Alumni Profile

Cynthia Pepper BFA '84

Cynthia Pepper

CPCollaborations

San Rafael, CA.

Cynthia Pepper was born in Salt Lake City, Utah in 1961. As a child, she toured with Virginia Tanner’s internationally recognized Children’s Dance Theatre for 10 years performing throughout the United States, including The White House and The Kennedy Center. She performed professionally with The Utah Opera Company, and the dance/theatre companies of Donald Byrd, Loretta Livingston and Bella Lewitzky. From 1985 to 1989, Cynthia worked as a magician’s assistant with Robert C. Pritikin of The Mansion Hotel in San Francisco creating two permanent magic illusions. 

Cynthia studied language arts in Denmark as a Rotary International Exchange Student for one year in 1978. In 1984 she completed a Bachelor of Fine Arts degree from California Institute of the Arts, and a Masters Degree in the InterArts Program from San Francisco State University in 1991.

Since forming CPCollaborations in 1985 (CPCC) many projects have come forth: teaching and performing in Hong Kong, Spain, Morocco, Hungary, and Denmark. Works by Cynthia have been commissioned by the Los Angeles Philharmonic, San Francisco Arts Council, Theatre Ballet of San Francisco, Central California Ballet, Dance Outré, The Lawrence Pech Dance Company, The Marin Ballet, and Marin Dance Theatre. 

CPCollaborations has received grants from The Marin Community Foundation, The Marin Arts Council, The Zellerbach FamilyFund, Dance Bay Area, The National Endowment for the Arts, Dance Films Association, CITIBANK, Union Bank of California and the Carlisle Pennsylvania Project for Choreography. 

Cynthia has produced and directed fashion shows for The Academy of Art, ZOZA and sixteen hair shows for Trevor Sorbie/Redken International hair products. Cynthia choreographed three educational videos for Japan Television for children to learn English through dance. She also choreographed national commercials for Mars Candy, Wachovia Bank, Glaxo Smith Kline, Hilton Hotels and Xanadu Entertainment. 

For a combined 24 years Cynthia taught modern dance, and dance composition throughout the Bay Area as a faculty member at The Marin Ballet and Marin Dance Theatre serving as the outreach director for both schools. Two dance in schools programs were created called “Let’s All Dance!” and “Project D. (is for dance)”. In 2008, “Let’s All Dance!” received a $20,000.00 NEA grant. Currently, Project D. serves 2800 children with dance and music for three San Rafael elementary schools funded by The Marin Community Foundation. 

CPCC has produced many outreach events including “Invitation to the Dance”, “Dance Reach”, and four “Marin County Festivals of Dance” which brought artists from all over the world to perform free dance concerts for the local community. CPCC created“ FOOTAGE Dance Film Festival” 1n 1997 as the first dance film festival in the West Coast showcasing dance films throughout the world. Her dance films are part of California Learning Resource Network (CLRN) serving as a media database for California performing arts teachers. 

Her award winning 50-minute dance collection called FILMS THAT DANCE™ has been distributed worldwide at numerous film and dance festivals. It has also been purchased by Ouat Media/Canada TV. Since the summer of 2000, Cynthia has choreographed 13 plays for the Equity theatre organization, Marin Shakespeare Company. She received a Dean Goodman Critic Circle Award in 2000. Cynthia is a founding partner in Xanadu Entertainment, a dance film production company currently creating dance films for PBS, commercial television and Sesame Street^™. 2008, marked the second year with short films in the Mill Valley Children’s Film Festival. Her latest film, CUBE was funded by The Dance Films Association of New York. Cynthia choreographed the Mountain Play “Man of La Mancha” with Melinda Darlington-Bach, directed by James Dunn Spring 2009.
Summer, 2009 was devoted to choreography for The Marin Shakespeare Company 20^th Anniversary Season.

What brought you to CalArts?

The wonderful teacher Rebecca Bobele taught a summer workshop in SLC, UT. She died soon after I graduated and it feels like she is still alive.?

How has your CalArts educations been relevant to your professional path? 

