Andre Silva shares the significance of the number sigh 11:11 in his new work of the same name for Texas Ballet Theater’s performance this weekend.
Photos: Andre Silva (L) courtesy of Texas Ballet Theater. Andre Silva’s 11:11 (R) courtesy of Steven Visneau.
Fort Worth — You have seen him portray princes, villains and heroes in numerous ballets presented by Texas Ballet Theater (TBT), but, for the first time, audiences will get to see who Andre Silva is as a choreographer in his work 11:11, part of TBT’s In The Middle performance March 1-3 at Bass Performance Hall in Fort Worth. The program also includes William Forsythe’s In The Middle, Somewhat Elevated and Christopher Bruce’s Ghost Dances.
Originally from Brazil, Silva began his professional ballet career with TBT at the age of 17. He danced with the company until 2009 when he decided to leave to dance abroad with Les Grands Ballets Canadiens de Montreal from 2009-2014. From there he danced with Germany’s Ballet Augusburg for a year before returning to TBT in 2015, much to audiences’ delight.
Throughout his time with TBT Silva has danced leading roles in many of Ben Stevenson’s ballets, including Peer Gynt, Romeo and Juliet, Swan Lake, Dracula, Bartok, Preludes for Van, Five Poems, and Mozart Requiem. Some other works he has performed in include Val Caniparoli’s Without Borders, Christopher Wheeldon’s DGV: Danse à Grande Vitesse, Christopher Bruce’s Rooster, Carlos Acosta’s Carmen and Alexei Ratmansky’s Seven Sonatas.
Silva says what ultimately brought him back to TBT was Stevenson. “I love his leadership. What he brings to the table. The way that he coaches the dancers. The way that he choreographs. And I love his energy.”
He goes on to say, “TBT was my first company when I was 17 so I came into the company very young and I learned so much from Ben. He gave me my first leading role when I was 18. So, I really wanted to dance under the direction of Ben Stevenson again. I wanted to do his ballets again and I also wanted to work with the staff again. So, that was the reason I came back and I am very happy to be back.”
He also points out that his decision to leave TBT was mostly to explore what was out there and learn from various directors and choreographers in Canada and then Europe.
Silva admits that he was speechless when Stevenson approached him about creating a piece for the company. He says up until then he had only set work on the school and second company. “He really took me by surprise. In a year and a half I had created three to four pieces so I suppose I showed him that I was capable of doing this. When he approached me he said ‘I think you are ready for the company’ and I was like WHAT, but I was obviously extremely grateful and I still am and forever will be because I get to show what and who I am as a choreographer.”
The title, 11:11, came to Silva while he was working in Germany and has remained in the back of his mind so when Stevenson came to him about doing a piece Silva knew exactly what he was going to call it. The 25-minute work features 22 dancers (11 men and 11 women) and is broken up into nine movements. The work also includes costumes by Brazilian native Sonia Roveri, which Silva says fits the theme with its blending of colors and concepts that connect with the movement.
As for his experience in the studio with the dancers Silva says, “It was very collaborative. I would come in with a short phrase and allow the dancers to collaborate and let their bodies move in a way, and if I like the way they move or the way they approached it then I loved to put that in.”
He continues, “I am a very collaborative choreographer. I think it makes the work much more interesting because the movement comes in the moment and it becomes real and natural, and that’s also what 11:11 means to me. 11:11 is in the moment. 11:11 is infinite. And so it becomes this beautiful experience for me to be able to have dancers that are opened as well. It becomes a natural and interesting approach and I am always content with how things turn out.”
When it comes to organizing movement ahead of time Silva says he prefers to do it at home in his back yard or at the park where he can garner inspiration from everything around him in nature. He also says that he used to try to write everything down, but now prefers not to prepare too much before coming into the studio with the dancers. “This challenges me to accept that it will be O.K in the end and that I will come up with something special out of that.”
Going back to the title Silva says that for some people it may mean nothing, but for others it could have many different meanings. In this work the nine movements represent nine experiences Silva has had with 11:11. As for the audience he says, “I hope that people can understand perhaps what it means or take away something for their future reference as 11:11 or just have some kind of perspective of 11:11.”
He adds, “It’s important that each audience leaves the theater hopefully inspired and intrigued by their next experiences with 11:11.”
During our phone conversation Silva was also very opened about the struggles that come with choreographing any type of work. The main one being what happens when a choreographer gets stuck. When this happened to Silva he says he would remind himself of his intentions for the work. “When I am struggling and stuck I have to remember what the intention behind it is. What is it that I want to come through? And the moment that I think about that the feeling is what actually gives me movement.”
