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Choreography & Choreographers:     more books (100)

The Ballets of Antony Tudor: Studies in Psyche and Satire by Judith Chazin-Bennahum, 1994-03-24 Shadowplay: The Life of Antony Tudor (Limelight) by Donna Perlmutter, 2004-08-01 Dancing With Principle: Hanya Holm in Colorado, 1941-1983 by Claudia Gitelman, 2002-01 Portrait Gallery: Artists, Impresarios, Intimates by Agnes De Mille, 1990-08-23 Daniel Nagrin: A Chronicle of His Professional Career (University of California Publications Catalogs and Bibliographies) by Christena L. Schlundt, 1997-08-01 Balanchine's Mozartiana: Making of a Masterpiece by Robert Maiorano, Valerie Brooks, 1985-05 Trisha Brown: Dance and Art in Dialogue, 1961-2001 Goddess - Martha Graham's Dancers Remember: Hardcover by Robert Tracy, 1997-08-01 Bob Fosse's Broadway by Margery Beddow, 1996-08-05 Punk in motion: Steven Hoggett's choreography for American idiot melds physical theater with green day's edge.(on broadway): An article from: Dance Magazine by Sylbiane Gold, 2010-04-01 Choreography S.O.S.: onscreen dancemaking help.(UP FRONT)(Dance Designer software)(Brief article): An article from: Dance Magazine by Jennifer Stahl, 2010-08-01 Secret Muses: The Life of Frederick Ashton by Julie Kavanagh, 1997-05-13 Fernando Bujones: An Autobiography by Fernando Bujones, Zeida Cecilia-Mendez, 2009-05-01 Merce Cunningham by Germano Celant, David Vaughan, et all 2009-09-30

lists with details

61. Video Dance Prize 1998/99
    The filmmakers operate the cameras. Task 4 Free camera choreographyFor all filmmakers and choreographers - a camera choreography.  
    http://www.sk-kultur.de/videotanz/english/vd_price/vtp_e98.htm
    
    Extractions: In 1996, The German Video dance Prize was called to life to promote film and video dance in the Federal Republic of Germany. The initiators of this sponsorship fund, the first of its kind in Germany, are the SK Culture Foundation of the Commercial and Savings Bank Cologne and the Institute for Creative Media at the Folkwang Academy in Essen, INTERARTES GmbH. The prize carries an endowment of DM 80,000.00 that enables emerging artists to realise a professional video dance production and, furthermore, is a valuable means of lobbying political committees, film foundations, regional dance and film offices, organisers and programme schedulers to support The second German Video Dance Prize incorporated the new addition of a two-week workshop. Twelve scholarships were given to six choreographers and six filmmakers to attend this workshop. At the end of the workshop, an international jury awarded the production sponsorship to a choreographer / filmmaker pair chosen from the twelve participants. The event's organisers initiated the workshop in response to the deficit of specialist educational facilities for video dance art available in the Federal Republic of Germany at the time. The underlying objective of the practice-orientated workshop was not only to give everyone involved advanced instruction in whichever of the two respective disciplines they were least familiar with, but was also to put across the importance of critical self-appraisal. The workshop leaders set up creative processes that broughtthe filmmakers and choreographers together, in varying capacities and taking on alternate responsibilities, to jointly accomplish different assignments.

62. Transcript Of Choreography Chat With Michelle Zeitlin
    MichelleZ More Zap has been in business for over 12 years now, and our new wing,choreography Central! Then we have the choreographers who we hire out.  
    http://cheerleading.about.com/library/blchore_chat.htm
    
    Extractions: Advertisement Recently Michelle Zeitlin, CEO of More Zap Productions and Choreography Central , took time out of her busy schedule to answer some questions about Choreography, judging dance routines, and Cheerleading. The following is a portion of the transcript from our chat. cheerleadingADM - Hi Michelle, thank you for being our special guest this evening. Can you tell us a little about your company? How many are on your staff? MichelleZ -More Zap has been in business for over 12 years now, and our new wing, Choreography Central! is brand new! We began as a dance special events company and grew into a corporate events and film/TV company, and now we do all kinds of projects. We have three partners. Then we have the choreographers who we hire out. cheerleadingADM - you have some professional cheerleaders on your staff?

