moved to an industrial red brick building with light-filled
I
Caption here tktktk
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studios in neighboring community Emeryville.)
“I wanted a new paradigm for nonprofit arts,” she says.
“Very quickly, what became clear to me was that people
were hungering for the sense of community and belonging.
Our studio was in a part of Oakland that was a family community. People came, dancers taught and choreographed
there, people were bringing their kids.”
At the same time, another question led her in the direction of teacher training. “My dance teacher friends were
saying, ‘I’m teaching in a day school and nobody appreciates what I do—the teachers sit in the back of the room
and grade papers,’” she says. “But my classroom teacher
friends were saying, ‘I’d love to have dance in my school,
but these dance teachers don’t know what the heck they’re
doing—they don’t know how to do grade-level-appropriate
work.’ I said, ‘I’m going to bring you guys together for a
conversation,’ and that was our very first teacher workshop
in 1994.”
That led to a weeklong pilot workshop in 2000—offered
free to six classroom and six dance teachers—that was so
successful it’s continued ever since. Incorporating discussion
of current educational theories with the practical hands-on
experience of developing curriculum and practicing on each
other, the Summer Institute coaches teachers in how to
meld their individual needs with national curriculum standards, supporting them with coaching, consultations and a
resource library—not just for the week, but, as Reedy puts it,
for the rest of their teaching careers.
The emphasis is on allowing participants to develop their
own methods. “You have to find your own voice,” she says.
“I wanted to help people not just regurgitate what they got
in a workshop, but think differently about what they bring
to the table as dance teachers, what dance really is, what
it should be, what teaching and learning is, and how you
empower people.” —Mary Ellen Hunt
The 2012 Luna Summer Institute will take place
July 16–21, Emeryville, CA.
Photos courtesy of Luna Dance Institute
Where Studio
and Classroom
Teachers
Learn From
Each Other
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The following are pedagogy-based programs designed for dancers
who want to teach and teachers who want to grow. Dates for 2012
workshop are included, where available. If you are interested in a dance
education degree or k–12 certification, we recommend you refer to the
Dance Magazine College Guide for additional program information.
(Please note that, while we have attempted to provide accurate information, we recommend you contact the programs
directly for specific details and confirmation.)
92nd Street Y
Harkness Dance Center
Dance Education Laboratory
Jody Gottfried Arnhold
212-415-5500
dance@92Y.org
www.92Y.org/dance
June 11–17; July 9–13;
July 16–20; July 23–27
New York, NY
ABT National Training
Curriculum
American Ballet Theatre
Raymond Lukens
212-477-3030 x1169
curriculum@abt.org
www.abt.org
Aug 1–8, New York, NY
Chicago National
Association of
Dance Masters
ballet, tap and jazz to children.
“What is more important
than continually working to
Teacher Training School
and Convention
improve what you teach in the
Oak Brook, IL
with trends and dance styles?”
July 16–23
says Kathy Velasco, CNADM’s
$310–$520 (member rate)
managing director. “And, what
dance studio, and to stay current
is more fun than becoming a
CNADM turns 100 this year and
student again and dancing for
plans a big celebration on July
yourself?” —Nancy Wozny
19, with a special Chicago dance
video and historical reminiscences and entertainment by
members of the Giordano Jazz
Dance Chicago Company. Favorite
teachers from past workshops
(including Nan Giordano, Rhee
Gold, Harrison McEldowney,
Terrell Paulk and Tom Ralabate)
will offer classes on teaching
“What is more
important than
continually working
to improve what you
teach in the dance
studio, and to stay
current with trends
and dance styles?”
—Kathy Velasco
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Why Dean College School of Dance?