The most wonderful influence on my life has been the people and the projects and the energy I experienced as a dance student at CAL ARTS. The people are on my mind, the projects are still alive in my creative files, the energy is something I continue to try and re-create with every film, dance, proposal and grant request I conjure up. I still keep in touch with my teachers because they are so talented! Donald Byrd choreographed The Color Purple on B'way, Lesli Linka Glatter directs feature films and television episodics, all the animators up in Marin County have children that are my dance students and friends of my daughters. It is all very cool. The best part is seeing how far they can go with their art.

 What advice would you give to our  current or perspective students?

 Honor how lucky you are to be at such a magical place. We  didn't have email in my tenure at the school...so keep in  touch BIG TIME with all the cool artists. Send them a card  whenever you do stuff and keep everyone informed. No  matter how small make it sound bigger than it really is!.

 How did the School of Dance fulfill your  need to forge a career in dance? 

 It was already set into my psyche before CalArts...I really  had no choice! I was just born to be part of the dance world.  Thanks to fate I matched it with me.

How did the technique classes prepare you for the physical demands of a career in dance?

Work, work, work and come early to warm-up helped alot. You meet the musicians that way and your body will appreciate the time to get ready in a slow methodic way. Also, you get to hear all the great gossip that way! Arriving early is such a great thing to do on a film-set, or at the theatre or at a dance class. CalArts made it interesting to be in the space early....!

How has the technical production requirements of the program informed the way you communicate about your work? 

Costumes, lights, camera angles, makeup, timing, high quality standards, backing up everything all were huge lessons for me at school that I implement today....Always hire people that are better than you...usually hire the ones you can't afford! Your final will be superior because of that!

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career? 

My mentor was perfection..he just loved me and whatever I did was cool. I knit him a sweater that didn't fit him. He smiled and blushed because it looked so bad. Every dancer I teach is a mentoring opportunity. My expectatations when they work with me either in a film or a dance show how I feel about guiding them. I am very thorough about being clear about my message. And, yes I try and always have fun...or whats the point of doing anything...well love is a good reason!

 CalArts is unique in that it houses the Schools of Art,  Critical Studies, Dance, Film/Video, Music and  Theater as well as the Division of Library and  Informational Resources under one roof. As a  student, how did you engage with other members of  the CalArts community and how did it influence your  art making? 

 I just tried each and every way to bring in artists that I liked from all the other  schools. Sometimes it was groovey other times it was just plain icky! I am a  blabber mouth so I talked, listened and just kept trying to make art a thread to  sew us together!

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice? 

I wish we would have had more. Sometimes I feel like I needed more music training big time. I fake it alot. I focused on art and luckily I got to take classes from the big wigs. You can't have it all...but just try!

Do you continue to work or correspond with any  CalArtians? 

 Yes! I even talk to the people I didn't really know that well even the ones that didn't like me I keep in touch with because you never know! Actually I like being in touch with the fun people that are hella crazy about doing what they love! The Bay Area  is filled with all types of computer, live-action, clay and CGI animators and I  still think they are by far the coolest, meanest, mega sexiest group. 

 Links for this Artist:

 www.cynthiapepper.com

 Original Artwork Displayed at:

 Cooper Alley

 Larkspur, CA

 Kismet

 San Anselmo, CA.

 Parsnips Hair Salon

 San Francisco, CA.

 Choreographer of the Mountain Play 2009

 "Man of La Mancha"

  Mill Valley, CA

 www.mountainplay.org

Choreographer 20th Anniversary Season/2009

Marin Shakespeare Company

San Rafael, CA.

www.marinshakespeare.org

Return to webpage: www.calarts.edu

Min LI BFA '07

Min Li was born in China and began study at the Beijing Dance Academy at age 10 for 6 years. In 1999, he joined The National Ballet of China, and after 4 years of dancing with the National Ballet of China, Min was accepted to the BFA program at the California Institute of the Arts. During his study, he was invited by Ohad Naharin to join the Batsheva Ensemble in Israel. In 2007, he went to Europe and was invited by Ed Wuube to join Scapino Ballet Rotterdam in Holland.  Before joining the company, Min came back to CalArts to finish his study and received a Bachelor of Fine Arts degree. Upon graduation he returned to Rotterdam and joined the Scarpino Ballet Rotterdam and has been a member of the company since 2007.