He confesses, “It’s not easy to do, but I have to trust that intuition and just let it flow. And the moment we trust it, that’s when it flows better than you ever thought it would.”
Carolyn Judson on her role as the Queen of the Nile in Texas Ballet Theater’s production of Cleopatra in Fort Worth this weekend.
Fort Worth — With her girl-next-door looks and sweet disposition, Carolyn Judson is the obvious choice to play the female lead in story ballets such as Giselle, Cinderella, Romeo and Juliet and The Nutcracker. In addition to her physical attributes, Judson’s penchant for softer, more pliable body positions, delicate foot work and beautifully drawn out leg extensions also make for easy casting decisions. But this weekend she will be trading in these sweet roles for something more seductive in Texas Ballet Theater’s (TBT) Cleopatraat Bass Performance Hall in Fort Worth.
Transforming into this powerful temptress has been a fun challenge for Judson who also played the part in TBT’s 2009 production of Cleopatra. But because back then she only got the role last minute, Judson says she was more focused on learning the steps than working on the characterization, something she hopes to rectify this time around.
“This time around I really wanted to try and capture that strong woman human quality that I think is Cleopatra,” Judson says.
As to how she accomplished this task Judson says timing both in the literal sense and where she is artistically speaking played a pivotal role in the rehearsal process. “Well, for one thing I have had more time to devote to the character. I also have more experience to pull from and richer character development than I did years ago, which has really helped because this role is so emotionally draining.”
Judson is the type of dancer who learns by doing the movement as it materializes from the choreographer. So, when rehearsing for Cleopatra she says she retains movement best when she is copying what TBT Artistic Director Ben Stevenson is doing alongside her. But when it comes to understanding a certain feeling or emotion, Judson says she will usually watch Stevenson from the front so she doesn’t miss any of his nuances.
For this weekend’s performance Judson will be reunited with her former Cleopatra partner Andre Silva, whom she says she used to partner with all the time before he left the company only to return a couple of years ago. “Other than doing the sugar plum fairy variation in The Nutcracker last season this is our first full-length ballet together since he has come back, and we’re just really excited to be working together again. That we have been building on things that we’ve experienced in the past 16 years here has made our bond even stronger and we’re really enjoying our work together.”
Another beautiful bonus of TBT’s Cleopatra performance is the live accompaniment provided by the Fort Worth Symphony Orchestra and conductor Miguel Harth-Bedoya. Judson points out that the majority of rehearsals have been to recorded music and it wasn’t until two weeks prior to the show that the conductor came to the studio to lay the music out on the piano.
“This way he can get used to our tempos and we can get used to doing something that’s not going to be always the same.” She adds, “This is important because it does takes quite a bit of rearranging your brain when dancing to live music since our minds kind of go on autopilot with a recording a lot of the time. So, it’s really helpful for us to have those two weeks before to get used to the music for both the dancers and the conductor.” She also notes that the company will not get to perform with the full orchestra until the Wednesday before the show.
A fun fact I learned about Judson is that during performances with live music she likes to find moments in the show to make eye contact with the conductor. “I think there are times when it’s appropriate to look at the conductor during a performance. For example, whenever I’m taking a bow I end up looking at him as sort of a thank you because this is such a nice collaboration between musicians and artists and so it’s much more enjoyable for us to feel like we are all working on the same project and not just two separate entities.” She adds, “I don’t look at the conductor all the way through the ballet, but I think there are times when you can really bring him in to the action on stage.”
It’s hard to talk to any professional ballet dancer nowadays without bringing up the lawsuit against New York City Ballet and Principal Chase Finlay and other scandals involving the company over the last year. With this in mind I wanted to know what steps, if any, has TBT taken to ensure that its dancers and staff feel safe and supported. “Actually at the end of last season we did have a company come in and work with us on just being mindful of how we talk to each other and how we treat each other. We also have our school here in the same building and just being aware of treatment of the children as well especially since some of the company dancers are also teachers at the school.”
She adds, “So yes we did go through a program with tests and educational information just to make sure that everyone is on the same page. And we are so lucky that we have a really great working environment here and we all consider each other family and in fact most of us are married to other people in the company.”
You can see Judson in Texas Ballet Theater’s production of Cleopatra Sept. 28-30 at Bass Performance Hall in Fort Worth.