TECHNICAL STUDIES
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The Ailey Extension
212-405-9500
aileyextension@alvinailey.org
www.aileyextension.com
Leap ‘N Learn Teacher Workshop
(Beverly Spell), June 23–24
Horton Pedagogy Workshop
(Anna Marie Forsythe)
July 9–13, 16–20
Finis Jhung Workshop
Aug 11–12
New York, NY
American Academy of
Ballet
Teachers Intensive
Mignon Furman
212-787-9500
office@american-academy-ofballet.com
www.american-academy-ofballet.com
Aug 3–8, Purchase, NY
American Dance Festival
Dance Professionals Workshop
Gerri Houlihan and James Frazier
919-684-6402
school@americandance
festival.org
www.americandance
festival.com
June 23–July 1, Durham, NC
Bill Evans Dance Summer
Teachers’ Intensive
Bill Evans
585-964-9196
billevansdance@hotmail.com
www.billevansdance.org
June 24–July 7, Brockport, NY
July 14–19, Moraga, CA
July 22–27, Fort Worth, TX
Montclair State
University
and after-school programs. In
addition to 62 credits in dance,
BA in Dance Education,
Concentration in Studio
Teaching
students take 12 credits of busi-
Montclair, NJ
the program satisfies four out
$7,690 annual tuition
of the six necessary courses to
($16,438 for non-NJ residents)
minor in business. An added
ness courses and 20 in dance
education. For those interested,
perk is the campus’ proximity to
If your goal is to own a studio
or teach in one, a traditional
New York City.
“For many of our students,
college dance program may not
teaching in a studio is their pri-
offer the business skills neces-
mary career goal,” says Elizabeth
sary to succeed in the highly
McPherson, dance education
competitive private sector. This
coordinator. “With this new
dance education degree has a
concentration, we hope to sup-
concentration in studio teaching
port our dance majors more fully
and prepares students to teach
and completely in pursuing their
in community centers, studios
dreams.” —N.W.
Boulder Jazz Dance
Workshop
Lara Branen
303-449-0399
lara@bjdw.net
www.boulderjazzdance
workshop.com
July 14–28, Boulder, CO
Cecchetti Council of
America
Teachers Seminar
Dawn Green
734-676-7233
ccainfo@cecchetti.org
www.cecchetti.org
July 15–21, Holland, MI
8
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Cecchetti USA
Summer School
Denise Rinaldi
805-636-9444
pasdenise@aol.com
www.cecchettiusa.org
Aug 5–11, Santa Barbara, CA
Central Pennsylvania
Youth Ballet
Teachers Workshop
Marcia Dale Weary
717-245-1190
info@cpyb.org
www.cpyb.org
Aug 12–17, Carlisle, PA
CANADA’S ROYAL WINNIPEG BALLET SCHOOL
TEACHER Training Program
ACCEPTING APPLICATIONS FOR 2012 | 13
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LEARN MORE AT:
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Doowah Design Inc.
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Job no: 2700
RWBS Teacher Training Program - Dance Teacher - CMYK - 6.125” x 4.5”
Problems or questions, call Mitch at (204) 949-7230
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Chicago National
Association of Dance
Masters
Teacher Training School
Kathy Velasco
815-397-6052
dance@cnadm.com
www.cnadm.com
July 16–23, Oak Brook, IL
Dance Teacher Summit
Presented by DanceMedia
Gil Stroming
212-767-0744
info@danceteachersummit.com
www.danceteachersummit.com
Jul 27–29, New York, NY
International Dance
Supply
International Dance Teachers’
Conference
+44 (0)1626-32 50 52
www.idsdanceteacher.com
Aug 19–22, London, England
Creative Dance Center
Summer Dance Institute for
Teachers
Anne Gilbert Green
206-363-7281
www.creativedance.org
July 16–27, Seattle, WA
Dance Educators of
America, Inc
Teacher Training and Certification
914-636-3200
dea@deadance.com
www.deadance.com
June 25–30, New York, NY
July 2–7, Las Vegas, NV
Dance Masters of
America, Inc.