63. B.co - Preserving Forsythe's Choreography
    Then copyright protection was extended to include choreography largely in view of cantake extraordinary liberties with ballets by long dead choreographers.  
    http://www.ballet.co.uk/magazines/yr_01/nov01/bmc_preserving_forstyhe.htm
    
    Extractions: In a recent interview with Ismene Brown of the Telegraph, William Forsythe made it clear that his ballets would be performed for only as long as he lived to direct them. "It's in my will," he told her, "that when I die, my works won't be performed. Because ballet is a living art." To Brown's objection that such a purist approach would have deprived future generations of Giselle and Balanchine, Forsythe replied: "It would be fine. The world would just move on. There would be plenty of choreographers. Someone new would come along." At first sight there is something shocking about Forsythe's attitude. He might be accused of high egotism. An artist's creations, it might be argued, are part of the patrimony of all of humankind. The artist is a channel for the genius of the age, and not a creator in isolation.

64. Videos By Choreographers Index
    DEVORA DEVORA COOPER STREET TECHNIQUE KEEP IT MOVIN' HIGH ENERGY HIP HOP AEROBICSKIDZ GROOVE A HIP HOP DANCE WORK OUT VIDEO stricly choreography volume 1.  
    http://www.dancehorizons.com/chindex.html

65. Lou Gelfand: The Topic Was Not Race, But Choreography
    presented as part of Black History Month, reporting the choreographers' race wouldhave been relevant. But race was not an element in the choreography; it did  
    http://www.startribune.com/stories/782/1902113.html
    
    Extractions: news freetime travel homezone ... talk a little about... Star Tribune ombudsman Lou Gelfand writes a weekly column, based on reader complaints and comments, slicing and dicing the newspaper's news content and occasionally offering his own assessment of the staff's journalistic hits and misses. You can reach him from 8:30 a.m. to 4:30 p.m. Monday through Friday at 612-673-4450; outside the metro area call 800-827-8742. Lou Gelfand: The topic was not race, but choreography Published March 3, 2002 "If I was an African-American," he wrote, "I would take offense. What value does it add to note the race, as if it would be unusual for these artists to produce fine choreography?" The opening paragraph of a Minnesota Dance Theatre review, written by a free-lancer, identified the choreographers as black, and an information box described them as African-American. Those were the only references to race. The headline was written on the nightside copy desk. John Habich, senior culture editor, who edited the article, said: "I figured readers keenly interested in contemporary African-American culture might be drawn to attend the concert because of that information, so I thought it appropriate in this case."

66. Spring Dance Concert To Feature Works By Star Choreographers: 4/02
    Spring dance concert to feature works by star choreographers. Stanford, DancingSpring Migration 2002 will feature choreography by veteran stars Brenda Way  
    http://www.stanford.edu/dept/news/pr/02/dance200251.html
    
    Extractions: more search options John Sanford, News Service (650) 736-2151; e-mail: jsanford@stanford.edu "Stanford, Dancing: Spring Migration 2002" will feature choreography by veteran stars Brenda Way, founder and artistic director of the ODC/San Francisco dance company, and Norma Miller, the grande dame of swing, in addition to work by new talent. The 24th annual dance concert is scheduled for 8:30 p.m. May 3, 4, 10 and 11 in Roble Dance Studio. Tickets, which will be available at the door, are $10 for general admission or $7 for students and senior citizens. Senior dance lecturer Tony Kramer, concert production coordinator with dance lecturer Diane Frank, said the show will demonstrate a "very high level of technique." "These are just the best dancers that I've seen here in my 16 years," Kramer said. "The level of choreography is really elevated." Way, who has choreographed roughly 70 works over the past three decades, has set her composition

67. Choreography
    Highlighted choreographers from Solutions, Inc. Joelle Martinec. Bringing in professionalchoreographers to your studio can generate tremendous benefits.  
    http://www.skmsolutions.com/choreography.htm

68. RESEARCH BY SUBJECT--DANCE
    1996. Subjects Dance in motion pictures, television, etc. History,choreography Filmography, choreographers Biography.  
    http://www.uvsc.edu/library/dance.html