I was starting to wonder if Dallas DanceFest was even going to happen this year, but my reservations were laid to rest last week when the Dance Council of North Texas announced on its Facebook page the dance companies that will be participating in this year’s festival, which has been strategically renamed Dallas Dances.
The festival has received criticism from the beginning about its focus on mainly local dance companies and for its inclusion of pre-professionals from the Dallas-Fort Worth area. Local Dance Critic Manuel Mendoza touched on these sore points in his review of last year’s Dallas DanceFest, which boasted the question “Why doesn’t Dallas have the dance festival that it deserves?”
In his review Mendoza basically says that by including the pre-professional dance studios, high schools and university programs in the area the festival is actually doing a disservice to the more established dance companies in the area.
He writes, “North Texas professional companies are the ones putting the area on the dance map even as they struggle to find suitable places to perform in a town starved of small, affordable venues. They are the groups competing for public and private grants so they can aim high, so they can someday pay their dancers something close to what their New York counterparts earn.”
He continues, “Most important, they are the ones doing the most complex, interesting work.”
What I think people are overlooking is that the mission of the Dance Council is not to exclusively support and promote just the professionals in the area, but also the up and coming professionals that stem from the local studios, performing arts schools and universites. And I think this is where the mission of Dallas DanceFest starts to get murky. Is the festival suppose to only highlight the professionals in the area? Or is its main target the young professionals and giving them a unique performance opportunity?
Apparently festival organizers have decided it’s a little bit of both if this year’s line up is any indicator.
I think the Dance Council has come to realize that they should stick true to their overall mission, which is fostering and promoting every type of dance and dancer in the Metroplex and I believe the name change better reflects the vibrancy and diversity of the Dallas dance community.
With that said, here are the dance companies performing at this year’s Dallas Dances:
Around the Holidays the NorthPark Mall in Dallas turns into a zoo thanks to the upscale mall’s unique holiday attractions which include Santa Claus, the trains and Sights and Sounds of the Season, which is a FREE performance series featuring the musical and movement stylings of schools, churches, synagogues and community and professional dance troupes from around North Texas. The performance series runs Nov. 28 through Dec. 22nd and the Dillards’ Court and North Court and again this is FREE!!!
With two little ones at home I am well versed with the trains and Santa Claus attractions at the mall, but I am a little embarrassed to admit that I have never stopped to watch any of the dance performances presented by the many well-known professional and pre-professional companies in the area. That is going to change this year especially since the only way to see Bruce Wood Dance’s Mistletoe Magic will be through this performance series. (Bruce Wood Dance performs tomorrow at 1pm in the North Court area.)
Looking at the performance line up online, I am amazed with the number of dance companies both professional and pre-professional that will be presenting in these 30-60 time slots as well as the variety of movement styles that will be showcased. I mean this Saturday alone starting at 10am you can catch some of the most popular names in the Dallas dance community, including 8&1 Dance Company, Anita N. Martinez Ballet Folklorico, Booker T. Washington High School for the Performing and Visual Arts, Bruce Wood Dance, Dark Circles Contemporary Dance, Danielle Georgiou Dance Group and Contemporary Ballet Dallas.
After checking in with some of these companies on social media, I can tell you that Dark Circles Contemporary Dance will perform Joshua L. Peugh’s Les Fairies as well as a section of a new work that Peugh is planning to introduce in the spring. OK! that alone has me hooked! Danielle Georgiou Dance Group will also give us a sneak peek of a new creation and perform Colby Calhoun’s Bedtime Stories. And Contemporary Ballet Dallas will perform to some holiday classics along with the school’s student ballet, tap and hip hop youth ensembles.
And while I have already included a link to the full line up, I wanted to pull out some special dates for all you dance lovers out there so you can go ahead and mark your calendars:
Dallas Black Dance Theatre Academy Performance Ensembles
The Hockaday School Dance Department
Texas Ballet Theater Dallas School
Collin County Ballet Theatre
Chamberlain School of Ballet
Avant Chamber Ballet
The Ballet Conservatory
Bombshell Dance Project
Dallas Ballet Company
I hope to see you all there!!! Get there early to find a parking spot and claim a front row seat!
Dallas DanceFest has announced its 2017 line up which shows a lot of hometown pride.
Wow! It is hard to believe that this year marks the 4th installment of Dallas DanceFest (DDF) which was created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas. It looks like the festival’s mission of presenting high caliber and well-rounded dance performances will continue this year with a program that features all the major local players as well as the largest showing of pre-professional companies to date and a handful of relatively unknown dance companies from around and outside the Metroplex.