What brought you to CalArts? 

When I was 20 years old, during my 4th season with National Ballet of China...   One day, YuanYuan Wang         (Choreographer, who graduated from Calarts MFA program) came to make a piece on us. After a rehearsal, we had a small conversation. I told her that I also had Traditional Chinese dance background and would like to try other types of dance too.  She asked me: " Do you ever want to become a modern dancer and choreographer?" I said: " Yes, I would love to  but I don't know if I have enough knowledge for that."  She told me the dean of the School of Dance at Calarts, Cristyne Lawson and Tina Yuan were coming to China to visit Beijing dance academy and if I would like to show them a bit of my Chinese dancing.  So I did and they offered me a scholarship to the program.

How has your CalArts educations been relevant to your professional path? 

Being a professional dancer before going to CalArts made me think more clearly what I wanted to learn. CalArts gave me all the possibilities to be creative and productive and that helped me make my own path after I graduated.

What advice would you give to our current or perspective students? 

Be open to this wide artistic landscape, discover what you want to learn and which direction you want to go after school, get as much knowledge as you can before leaving Calarts.... Think you are an aritist, not only a dancer after all.... make your mind creative, trust yourself... 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making? 

I tried to take many classes from other schools, I needed inspiration from all kinds of art forms in order to understand and to develope my own vision of art...  collaboration with students from different schools was the most exciting experience for me, we got to exchange ideas and learn from each other...  

How did the School of  Dance fulfill your need to forge a career in dance? 

 School of dance offered me not only how to dance  but how to think before you dance...... 

How did the technique classes prepare you for the physical demands of a career in dance? 

 We had modern and ballet classes with different  teachers of different styles every two weeks, and  also guest teachers from different places..... we always had to refresh our body and mind... Great opportunity to prepare ourselves for the different styles we have to jump in after school...

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making? 

I tried to take many classes from other schools, I needed inspiration from all kinds of art forms in order to understand and to develope my own vision of art...  collaboration with students from different schools was the most exciting experience for me, we got to exchange ideas and learn from each other...  

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice? 

Dance history taught me what has been done and what has not; Composition gave me the idea of how to work with the body and the mind at the same time; anatomy protected me from injury...... With all the knowledge I got from different classes, I was able to  create my own vision of dance. 

How has the technical production requirements of the program informed the way you communicate about your work? 

At Calarts, we see dance as a whole theater production instead of just a performance itself, that's why we were able to learn lighting design, costume design, stage management, live editing, camera recording, stage crew and I remember we had to build a stage ourselves and be in charge of the whole event.every year for dance ensemble concert, which was tough, but we learned a lot.....

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career? 

I really appreciated the mentorship at Calarts, I needed a mentor to lead me artistically, a mentor I was able to share my thoughts and artistic vision with...  My mentor could support me and at the same time give me the honest feedback, I felt I grew faster with the mentorship at CalArts.

Do you continue to work or correspond with any CalArtians? 

I still keep the contact with many of my friends from Calarts, we share our thoughts. Since I am dancing in Europe now and I am able to see what's going on with art here, meeting new people and getting new ideas... it's very exciting. Hope one day I will be able to collaborate with Calarts students again, would be a wonderful experience for me...

 

 Links: www.scapinoballet.nl

 

 Streaming Video: http://www.youtube.com/watch?v=JFYYD5lzCGs 

Photo Credits:

Choreography by Marco Goecke

Scapino Ballet Rotterdam

Choreography by Min Li  

Danced by Min Li

Scapino Ballet Rotterdam workshop 2008

Choreography by Min Li for Batsheva Dance Ensemble 2006 

Danced by Min Li and Michal Sayfan

Scapino Ballet Rotterdam

Choreographed by Georg Reischl for Scapino Ballet Rotterdam

Return to webpage: www.calarts.edu

Ella Ben-Aharon BFA '03

Israeli born, Ella Ben-Aharon, danced with the Kibbutz Contemporary Dance Company 2.

 

She moved to California and graduated with a BFA in Dance and Choreography from the California Institute of the Arts, where she choreographed and produced a full evening show “(in)Veiled”.