Teachers Training School
718-225-4013
dmamann@aol.com
dma-national.org
July 22–26, Buffalo, NY
Dance New Amsterdam
Simonson Method
Lynn Simonson
212-227-9856
info@dnadance.org
dnadance.org
June 1–June 27, New York, NY
National Dance
Education
Organization
Practice, and Creative Dance
in Early Childhood. Continuing
Education Units are avail-
Online Professional
Development Institute
able for individual courses, or
$450 per 3-credit course
Certificate in Dance. The CEUs
(member rate)
will fulfill the requirements of
can be accumulated toward a
other licensure programs, such
For the over-scheduled studio
as the National Registry of
owner, K–12 educator, teach-
Dance Educators.
ing artist, and others who can’t
“It opens up the world to the
always get away for a work-
dance teacher who often holds
shop or commit to a regular
down two or more jobs,“ says
weekly class schedule, NDEO
Jane Bonbright, NDEO founding
offers online classes, allowing
executive director. “It’s critically
participants to study at their
important to have an inexpen-
own pace and time.
sive and accessible way to keep
The very first online class
was offered in January:
learning. Online education is
concentrated and 24/7.” —N.W.
Professional Teaching Standards
for Dance Arts, taught by
Susan McGreevy-Nichols and
Patricia Cohen. Other 3-credit
courses include: Dance History,
Standards-based Dance
Curriculum and Assessments,
Dance Technology for the
K–12 Classroom, Professional
Portfolio Development, Using
“It’s critically
important to have
an inexpensive and
accessible way to
keep learning.
Online education is
concentrated and
24/7.” —Jane Bonbright
Research to Improve Teaching
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Isadora Duncan Dance
Foundation
Teacher Training
Lori Belilove
212-691-5040
info@isadoraduncan.org
www.isadoraduncan.org
New York, NY
James Robey Jazz
Technique & Syllabus
Teacher Training Workshop
James Robey
jamesrobeydance@me.com
www.robeyjazzdance.com
July 16–20, Ridgefield, CT
Joffrey Ballet School of
New York
Teacher Training and Pedagogy
Robert Ray
212-254-8520
joffrey@joffreyballetschool.com
www.joffreyballetschool.com
New York, NY
Teaching
Jazz Dance, A
Symposium
embrace and celebrate it,” says
Danny Buraczeski, founder of
Dallas, TX
vernacular. Rhythm is the basis
June 18-20
of what I do and love—rhythm
$100
and swing. The other teach-
JAZZDANCE. “I teach classic
jazz dance, a style rooted in the
ers will be drawn from the
Three days of classes and
interests of the participants,
presentations, directed by
such as jazz dance pedagogy,
Broadway veteran and SMU
improvisation and acting for jazz
professor Danny Buraczeski, is
dancers.”—N.W.
designed to refresh your commitment to the extraordinary
legacy of American jazz dance.
On the agenda is: learning new
methodologies, sharing teaching
ideas and discussing the past
and present of what is happening at the core of the jazz dance
field right now.
”Jazz dance and music are
part of our shared history as
Luna Dance Institute
Teacher Workshop
Beverly Spell
888-211-5180
Beverly@leapnlearn.com
www.leapnlearn.com
Aug 2–5, Lafayette, LA
Patricia Reedy
510-428-1155
arasera@lunadanceinstitute.org
www.lunadanceinstitute.org
July 16–21, Oakland, CA
July 30–Aug 2, Los Angeles, CA
(megglaser@earthlink.net)
International Educator Workshop
212-875-5535
lci@lincolncenter.org
www.lcinstitute.org
New York, NY
much about so many things. I
Danny Buraczeski
Southern Methodist
University
Leap ‘N Learn
The Lincoln Center
Institute
Americans. It has taught me so
”Jazz dance and
music are part of
our shared history
as Americans. It
has taught me so
much about so many
things. I embrace
and celebrate it,”
—Danny Buraczeski
National Dance
Education Organization
Online Professional Development
Institute
301-585-2880
www.ndeo.org
Application deadlines:
Apr 20 for Summer 2012
Aug 17 for Fall 2012
Montclair State
University
National Dance Institute
BA in Dance Education
Concentration in Studio Teaching
973-655-7831
mcphersone@mail.montclair.edu
www.montclair.edu/arts/dept/
theatredance, Montclair, NJ
Teaching Artist Training
Aileen Barry
212-226-0083
abarry@nationaldance.org
www.nationaldance.org
June 15–29, New York, NY
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DM12TT05_013r1
University
of Maryland
MFA in Performance and
Choreography for the
Teaching Artist
College Park, MD
Students receive a full-time
teaching assistantship, with
tuition remission and a stipend
with benefits of approximately
$18,500 per year.