Let’s start with the bigwigs in Dallas dance. For the fourth straight year Bruce Wood Dance Project, Texas Ballet Theater and Dallas Black Dance Theatre will be featured at DDF as well as their smaller counterparts DBDT: Encore! and the Texas Ballet Theater School.
We will also see pieces from some repeat dance companies, including Dark Circle Dance Company, Contemporary Ballet Dallas, Indique Dance Company, Southern Methodist University’s Meadows Dance Ensemble and Houston-based NobleMotion Dance.
DFF 2017 will also feature a number of first timers, including Danielle Georgiou Dance Group, Center for Ballet Arts, Impulse Dance Project, Uno Mas and Grandans. Southern Methodist University Meadows dance student’s Kat Barragan and Arden Leone will also be showcasing work for the first time at this year’s festival.
I am also pleased to see so many familiar pre-professional ballet companies on this year’s roaster, including Ballet Ensemble of Texas (Coppell, TX), Ballet Frontier of Texas (Fort Worth, TX), Chamberlain Performing Arts (Plano, TX), Dallas Ballet Company (Dallas, TX) Royale Ballet Dance Academy (Dallas, TX) and LakeCities Ballet Theatre (Lewisville, TX). I have seen these companies perform a variety of dance styles from classical and neo-classical to more contemporary and jazz movements and I am eager to see how these aspiring professionals handle the pressure of sharing the stage with the more seasoned artists on this year’s program.
We have also seen a surge in the number of dance festivals occurring around Texas over the last couple of years so, it didn’t surprise me to see the Rhythm and Fusion Festival and Wanderlust Dance Project in this year’s line up. If you’re interested in reading more about the rise of dance festivals in Texas then you should read Nichelle Suzanne’s 2015 article for Arts+Culture magazine entitled Talent, Training, Festival & More: Fueling Contemporary Dance in Texas.
The 2017 Dallas DanceFest will take place Sept. 2-3 at the Moody Performance Hall, formerly Dallas City Performance Hall. More information about the festival can be found on the Dance Council of North Texas website.
The second annual Dallas DanceFest promises more variety and exceptional dancing from individuals and groups throughout the region.
Dallas – The perception of dance in Dallas has changed dramatically over the last five years largely due to the development of the Dallas Arts District; the rise in the number of professional dance companies based in the city; the restructuring of veteran dance groups like Texas Ballet Theater and Dallas Black Dance Theatre; and the creation of local dance festivals, including Rhythm In Fusion Festival (RIFF) and Dallas DanceFest (DDF). All of these factors are helping to transform Dallas into a grand destination for dance. Keeping this in mind the Dance Council of North Texas (DCNT), in partnership with the City of Dallas Office of Cultural Affairs, is planning to deliver more vitality, diversity and excellence in dance with the second annual DDF which takes place September 4-6, 2015 at Dallas City Performance Hall. This prestigious event features performances on Friday and Saturday evenings at 8:00 p.m. and concludes Sunday afternoon with the Dance Council Honors.
The impact of the festival isn’t just felt around the Dallas-Fort Worth Metroplex but across the region as well. Houston-based METdance (formerly Houston Metropolitan Dance Company), an original participant in the Dallas Morning News Festival, was disappointed when that festival disbanded in 2004 as it had looked forward to performing for Dallas audiences. But artistic director Marlana Doyle says, “We were grateful to be a part of DDF last year and had the thrill of enjoying the Dallas audiences and arts community in such an amazing venue once again. METdance appreciates the efforts of the Dallas Dance Council and looks forward to celebrating the arts in Texas.”
Kimi Nikaidoh, artistic director of Bruce Wood Dance Project here in Dallas, adds, “Given the all-consuming nature of running an arts organization, it’s impossible to see what all of the many other groups in the area are accomplishing. Dallas DanceFest brings us all out of our respective “workshops” and gives us the chance to be inspired and challenged by each other.”
Curated by top dance professionals Lauren Anderson, Fred Darsow, Bridget L. Moore and Catherine Turocy, DDF 2015 will feature 19 exceptional artists and companies from all across the region including – Houston, Austin, Oklahoma, Alabama, and the Dallas-Fort Worth Metroplex. Audiences can expect each performance to be a unique and thrilling display of dance styles including – classical ballet, modern, tap, hip-hop, traditional Indian dance and Ballet Folklorico. The programs will also feature performances by well-known and beloved Dallas institutions such as Dallas Black Dance Theatre and Bruce Wood Dance Project along with some new names including the Dallas Cowboys Rhythm & Blues Dancers.