 

Upon graduation, Ella was invited to create for the Hubbard Street 2 (Chicago) and her video-dance “Im-Possible (2)” was presented at Dance Camera West Festival (Los Angeles) as well as ‘Wigged Production’ on the web.

 

She carries a Pilates Therapist Certification from Retrofit School of Pilates and a Master Teacher Certificate from PSC – ‘Pilates Sport Center’. Ella headed the PSC – Teacher Training Program and taught private Pilates sessions at the Reebok Sports Club/NY.

 

Since moving to NYC in 2004, Ella co-curated “Dance Conversations” with Neta Pulvmacher (‘04-’05) and co-founded TEA Dance Company that performed at the FLEA Theater, Merkins Concert Hall, DTW, HERE Arts Center, Joyce Soho and Danspace Project, St. Marks’ Church.

 

In 2006 Ella established YelleB, a non-profit Contemporary Dance Ensemble, where she combines her vision of the Arts and the Human Body. YelleB performed at Makor of the 92^nd St Y, University Settlement, Walpole Town Hall (NH), The Tank, The Ailey Citygroup Theater, The Puffin Foundation (NJ), HomeBase Project and the LABA Festival. Ella was an Artist-in-Residence at Makor and a guest teacher at the University of Florida.

 

Part A: The Meating, Ella’s first co-creation with new partner Edo Ceder was premiered at the LABA Festival at the 14^th Street Y. It has been invited to be performed at eh Goose Route Dance Festival (WV), Dumbo Dance Festival and Wave Rising Series. YelleB taught and choreographed at the World Dance Assembly, University of Wisconsin, the 2009 summer intensive – University of Florida and at the Adaptation Program at the JCC in Manhattan.

 

Ella and Edo will be presented at the Chelsea Art Museum and their new evening-piece Pericardium will premier at the 2010 season of the Joyce Soho.

 What brought you to CalArts?

I first arrived to the US (10 years ago!!!) to designed and teach a dance program at a summer camp in Malibu, CA. A friend mentioned CalArts to me as “really unique Art School.” During a few months of traveling, came the decision to attend school abroad and I started searching for the right place. From the schools I applied and got accepted to CalArts was the most attractive to me for three main reasons:

A – Only an Art school; live in a creative and inspiring environment with

       like-minded people

B – Small Dance Department; more personal attention

C – Focus on Choreography  

                                                                                                                                       

How has your CalArts educations been relevant to your professional path?

The education I got at CalArts, from technique, to academics, performance, design and collaboration, helped me find my strengths and weaknesses. Through the ongoing practical experiences, I have learned to articulate my intentions and vision, and recognized what is still becoming my own voyage as an artist (There is no perfection… always a progress…) On a less heady note – the 2 main areas I engage in currently; Anatomy (as a Pilates Master Teacher) & Artistic Collaboration (TRIALOGUE – an ongoing collaboration with an Architect and a Video-Artist), have definitely been seeded, watered and sprouted while at school.

 What advice would you give to our current or perspective students?

Take in as much as you can. Even if it feels overwhelming in the moment – you never know when knowledge comes handy… If you already have a sense of direction as for your career (dancer, producer, choreographer, designer…) start utilizing the information you retrieve through those eyes. Creating with the ability to see the bigger picture always leads to a well thought-out and a tighter production. 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

I have engaged in many conversations and interactions with people from other disciplines. I LOVED especially at critical studies – to learn how each person has his so very unique way of approaching the same subject matter; Musicians will pay attention to the rhythm / structure of a text, visual artist will approach it through the images, colors, textures, dancers will relate to the movement, the body and structural spatial arrangements. This observation and exchange had definitely opened my eyes as for different ways and perspectives I can develop towards one subject. It deepens my creative investigation, and allow my work to be more approachable by different types of audience.

During my last semester, I have had the luxury to produce an evening of my own, “(in)Veiled.” The piece was a collaboration with Benoit Beauchamp (Light design), Brian Stearns (Composer), Rachel Eberhard (Costume design), and Dave Cabrera (Video design.) We had a cast of 9 (AMAZING!) dancers and 4 live musicians. Having this experience supported by the faculty gave me a priceless experience of full production that every time I get to produce my own evening I am ever so grateful for! I believe it was a culmination of all the classes, ideas, curiosity, and thirst that developed due to the ongoing presence of art and creativity!