Teaching artists straddle the line
between the professional world
and the community. They are
practicing professional artists
with the skills and sensibilities
of a teacher. With only four
students accepted each year,
this three-year graduate dance
program is highly individualized, combining pedagogy with
the practice of choreography
and performance. The thesis is
concluded with a performance
of original choreography and an
off-campus internship at a local
arts organization. Students have
interned at such prestigious
Washington, D.C., institutions as
The Kennedy Center, The Dance
Exchange and Dance/USA.
“As the program has evolved
over the past three years, the
discussions have gotten deeper
and richer, the portfolio materials more innovative and excit-
National Dance Institute
of New Mexico
Ririe-Woodbury Dance
Company
Teaching Excellence
Teacher Training
Russell Baker
505-983-7646 x126
liz@ndi-nm.org
www.ndi-nm.org
August TBD, Santa Fe, NM
Move-It Summer Workshop
Charlotte Boye-Christensen
801-297-4241
info@ririewoodbury.com
www.ririewoodbury.com
July 23–Aug 3, Salt Lake City, UT
Southern Methodist
University
PeffPointe Teacher
Training
Teaching Jazz Dance
Danny Buraczeski
hguthrie@smu.edu
jazzchoreographyenterprises.org
June 18–20, Dallas, TX
Peff Modelski
630-730-8738
peffdance@aol.com
www.movementprocess
forliving.com
June 22–24, Chicago, IL
University of Maryland
Pennsylvania Academy
of Ballet
Vaganova Teachers Seminar
John White
610-664-3455
info@paacademyofballet.com
www.paacademyofballet.com
Bryn Mawr, PA
The PULSE On Tour
Teacher Workshop
Pam Chancey
877-785-7301
info@thepulseontour.com
www.thepulseontour.com
July 13–15, New York, NY
MFA in Performance and
Choreography for the
Teaching Artist
301-405-7311
tdps@umd.edu
tdps.umd.edu
College Park, MD
Zena Rommett FloorBarre Foundation
Floor-Barre Certification
Camille Rommett
646-267-3223
camillerommett@floor-barre.org
www.floor-barre.org
July 8–12, Florence, Italy
Aug 8–12, New York, NY
ing,” says Karen Kohn Bradley,
associate professor and director
of graduate studies. “I believe
experimentation and self-reflec-
ide
College Gu
2011-2012
Guide to
n
More Tha
For more information about dance education
degrees and K–12 certification, check out the
600
College &
University
Dance
Programs
tive thinking matter; I want our
Dance Magazine College Guide. Order your
copy at www.danceU101.com/college.
graduates to be thoughtful, risktaking, critical educators.” —N.W.
COLLEGEN
AUDITIO e
How to Shin
FRESHMANt
YEAR Wha
to Expect
DOUBLE
MAJOR t
Is it Righ
for You?
14
Display until
July 2012
21st Edition
1.com
DanceU10
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tktktkktktktk
Choreographer Melissa
Pihos’ multimedia
tribute to her father
Dear Dad
orn decades after her father’s NFL football career
as receiver with the Philadelphia Eagles ended,
Melissa Pihos knew of Hall of Famer Pete Pihos’
gridiron exploits only from his stories. When he
started to lose his memories due to Alzheimer’s disease,
Pihos set out to discover the man her father was, both on
the football field and off.