“It was incredible to see such a tremendous response to DDF 2014,” says DCNT President Kirt Hathaway. “The Dance Council made the decision to re-implement this wonderful dance event after it had sat idle for so many years. With the inclusion of the Dance Council Honors, DDF has immediately become one of DCNT’s marquis events. Producing such a wonderful weekend of dance would not have been possible if the organization had not experienced such growth over the past several years. It truly shows that there is a great commitment by the board and staff to support dance in North Texas and beyond. This year promises to be even more exciting.”
This year’s participants include:
Ballet Ensemble of Texas (Coppell, TX) – Formed in May 2001 under the leadership of Lisa Slagle, the company’s goal is to present quality ballet performances for the local communities and to provide advanced ballet students with the opportunity to prepare for a career in dance. It is the official company of the Ballet Academy of Texas.
Bell House Arts, Inc. (Owasso, OK) – Founded by Rachel Bruce Johnson, The Bell House is a collaborative dance and art cooperative dedicated to creating opportunity for artistic exchange. At The Bell House, we are interested in the collaboration of ideas, people and movement language that challenge the status quo and conventional ways of making art by elevating art as a process. Its fosters meeting points for artistic connection between people rather than elevating the art as product in order to activate the transformative nature of movement that can be experienced both in the practice, performance and witness of dance.
Booker T. Washington High School for Performing and Visual Arts (BTWHSPVA) Repertory Dance Company I & II (Dallas, TX) – BTWHSPVA is “the cradle of the Dallas Arts District.” In 2015, the school was awarded the Texas Commission of the Arts Medal of Honor for exemplary training in Arts Education. The department’s philosophy is to provide a broad dance education that challenges the students artistically, intellectually and physically and to prepare qualified students for collegiate and professional careers in dance and related professions.
Bruce Wood Dance Project (Dallas, TX) – BWDP was launched in 2011 to champion the vision, leadership and artistry of nationally acclaimed Texan dance-maker Bruce Wood. BWDP picked up where the successful Fort Worth-based Bruce Wood Dance Company left off. Under Wood’s direction the company produced six word premieres and a TITAS Presents Commission for Command Performance Gala. Currently in its fifth season the company is now under the direction of Kimi Nikaidoh after Wood’s passing in May 2014.
Chamberlain Performing Arts (Plano, TX) – Established in 1984 by Artistic Director Kathy Chamberlain as a student ensemble dedicated to providing students a stepping stone to professional dance careers. Chamberlain is dedicated to serving North Texas and the surrounding community by providing professional quality performances and outstanding outreach programs. The company takes great pride in the ongoing efforts to expand its cultural diversity through performance collaborations.
Dallas Black Dance Theatre (Dallas, TX) – Founded in 1976 by Ann Williams, DBDT consists of 12 full-time dancers performing a mixed repertory of modern, jazz, ethnic and spiritual works by nationally and internationally recognized choreographers. Over the years the company has grown from a community-based, semi-professional organization to a fully-professional dance company that is renowned in the U.S. and is noted for its rich cultural diversity, history of inclusion and high-level of artistic excellence in contemporary modern dance and educational programs
Dallas Black Dance Theatre II (Dallas, TX) – This semi-professional company created by Dallas Black Dance Theatre Founder Ann Williams in 2000 consists of eight aspiring artists from around the nation. Under the guidance of Nycole Ray, DBDT II provides an opportunity for young artists to develop their dance skills while serving the Dallas/Fort Worth community and touring across the nation. Going into its 16th season performing works by recognized and emerging artists, DBDT II performs a diversified repertoire of modern, jazz, African, lyrical and spiritual works.
Dallas Cowboys Rhythm & Blues Dancers (Irving, TX) – Founded in 2009, DCRB is a high-energy co-ed hip hop dance team and drum corps. Lead by Jenny Durbin Smith DCRB brings an innovative, unique and exciting element to the Cowboys legendary game-day entertainment line-up. The dance teams dynamic routines feature breakdancing and hip hop-based movement requiring both strong musicality and level of dance ability. Presented by Miller Lite, DCRB was conceptualized under the direction of Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson and is the first and only entertainment concept of its kind in the National Football League.
Dark Circles ContemporaryDance (Dallas, TX) – Originally formed in Seoul, South Korea by Joshua L. Peugh and Cho Hyun Sang, Peugh started the USA branch of the company in 2013 bridging the gap between East and West. DCCD is dedicated to bringing the progressive work of international choreographers and dancers to a worldwide audience. It strives to educate the public on the power of movement in communicating ideas.
