Tag Archives: Women’s Choreography Project

Dallas DanceFest Profile: Hailey von Schlehenreid

And here is my last profile for this weekend’s Dallas DanceFest. I hope you enjoyed learning more intimate details about some of these companies and their dancers. Hope to see you at Moody Performance Hall on Saturday! This profile was originally posted on TheaterJones.com.

Courtesy of Hailey von Schlehenreid

Dallas — With her busy work schedule which includes teaching and choreographing for various local dance organizations, Hailey von Schlehenried is proving that Dallas can be more than just an incubator for dance talent. Rather, it can also be a showcase for accomplished choreographers. Von Schlehenried first caught audience’s attention at Avant Chamber Ballet’s (ACB) Women’s Choreography Project last year with her piece, Yin and Yang. “Working with ACB was such a dream for me. I realized from that project that you have to trust yourself. A project won’t work out if you don’t believe it will.” She adds that the experience also taught her a lot about working with live accompaniment. “It’s difficult when you rehearse one way and you’re used to one thing and your dancers are used to rehearsing one way with recorded music. Working with the ACB dancers really helped me to be more open to the music I’m working with and appreciate the value of live orchestration.”

Originally from Johannesburg, South Africa, von Schlehenried is the resident choreographer and co-director of Royale Ballet Dance Academy in Dallas. She is a registered teacher with the RAD, a graduate from the Certificate in Ballet Teaching Studies (CBTS) and is proficient in many forms of dance, including ballet, lyrical, jazz, modern and Flamenco. She has been dancing and studying dance for more than 20 years and has been choreographing for the last six years. Her choreographic credits include Royale Ballet’s annual Nutcracker production, festivals, benefits and competitions. Von Schlehenried is also proficient in flamenco dance and performs as a guest artist with Daniel de Córdoba’s Bailes Españoles.  In 2017 she was chosen for Avant Chamber Ballet’s Women’s Choreography Project where her work Yin and Yang was commissioned.

As an emerging choreographer, von Schlehenried says she’s both nervous and excited about presenting her work Flower in Rain at this year’s Dallas DanceFest (DDF). The piece, which features music by Max Richter, is a contemporary ballet duet that she created on Texas Ballet Theater dancers Riley Moyano and Amanda Fairweather. As for why she selected these dancers, von Schlehenried says she was inspired by the couple’s on stage and off stage connection. “There is such an honesty and trust when they dance together and it’s really beautiful to watch.” She adds, “I was really in love with this recomposition by Max Richter for a long time and I knew I needed to create to it, and when these dancers walked in the room everything kind of came together. They inspired the movement and the music finished it off.”

In regards to the job market here in Dallas, von Schlehenried says that things have really picked up in the last couple of years, but there is still more work to be done. “As a choreographer, the opportunities have started to get a little better as I grow my network, but there is still a need to keep this going and create more opportunities and platforms for dancers and choreographers. There are so many amazing dancers and choreographers in Dallas and we need to keep them here.” Von Schlehenried believes DDF is a step in the right direction, and she is looking forward to seeing so many artists and dance genres being presented on one stage this weekend. She is especially excited to see Bruce Wood Dance, Texas Ballet Theater, Southern Methodist University’s Meadows Dance Ensemble and Dallas Black Dance Theatre. “I think it’s going to be a good two days of dance.”

» Hailey von Schlehenried’s piece, Flower in Rain, will be performed this Sunday at 3:30pm as part of Dallas DanceFest.

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

 

» More information about Dallas DanceFest is available at www.thedancecouncil.org

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Avant Chamber Ballet Announces 2017-18 Women’s Choreography Project Recipient

Michelle Thompson Ulerich Dance Photo 2
Michelle Thompson Ulerich

Dallas – It was announced this week that New York-based choreographer Michelle Thompson Ulerich is this year’s winner of Avant Chamber Ballet’s (ACB) Women’s Choreography Project (WCP), which will take place April 21-22 at Moody Performance Hall in conjunction with ACB’s spring performance. Never one to just stick with the status quo, ACB Artistic Director Katie Cooper started the project in 2015 with the objective of providing more opportunities for up-and-coming female choreographers to showcase their work. Since then the WCP has gained quite a following in Dallas thanks to Cooper’s insistence of live orchestration and her eclectic programming, which has included works by herself, Shauna Davis, Elizabeth Gillapsy, Emily Hunter, Amy Diane Morrow, Janie Richards and Hailey von Schlehenried. Cooper continues to enrich the Dallas arts landscape with her “dare to be different” attitude when it comes to the rules and traditions surrounding classical ballet and the expectations that come with being a choreographer in this particular genre. Cooper has also successfully brought live music and dance back together, which I think is putting positive pressure on other professional companies in the area to find creative ways to incorporate more live music in their performances. I can’t wait to see what Cooper and ACB have in store for us in the coming years.