69. ABB CHOREOGRAPHERS
    Northeast Regional Ballet Association, and has received three choreography fellowshipsfrom is recognized as one of the most exciting choreographers of her  
    http://www.berkshireballet.org/bb_chor.html
    
    Extractions: THE CHOREOGRAPHERS Robert Atwood from Fordham University's Dance Department, in New York City, teaches ballet, modern and jazz. He trained with Benjamin Harkarvey, Finis Jhung and Merce Cunningham Albany Berkshire Ballet , Mr. Atwood recently staged The Sorcerer's Apprentice , a new children's ballet, for the Company in 1999 and Carnival of the Animals , another new children's ballet, in 2000. Madeline Cantarella Culpo She was a member of the first dance class at the Julliard School , studying with such legendary teachers as Margaret Craske, Antony Tudor , Alfred Corvino and Martha Graham . She studied extensively at Jacob's Pillow and performed in Ted Shawn's Mountain Whippoorwill . She served on the board of directors at the Pillow and was a faculty member there for five seasons. In 1955 she started the Cantarella School of Dance from which evolved the Berkshire Ballet . Many alumnae from the school and the School of the Albany Berkshire Ballet have entered the world of professional ballet, dancing with some internationally known companies; The Boston Ballet , the Joffrey Ballet, Pacific Northwest Ballet Pennsylvania Ballet Dance Magazine Laura Dean , internationally acclaimed as both a choreographer and composer, is recognized as "one of the most exciting choreographers of her generation." Laura Dean’s music and dance training began at the Third Street Music School in New York City. She studied with Lucas Hoving, Muriel Stuart, Norman Walker, Merce Cunningham and many other great teachers and has danced professionally in the companies of Paul Sanasardo and Paul Taylor. Dance and music works of Laura Dean have been commissioned by the New York City Ballet, The Royal Danish Ballet, the Walker Arts Center, the American Dance Festival, the Brooklyn Academy of Music, the Joffrey Ballet, The Spoleto Festival USA, the Ohio Ballet and the BAT-DOR Company of Israel. Ms. Dean has created two highly acclaimed works for ABB:

70. Selected Choreographers For The Marin County Festival Of Dance 1997
    She has performed for various choreographers including Martha Curtis, Kei Takei,Kathy Caton and JoAnne Bailey, and her choreography has been selected for  
    http://www.marindance.org/mcfod/choreos.htm
    
    Extractions: David Shepard Collaboration Young Choreographer's Category: Stephanie Gerson Antonia Aguiar is a Theater Arts Dance Graduate from University of California at Santa Cruz. Her creative passion is choreography and she loves exploring the element of play with contact improvisation. While at UCSC, she received the Chancellor's Undergraduate Award for her Senior Thesis Dance Production, and a duet collaboration with Scott Wells was selected for the Experimental Dance Festival at UC Berkeley. She has performed for various choreographers including Martha Curtis, Kei Takei, Kathy Caton and JoAnne Bailey, and her choreography has been selected for numerous local Santa Cruz performances. Sherry Brier has been co-owner and co-director of Inner Rhythm Movement Arts Institute in Mill Valley since 1988. She created Inner Rhythm Children's Dance Program in 1995 and continues to direct it. With a BS in Creative Arts Education from University of Bridgeport, Connecticut, she has taught creative movement, ritual and trance dance, and various ethnic forms. Her main focus the past thirteen years is Oriental dance and Middle-Eastern folkloric dance. She studied in Egypt, Morocco and with the most respected instructors in the US and Europe.

71. Our Choreographers
    joined the NUS Dance Ensemble in 1994 and has been actively choreographing for theensemble's annual concerts since 1997.Many of his choreography have stemmed  
    http://nusde.tripod.com/juraimy.html
    
    Extractions: Home About Us [ Our Choreographers ] Repertoire Activities/Events Photo Gallery Members Area ... Where We Are Juraimy Abu Bakar joined the NUS Dance Ensemble in 1994 and has been actively choreographing for the ensemble's annual concerts since 1997.Many of his choreography have stemmed from his early theatre influences during his undergraduate days. Currently freelancing as both dancer and choreographer, Juraimy has been exposed to a wide-range of dance styles that includes Bharathanatyam, Butoh, Balinese, Ballet, Modern Dance, Jazz Funk and Hip Hop. He has worked on various dance projects with NUS Halls of residences, corporate organisation and participated in the 1996 Singapore Arts Festival in a movement piece entitled "My body, My Choice" by cultural medallion winner Lim Fei Shen.