AJ Garcia-Rameau (Austin, TX) -AJ Garcia-Rameau is an independent contemporary ballerina based in Austin. AJ trained at Houston Academy of Dance and Austin School of Classical Ballet. She received additional training under scholarship with Alvin Ailey School, Joffrey Jazz/Contemporary and Complexions Contemporary Ballet. AJ earned a BS degree in Chemical Engineering and Dance minor from the University of Texas. She has performed with Exclamation Dance Company, Austin Classical Ballet and BHumm Dance Company.
Houston Repertory Dance Ensemble (Houston, TX) – The ensemble is a sponsored project of Fractured Atlas, a non-profit arts service organization, and is led by Artistic Director Amy Blake. This ensemble was designed for the dancer seeking collaboration with exemplary worldwide professionals in the industry to help them obtain greater levels of achievement in the arts through classical training in ballet, jazz, modern and contemporary. The ensemble provides dancers with a positive working environment and opportunities for master classes, private coaching, YAGP participation and multiple international showcases and performance venues.
METdance (Houston, TX) – Founded in 1995, Houston Metropolitan Dance Center Inc. strives to educate and revitalize a passion for dance through the finest instruction and performance. Under the direction of Marlana Doyle MET Dance Company has performed throughout the United States in dozens of theaters receiving high acclaim, performing works by some of the most influential and talented choreographers of our time. The company is the sister organization to the MET Dance Center. Mosaic Dance Project of Dallas (Dallas, TX) – Created in 2014 by Giovanna Godinez Prado, Mosaic Dance Project’s mission is to create, educate and inspire individuals that desire to grow not only as dancers, but as artists as well, along with our cultural and ethical awareness and values.
Natyananda: Joy of Dance (Birmingham, AL) – Founded in 1978 by Sheila Rubin, Natyananda performs both traditional and original choreographic works in the classical Bharatanatyam style of Southern India. Through student, professional and guest artist presentations Natyananda promotes understanding of universal artistic and cultural themes while showcasing the rich and unique heritage of Alabama’s Asian Indian-American community.
NobleMotion Dance (Houston, TX) – NMD was co-founded by Andy Noble and Dionne Sparkman Noble in 2009. Over the last five years it has distinguished itself as one of Houston’s most important dance companies. NMD brings a fresh perspective to their community with its mission of integrating technology and dance, and is a Resident Incubator at the Houston Arts Alliance and is currently on the Texas Commission on the Arts (TCA) touring roster.
LaQuet Sharnel Pringle DDF 2015 commissioned premiere(Austin, TX) – A Booker T Washington HSPVA alum, Pringle attending the North Carolina School of the Arts before making her Broadway debut in 2005 in Sweet Charity with Christina Applegate and Dennis O’Hare. She has also performed in productions of The Lion King and Memphis. Today, Pringle is an adjunct professor at Texas State University teaching Jazz Dance in the Musical Theater Department. She is also the artistic director and founder of Fearless Young Artists (FYA) and was the headliner of Dance Planet 19.
Rhythmic Souls (Dallas, TX) – This small company if wicked fierce rhythm tapper is captivating local audiences with their unique blend of style, charisma, innovative choreography and rapid-fire footwork. The company is on the cutting-edge of dance choreography with cross-genre repertoire that infuses rhythm tap dance with body percussion, sand dancing, contemporary movement, flamenco, swing dance and anything else that might lend itself to their rhythmic percussion. The company strives to bring the spirit of tap dance back to the stage and continue the legacy of an American art form.
Southern Methodist University Meadows School of the Arts Dance Division (Dallas, TX) – The SMU Division of Dance offers both conservatory dance instruction and a liberal arts education. The dance program develops disciplined, versatile artists through professional training in ballet, modern and jazz techniques as well as theory. Undergraduates can earn a B.F.A. in Dance Performance or a minor in Dance Performance. Students perform masterworks of the great choreographers of the 20th century as well as works by contemporary masters.
Texas Ballet Theater School (Fort Worth, TX) – Training the next generation of dancers and arts patrons is the mission of TBT Schools. Starting with the very young, we nurture aspiring artists to discover their greatest potential and to develop a love of movement, a passion for creativity and an appreciation for the beauty and athleticism of classical dance.
Tickets for DDF 2015 available August 1 through TICKETDFW: online at www.TICKETDFW.com, by phone (214) 871-5000, or in person at the box office 2353 Flora St, Dallas, TX 75201.