Below is Avant Chamber Ballet’s press release in its entirty:

Avant Chamber Ballet Announces Women’s Choreography Project Winner

FOR IMMEDIATE RELEASE
August 30, 2017

Dallas, TX – For the last three years, Dallas-based Avant Chamber Ballet has broken stereotypes and glass ceilings with live music and new works. This season’s Women’s Choreography Project presented in April 2018 is no different.  “You might not notice the imbalance and sexism in ballet from the outside,” says Avant artistic director Katie Cooper. “There are more female ballet dancers than male by far, but there are very few female choreographers getting commissions from professional ballet companies. With Women’s Choreography Project, we give emerging women choreographers the opportunity they need to take their careers to the next level.”


Avant Chamber Ballet held an international search for the right choreographer to commission a new work for this season. Out of over 50 applicants, Michelle Thompson Ulerich was chosen to be this year’s winner. “I am thrilled to be choreographing for the artists of Avant Chamber Ballet,” says Ulerich. “Texas was my home for 14 years, and I am looking forward to coming back to create and to bring some of my New York experiences with me.”

Michelle is a choreographer, dancer, and teacher in New York. In 2017, she will present new works in New York; Austin, Texas; Napa, California; and Spartanburg, South Carolina. Prior to moving to New York, she was a professional ballerina with Ballet Austin for 14 years. Michelle has been teaching ballet at SUNY Purchase since September 2016. She has created works for Ballet Spartanburg, Ballet Austin II,  Ballet Zaida, MOTION Dance Theatre. Her work for Avant Chamber Ballet will be presented on April 21-22, 2018 at Moody Performance Hall on the program Moving Music alongside masterworks by George Balanchine, Christopher Wheeldon and Paul Mejia.

 

Also commissioned this year through the Project is a new work from Kimi Nikaidoh. As the artistic director of Dallas’s Bruce Wood Dance, Kimi has choreographed for her own company of modern dancers but this will be her first commission with a professional ballet company. “I’m beyond lucky that Dallas provides me with the opportunity to create work for high-caliber modern and ballet dancers,” says Nikaidoh. “Working with the lovely ACB company will be a delight!”

 

MOVING MUSIC

Women’s Choreography Project

George Balanchine’s Valse Fantaisie

Christopher Wheeldon’s The American pas de deux

Paul Mejia’s Serenade in A

April 21-22ND, 2018

Moody Performance Hall, Dallas, TX

 

Tickets available through TicketDFW.com

This Woman’s Work

ACB-Womens
Avant Chamber Ballet presents Woman’s Choreography Project. Photo: Mark Kitaoka 

Avant Chamber Ballet’s second annual Women’s Choreography Project features more dynamic works by international female choreographers and live music.

Richardson — If there is a need in the Dallas dance community especially if it pertains to ballet, then you can bet that Avant Chamber Ballet’s (ACB) Artistic Director Katie Cooper is already looking for a way to fill it. After all, Cooper started her company three years ago because she saw a need for more live music at local classical ballet performances. “When we started ACB no other professional dance companies were using live music in DFW and we are still the only ones who always have live music at every show,” Cooper says. “Musicality and the connection between the dancers, music and choreography to me is inseparable.”

So, when Cooper noticed so few female choreographers being represented on many local and national professional dance companies seasonal programs, she knew she had to do something about it. And that is how the Women’s Choreography Project came into being in 2015. “I know firsthand how hard it is to get commissions in such a male-dominated field. One of the reasons I started my own company was to give myself opportunities to create my own work and to also work with the dancers I wanted to work with. I wanted to try and give other female choreographers the same opportunities, which is why I started the Women’s Choreography Project.”

Last year’s inaugural event at the Eisemann Center for Performing Arts in Richardson featured the members of ACB in five diverse works produced by well-known regional choreographers, including Amy Diane Morrow, Elizabeth Gillapsy, Emily Hunter as well as two pieces by Cooper. Most of the pieces alternated between neo-classical and contemporary dance styles with the exception of Morrow’s String Theory, which had the dancers manipulating various strings stretched halfway across the stage.

Photo: Avant Chamber Ballet. Shauna Davis, left, and Janie Richards

This year Cooper says audiences can expect even more variety at the second annual Women’s Choreography Project which takes place May 7-8 at the Eismann Center. The program for this year’s event features two new classical works by Cooper, a musically inspired pointe piece by Canadian choreographer Janie Richards and a retrospective modern-based piece by New York choreographer Shauna Davis. While all four works are vastly different in terms of concept, costuming, music and movement style, what Cooper believes ties them all together is the choreographers’ fine attention to detail and the dancers’ technical execution of the steps in each work. All the works will be accompanied by live music under the guidance of ACB Musical Director David Cooper.