72. Dancers And Choreographers
    The following local dancers and choreographers represent the rich diversity of Kristina'sstyle of choreography incorporates elements from Merce Cunningham and  
    http://www.sadu.org/dancers_and_artists.htm
    
    Extractions: The following local dancers and choreographers represent the rich diversity of experience and artistic expression that can be found in San Antonio. They can be seen performing in a wide variety of settings across the city, and we encourage you to support their work as they provide the driving force for new dance works in San Antonio. Jeanna Driver Performer, Instructor, Author Involved in Middle Eastern dance for 23 years, Jeanna Driver is proficient in the use of floor work, veil and sword dancing. A member of the Karavan touring troupe for the past 18 years, Jeanna has traveled with Karen Barbee to many other cities in the US to attend workshops and perform in special programs. She designs and sews her own costumes and has traveled to Egypt for master instruction and cultural studies. Jeanna began teaching informally in 1990 when her instructor Karen toured in Egypt; she currently teaches Beginner classes, pinch hitting in other classes as needed. She has been published in several Middle Eastern dance journals, and is the editor and publisher of the Karavan Studio newsletter, the Eye to Eye. Jeanna performs at a variety of local venues, including private parties, restaurants, fairs, and on the local Community Access channel. Rebekah Fowler bahala_na@yahoo.com

73. The Internet Theatre Bookshop - Plays By Genre
    American Ballet. Reference History. Theatre in Education. Ballet/Dance Video.Ballet Dance - Main. Folk Dance. choreography. choreographers. Dance Biography.  
    http://www.stageplays.com/dance.htm

74. Adults Competition
    OR with a Team which must include choreographers or at least ONE of the choreographersin the event of cochoreography. All choreographers must be paid  
    http://www.dcinfonet.com/line dancing/Battle of the Boots 2002/pre competition/A

75. Red Cinder Artist's Application
    Work samples (see below) Please provide the following applicable documentationof recent creative work choreography (choreographers) Videotape (VHS on  
    http://www.red-cinder.com/ArtApp.html

76. Las Vegas Mercury: Beat Manifesto: Choreography Show Seeks Vegas Home
    Beat Manifesto choreography show seeks Vegas home. I'm talking about the professionalswho put the moves on Michael, Britney and Cher their choreographers.  
    http://www.lasvegasmercury.com/2002/MERC-Apr-04-Thu-2002/18426955.html
    
    Extractions: Thursday, April 04, 2002 By Tony Moton Michael Jackson would be nothing without them. Neither would Britney Spears. Nor would Cher. Who I am I talking about? Their plastic surgeons? No, I'm talking about the professionals who put the moves on Michael, Britney and Cher: their choreographers. These are the people who often go unnoticed while sharing the responsibility for selling the image that superstar singers actually know how to dance in concert and on video. "A lot of them out there can't dance," Los Angeles-based choreographer Kristin Denehy said, declining to name any superstar names. "Some people think they can dance and they can't. That shows that the choreographer has been doing his or her job." Denehy speaks from experience. A professional dancer for eight years, Denehy has worked with some of the top pop music acts. She, like others in her field, believes choreography is one of the most important elements singers use to convey their music. It was Jackson, a naturally gifted dancer, who relied on (and showcased) late choreographer Michael Peters in groundbreaking music videos such as "Beat It." "[Singers] depend on choreography quite a bit if they are in the pop world," Denehy said. "You need to be able to sing and dance and be cute. And the better you do any one of those, the better you are going to do."