How did the technique classes prepare you for the physical demands of a career in dance?

Coming from a professional company prior to CalArts, I must say that technique classes were quite a humbling experience. I had a rebellion instinct to begin with (“too early in the morning! – been there done that”) As soon as I started to focus more internally and become interested in Anatomy, the possibilities of the human body, and how to keep it healthy while biting it up J – I took technique not only as craft perfecting discipline (and maintenance) but as an opportunity to explore different ideas while finding my own physique, quality and voice.

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

Without an exception, I find the entire required curriculum to be informative and practical. When I got certified in Pilates, I was pleased to find that my Anatomy Education is very strong. I knew more than other people in the course who have been in the fitness industry for years…

All knowledge and information I got in Dance History, Composition, Tech, Video, and Showings etc. are still an integral part of my thoughts and creative process.

How has the technical production requirements of the program informed the way you communicate about your work?

One of the most valuable experiences is the technical production requirement. Professionally, it opens doors for many of us to fields of interests and potential future occupation. It allows dancers to learn first hand what goes on behind the scene; how much work is actually being done to manifest each performance. In real life, (i.e out of the safe and nourishing environment of school) time is money – and often you find yourself teching an entire show in 15 minutes. Knowing terminology of stage / lights / sound, arriving prepared with a clear sense of what you want is VERY helpful for the process. Designers and stage managers I work with convey often their appreciation for the clarity of intention and communication while interacting during tech.

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career?

The knowledge that I had a mentor was always reassuring. I always felt that I have a place to turn to should I needed, and loved to have had someone mentoring and monitoring my process. The benefit of a small department, allowed an open door policy with all faculty members. Since each teacher has an area of specialty and different personality, it was very instrumental in finding the right ear with different feedback during the appropriate times.  

Do you continue to work or correspond with any CalArtians?

Yes! I have, I am and I most certainly will J

Because of the well-rounded program, CalArts graduates are known for their multiple skills and abilities. Beyond this, there is a unique sense of community and willingness to support each other’s work; as friends, colleagues, dancers, designers etc.

 About this Artist:                                            

 Links: www.YelleB.org

 

 Streaming Video:                                             

http://www.yelleb.org/page.asp?ID=29

http://www.youtube.com/watch?v=p403pxeY8CM

http://www.youtube.com/watch?v=20LIqqX0Afs&feature=related

 

  ... Patience! Working on a YouTube Page 

 

Reviews / Press:

 

1. http://77square.com/arts/dance/story_452100

2. http://www.dance-teacher.com/sections/business/128

3. http://www.exploredance.com/article.htm?id=1841

4. http://www.dance-enthusiast.com/features/7/

“The combined talents and experience, painstaking work, deep thoughtfulness, and earnest passion of this bright young company is producing serious art that feels universal, accessible, and expandable…”

 (Starr Siegele, “Attitude: The Dancers’ Magazine”)

 

 Please visit us at: www.YelleB.org

Upcoming Performances, Workshops or  Exhibitions:

 • May, 2009 - premiered “Part A: The Meating” @ The LABA Festival, NYC

 • May, 2009 - Teaching and choreographing at  the World Dance Assembly -  University of Wisconsin 

• July 2009 - Teaching a summer program at the University of Florida                                                                          

• July 2009 - Performing at Goose Route Dance Festival, West Virginia

• September 2009 – Performing @ DUMBO Dance Festival, NY

• October 2009 – “Pericardium” (the video) will be presented at the

      Tina B Contemporary Art Festival in Prague, Czech Republic

• October-November 2009 – Performing @ Wave Rising Series, NY

• Invited to create at the Chelsea Art Museum, NYC 

• May 2010 – Pericardium, premiere of a new evening piece @ Joyce SoHo, NYC

Photo Cedits:

"(in)Veiled"

Photo by Scott Groller

Dancers: Ryan Anthony Barrios, Norma Fong

CalArts, 2003

 

"Gardens"

Photo by Bruce Macdougall

Dancers: Ryan Anthony Barrios, Robert Lee Dillard, Carmen Nicole Smith,

                Jenn Weddel, Laurel Lynch, Lynn Huang, Vincent Mcloskey,

                Ruby Macdougall, Joy Havens.