As a graduate student in choreography at The University
of North Carolina at Greensboro, the dancer decided to
make her father’s story and her relationship with him the
subject of her master’s thesis. She took a dance for camera
class and a documentary film class at UNCG and spent the
next four years filming her father in a Winston-Salem nursing home, and visiting people and places important in his life
as a WWII veteran, football player and father.
The resulting PIHOS: A Moving Biography, a multimedia
project combining film and dance, premiered at UNCG in
March 2011, five months before her father passed away at
age 87.
“I wanted to keep his memory alive although his memories were fading,” says Pihos, now an adjunct professor in
the dance department at UNCG. “He was such a proud man
and to watch him deteriorate was just awful.”
Included in the work are images of war, football and
a filmed interview with Super Bowl–winning coach Mike
Ditka. A conversation with her father’s neurologist pro-
B
vides a soundscape for a section of the work where dancers
represent the normal functioning brain and how it breaks
down with the onset of Alzheimer’s.
The plan from the start was to tour the project as a fundraiser for Alzheimer’s awareness and research. Pihos reached
out to the Alzheimer’s Association in 2011 and began working with local chapters in Philadelphia, New York and North
Carolina. She will produce the events with fiscal sponsorship
from the New York Foundation for the Arts’ Artspire program, scaling back the original 75-minute production to an
hour and reducing the cast from 25 dancers to 12. She plans
to hold related events around the performances including
cocktail hours and silent auctions.
“My father had an amazing life,” says Pihos. “I want
people to understand what Alzheimer’s disease does to
people and their families.” —Steve Sucato
Select dates for PIHOS: A Moving Biography:
June 2, McGlohon Theater, Charlotte, NC; June 19,
Mandel Theater at Drexel University, Philadelphia, PA;
June 23, Hanesbrands Theatre, Winston-Salem, NC;
July 30, Ailey Citigroup Theater, New York, NY.
Photo (top) by Chris English, both are courtesy of Melissa Pihos
A DANCER RAISES AWARENESS ABOUT
ALZHEIMER’S DISEASE
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presents
Career Transition For Dancers 27th Anniversary Jubilee
A DANCE VARIETY SPECTACULAR
Photo by Stephen Paley
Monday, November 5, 2012 • 7:00 PM • New York City
Hosted by ANGELA LANSBURY, five-time Tony Award-winning actress and
legendary star of film and television, this spectacular ONE-NIGHT-ONLY event will take you
on an exciting journey inside the rich cultural history of American dance
and entertainment. The New York Times raves “...spectacular...scintillating...
this most jubilant of galas!”
Honoring Rolex Dance Award recipient, LIZA MINNELLI , winner
of four Tony Awards, an Oscar, a special “Legends” Grammy, two Golden Globe Awards and
an Emmy — one of the entertainment world’s consummate and best-loved performers.
Produced and Directed by
Executive Producer
Ann Marie DeAngelo
Alexander J. Dubé
For up to the minute news on honorees, presenters and artists appearing visit
careertransition.org
NYCITYCENTER.ORG
131 W 55th St (btwn 6th & 7th)
CITYTIX
212.581.1212
PERFORMANCE ONLY TICKETS AT $130, $90, $75, $55, $45
Patron Tickets: $1,200, $750, $600. Tables for 10 start at $7,500. Patron Tickets and Tables include premium performance seating and
post-performance “Supper with the Stars,” dancing and a live auction at the Hilton New York. Contact Marjorie Horne at 212.228.7446 x 33;
Marjorie@mcevoyandassociates.com, or at careertransition.org • Group Sales: 718.499.9691 • Artists and program subject to change.
27th Anniversary Chairs
Anka K. Palitz • Susan and Stewart Wicht
27th Anniversary Jubilee Sponsor Dance Magazine and Pointe
Design Images l to r: Dancer: Rasta Thomas–Photographer: Chris Dame; Dancers: Maia Wilkins & William Hillard, Ben Needham-Wood, Big Apple Circus, World Cup All Stars–Photographer: Richard Termine
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