77. International Competition For Choreographers; Laatste Nieuws, Persberichten
    for choreographers 2000 General remarks The jury was struck by three aspects of thisedition of the competition The high level of choreography displayed;; The  
    http://www.iccdance.nl/laatstenieuws.html
    
    Extractions: In overeenstemming met de doelstelling van het Concours heeft de jury als belangrijkste criterium gehanteerd: beginnende choreografen een kans geven hun werk te presenteren en aan te tonen dat hun werk potentieel heeft. De sleutelwoorden hier zijn 'beginnend' en 'potentieel'. Verder wilde de jury verrast worden door wat zij te zien zou krijgen en bovendien het gevoel moeten hebben dat de choreograaf dat ook in de toekomst zou kunnen blijven doen. Het laaste criterium is een coherentie tussen de inhoud van het idee en de uiteindelijke vorm. Procedure Komisch talent, goed partnerwerk, en sociaal en fysiek spitsvondig. Met deze woorden kunnen we de kwaliteit van dit werk samenvatten. In dit werk geven Luca en Bettina blijk van een luchtige kijk op relaties die ze met veel gevoel voor humor tentoonspreiden, iets dat niet vaak voorkomt in de hedendaagse danspraktijk. Zij brengen een toegankelijke vorm van danstheater, die herkenbaar en aantrekkelijk is voor een groot publiek.

78. Thrive! Hip Hop Choreography, Dance Workshops And Shows
    and Jeff Wong, combine their creativity to create some of the most exciting andentertaining choreography in the city. As choreographers, Instructors and  
    http://www.thrivedance.com/aboutus.htm
    
    Extractions: contact us ABOUT THRIVE! WELCOME TO TORONTO Thrive! is the hottest and most versatile company in Toronto's street dance scene. The two Directors: Shawn Byfield and Jeff Wong , combine their creativity to create some of the most exciting and entertaining choreography in the city. As Choreographers, Instructors and Producers, Thrive! persistently makes Toronto's hip-hop dance scene equal to that of New York and Los Angeles. Their choreography is full of raw energy and has a burning passion and love for Toronto's dance culture. The directors have extensive experience in the dance community performing, teaching and choreographing since 1990. Jeff and Shawn have appeared on numerous television shows and commercials, live corporate shows and feature films, and have also traveled North America, the Caribbean and Europe performing, teaching, and sharing their passion. Individually and together, Shawn Byfield and Jeff Wong have worked with top artists such as Barry Lather, Sisqo, Gregory Hines, Jon B, Erykah Badu, James Brown, Vitamin C, Amanda Marshall, Snow, and Boyz II Men, just to name a few. As choreographers and producers, they continue to elevate the street scene withtheir successful and well received dance showcases. They recognize the achievements and diversity of Canada's urban scene, and enjoy creating opportunities to show off new and uplifting dance talent. When it comes to fresh and unique ideas

79. Vol 3 Ed 4 - A Manifesto
    I received about this manifesto are not artists who I would consider to be choreographers.In some cases, I have seen the destruction of choreography in front  
    http://users.bigpond.net.au/dcorbet/proximity/v_three/v3e4a2.htm
    
    Extractions: Choreography is a simple tool being made even simpler by technology and communication in the 21st century. Choreography is a part of what goes into the effort of showing and doing dance. It is a collaborative part of dance, but it is not dance any more than composition is music. Music is music. Is dance influenced by choreography? I am not influenced by the choreographies but more by the techniques, concepts and artistic visions of choreographers. Cunningham is a mentor for me because he has continued to investigate and collaborate, not because I can recognize his signatures from the past. He continues to promote dancing in spite of the limits of his choreographyies. In music composition we are left with music. In dance choreography we are left with dance. If I am left with only the choreography or the composition it is history. A public does not need an education to engage with a dance or music performance if they are left with the dance or the music. They do if they are going to be left with a load of historical references. Pauline is a postmodern artist first and a choreographer later. This is what makes her choreography valuable for another generation of dance artists in Holland. Choreography has absolutely nothing to do with dancing without this kind of process. I do not think that her choreographies alone are what we will value any more than the modernist works before her. But I do think that her artistic vision and her concepts need to be. By cutting Pauline Degroot out of the Dutch dance funding, we have cut a lineage of dance work for Dutch culture. What we have been left with is an empty title on a grant application that allows for anyone who can place a trained ballet dancer into a reasonably neat structure to be called a choreographer.

80. R&D Choreography
    Read about the availability and qualifications of violence designer organization in Chicago. Includes weapon rental, choreography, and instruction.  
    http://www.theatrechicago.com/randd

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