Danspace Project, St. Mark’s Church – NYC 2006

 

"GoofsA"

Photo by Matthias Neumann

Dancers: Carmen Nicole Smith, Jonathan Fredrickson

MAKOR, NYC, 2007

 

"rooms"

Photo by Adi Shniderman

Dancer: Ella Ben-Aharon

HomeBase Project, Harlem, NY, 2008

 

"Part A: The Meating"

Photo by Julie Lemberger

Dancers: Ella Ben-Aharon & Edo Ceder

LABA Festival, NY 2009

 

 Return to webpage: www.calarts.edu

Jesse Kile BFA '98

Jesse Kile graduated from the Sharon Disney Lund School of Dance at CalArts with a BFA in 1998. She then ran off on Phish tour for the next 6 years, where she developed a nasty rock and roll habit and was known on the scene as the groupie who couldn’t get had. Not satisfied with watching musicians being the only rock stars, Jesse got it in her head to legitimize her groupie antics by founding Groovehoops, a glam rock hoop circus. Groovehoops spent 5 outrageous years touring the US with rock bands like the String Cheese Incident. Sound Tribe Sector Nine, The Brazilian Girls, George Clinton and the Parliament Funkadelic. Just to name a few (and because she can’t remember the rest!).

After the grueling Groovehoops schedule tweaked her body as well her mind, Jesse retired from the scene. She now enjoys using her neuroceptors for wholesome pursuits like producing the beautiful film-work by Bec Stupak of Honeygun Labs. As well as being the Dance Mama for boogie genius Malcolm Stuart.

Jesse spent the summer of ’08 acting in Ang Lee’s upcoming feature “Taking Woodstock”. She plays a similar character like the one she used to be when she was on Phish tour. Like the hoop, it all comes back full circle.

 

What brought you to CalArts?

I graduated from Orange County High School of the Arts.  It was a natural progression from there to CalArts. Looking back, it was the only path I could’ve chosen. Most of the faculty at the arts high school were somehow connected to CalArts and they guided me “home” where I belonged.

 

How has your CalArts educations been relevant to your professional path?

100% of what I have always done professionally comes from my education at CalArts. This sounds like an advertisement, but it’s true. I work in a lot of different realms in NYC artistically and my education qualifies me for that. Whether I’m directing, producing, writing, acting, staging or, of course, dancing, I feel confident in the decisions I make because CalArts geared me up to call the shots. 

 

What advice would you give to our current or perspective students?

CalArts can feel like a Dionysian paradise, but it’s not. You’re there to work. The party vibe at school can be uber interesting, but other students don’t have to rely on their bodies as much as the dance majors. I guess I’m saying party lightly. Never let it distract you from your art. Also, I can’t stress enough how much the faculty will influence you, so soak it up. They’re like parents, at times what they say may bum you out but in the end, they’re always right.

 

On the set of "Taking Woodstock"

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

I was and am a super collaborator. I learned at CalArts that my real talent is in working with others on their art, making it better and helping them fulfill their vision.

I was really into checking out the music school and seeing what they were up to – and not just because that was where the cute boys were. One of the things I’m so grateful for is that CalArts gave me the ability to work with all kinds of music, with composers, and have actual knowledgeable input. They taught me a lot more than just how to count.

Another thing I was really into was animation. I became a fan of the School of Film/Video. I am now the producer for an amazing filmmaker who is also a motion graphics animator and I know how she does her thing.  It was never foreign for me to work in this medium due to the education I received from being around animators.

I still study Buddhism after taking a Zen and Art classes. So you could say I kinda picked up a religion at school as well.

I was in the CalArts comedy improv group for two years. I was the first non-theater major to join. Christyne Lawson made me audition to help practice getting over an unreasonable fear for auditions. The big surprise was that I got into the group. It was a harrowing two years. I don’t think anything has made me feel more electrified and vomitous at the same time. Comedy improv taught me to put the balls to the wall and go for it. The experience with the group served me well, it gave me the courage to make a complete ass of myself in the hope of turning out some good work. This experience helped me quell my fears and now I enjoy auditions.