Shauna Davis is no stranger to the Dallas dance scene. She is a graduate of Southern Methodist University’s Meadows School of the Arts and also spent a season with Dallas-based Dark Circles Contemporary Dance, which also happened to be the same year the company performed Joshua L. Peugh’s jjigae at ACB’s fall dance concert in 2013. “That was the first time I had seen her dance and she was just really magnetic on stage. She has such a gregarious, outgoing and open personality and I think that you can really see that in her process. She brings a lot out of her dancers and makes them feel really comfortable, which is important because her piece is a little more modern, which is not many of the dancers’ primary style.” Davis’ piece, Untitled, set to Schubert’s trio op.100 features five dancers and focuses on the idea of technology and how it impacts our self-worth in this modern age, which she depicts on stage with the use of mirrors. “She has a very distinct idea behind what she is doing and uses a more modern vocabulary to describe the feelings and emotions the dancers are dealing with, which is quite different from Janie’s work which is more inspired by the music.”

During the selection process Canadian choreographer Janie Richards immediately caught Cooper’s attention with her very thorough application, which included an eight-page PowerPoint presentation highlighting every detail of the piece from costuming and lighting, and even a choreographic layout of the almost 20-minute work. Cooper describes Richards’ L’inverno as a very intense, intricate and high energy contemporary pointe piece set to Vivaldi’s Winter. “Her intent is to capture the crispness, brightness and hard edges of winter, but also then the melting of winter and the coming of spring. It’s a really cool piece with a lot of technically challenging material.”

Rounding out the program is Cooper’s full-length version of Harlequinade composed by Riccard Drigo and a solo Cooper created for company member Emily Dixon called Piros set to Brahms’ Hungarian Dances. “I knew we were going to do Harlequinade way before I saw anyone else’s pieces. I knew if I was going to commission new work it was not going to be a traditional tutu classical ballet. Harlequinade is just really fun and cute, and it showcases some of the dancers really well.” And as for working with Dixon on Piros, Cooper says, “I just love working with Emily. She is a beautiful person inside and out and that really comes across in her dancing. She lives for these moments on stage, so I knew she would be able to hold an audience for six minutes.”

You can check out these new commissioned works by Katie Cooper, Shauna Davis and Janie Richards when Avant Chamber Ballet presents the Women’s Choreography Project May 7-8 at the Eisemann Center in Richardson.

>This preview was originally posted on TheaterJones.com.

 

Forward Thinkers: Katie Puder, Avant Chamber Ballet

Photo: Robert Hart
Photo: Robert Hart

With numerous successes in its short history, including its first full-length ballet and performance at Dallas DanceFest, Puder’s Avant Chamber Ballet is one step closer to its goal of reconnecting live music and dance.

Over the past three years Avant Chamber Ballet (ACB) has accomplished what takes most small ballet companies years to do. Along with bringing together a cohesive group of talented professional dancers and building a solid audience base, ACB is also filling a void in the Dallas dance scene with the use of live chamber music at its performances. This feat can be attributed to Artistic Director Katie Puder’s tenacity and resourcefulness both artistically and enterprisingly speaking.

Puder began her ballet training with Wichita Falls Ballet Theater before moving to Fort Worth at age 13. She continued training with Paul Mejia and Maria Terezia Balogh and at 17 she joined the Metropolitan Classical Ballet. The idea for starting ACB came to Puder while attending multiple Dallas Symphony Orchestra (DSO) concerts. “I was inspired to start doing more choreography just from hearing so much fantastic live music. Our first choice for the musicians for our performances are always DSO musicians, and I think very few ballet companies in the world can say they have musicians of that quality performing with them.”

With the aid of DSO principal horn David Cooper, ACB’s focus is on strengthening the ties between live music and dance in the Dallas area. Since its inception in 2012, ACB has performed eight new works, including Puder’sExactly Woven and Carnival of Animals, which premiered at the Eisemann Center in October 2014. This past year ACB also produced its first full-length ballet, Alice in Wonderland, with a commissioned score by resident composer Chase Dobson to positive reviews. “It seems that dance audiences have really missed live music. We also have a part of our audience who are music fans and we are their first exposure to dance performances. I love hearing from people who are discovering how exciting live ballet and music can be for the first time.”

Not one to idle, Puder is always looking for news way to increase exposure while also enriching the local dance culture. Participation in local dance festivals this year, including the {254} DANCE-FEST in Waco and the reimagined Dallas DanceFest at the Dallas City Performance Hall has helped ACB expand its reach within these communities. Puder’s plans for 2015 include the company’s first Women’s Choreography Project, which happens this weekend at Richardson’s Eisemann Center for the Performing Arts and a collaboration with the Dallas Symphony Orchestra’s SOLUNA: International Music & Arts Festival in May.

The Women’s Choreography Project, a series she plans to continue, features work by Puder and local choreographers Elizabeth Gillaspy and Emily Hunter, as well as guest choreographer Amy Diane Morrow.

A firm believer in supporting other local artists Puder has invited local dance companies such as Dark Circles Contemporary Dance to come perform with ACB. Puder is beginning to see this supportive stance spread across the whole dance community. “I have this feeling of a real community between different companies and circles. There is more awareness of what other people are doing and people are being supportive.” With Puder’s work ethic ACB will continue to draw in new audiences and raise the bar for other professional dance companies in the area.

This piece was originally posted on TheaterJones.com.