 

With Director Ang Lee

How did the School of Dance fulfill your need to forge a career in dance?

CalArts really equips you with the ability to have DIY company and make it first class. I founded a glam rock circus several years ago, called Groovehoops. We started out with no cash and quickly became a cult hit in NYC. The whole thing was totally hippie-rigged and silly. But people loved us and thought we were way fancier than we really were. We produced a light show (thanks DK!!!) and designed and constructed some super rad costumes. We handmade our cirque gear, booked our own shows, made our own website, wrote our own contracts, etc.  We were shameless self-promoters, which I think is something I had picked up at school. There is so much to see at CalArts that you really have to rally people to see your work sometimes. I never felt we needed help achieving success outside of ourselves. Groovehoops was a self-contained entity. Looking back on it now it seemed quite easy. Oh yeah, we were self-taught in our cirque craft as well.

Now I’m the Jiminy Cricket for my favorite dancer/ choreographer/ artist Malcolm Stuart. I help guide him through his career and I try to hand down to him my experience and education from CalArts. He makes me so proud to be able to assist in his development as an artist!

How did the technique classes prepare you for the physical demands of a career in dance?

The dance faculty ingrained technique so deep into my very being that I no longer have to take class. When I dance I still have all my chops! Though I wish I worked even harder back then so now I’d have even more chops to rest my laurels on!!!

I also left school with the belief that I am capable of creating my own movement technique, which I did with the hoops.

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

I’m a dance history nerd. I totally love all those old school stories. It’s our heritage as dancers. I’m always going back and referring vintage work, like Alwin Nikolai and the Ballet Russes. Those were some far out artists breaking rules. They had a radical outlook. I could daydream about them forever.

I’ve been known to teach a little Pilates here and there (30 hrs a week for 10 years) so the anatomy was really handy.

I’m not a talented choreographer, I learned that in composition class! I am however, a bad-ass rehearsal director. I espeacially love staging work and editing other choreographers work. 

How has the technical production requirements of the program informed the way you communicate about your work?

I am completely at ease with tech crews. I rarely find it a challenge to communicate my needs in production with them. Also, if I’m not lucky enough to have a crew I know how to fake it like I do. I learned how to stage a production top to bottom on a shoestring budget and make it look slick. Again, this was something I learned at CalArts.

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career?

I am so used to needing a mentor that I keep collecting them. I now have Celia Costas as my production mentor, Michael Hausman as my assistant director mentor, Kathleen Chopin as my acting mentor, and Joshua White as my everything mentor. I’m sooo lucky. It may not be the healthiest thing -but I was very concerned with impressing my mentor at school. Now I’m very concerned with impressing my current mentors, it’s a device I use to kick my own ass into achieving better work than I thought possible. I urge students to continue to source out mentors after school, you never stop needing them.

 

Do you continue to work or correspond with any CalArtians?

I’m in touch with a bunch of CalArtians. I work with some, and I socialize with some. I continue to have relationships with CalArtians to this day!

Artwork by Bec Stupak, featuring Jesse Kile as the Mushroom Princess far right

Current position in occupation. 

Producer, Honeygun Labs

Assistant Director, Colorwheel

Any other degrees or certifications that you have earned? 

Pilates Certification

 

Links for this Artist:

http://www.honeygunlabs.com/

http://colorwheelperformance.com/

http://groovehoops.com/videos.html

Streaming Video:

Amanda Lepore,Cotton Candy

Directed by Bec Stupak, Produced by Jesse Kile

Honeygun Labs

http://www.youtube.com/watch?v=54_hTQk9GqM

Barbie's 50th Runway Show

Producer

http://www.barbiemedia.com/?home=1

May 2009

Taking Woodstock

A film by Ang Lee

Actress, EarthLight Player

August 14^th 2009

Reviews: 

http://groovehoops.com/print2.html

 

 Return to webpage: www.calarts.edu

 

 

Sahar Javedani MFA '02

Sahar Javedani, Artistic Director

Sahar Javedani is originally from San Diego, California by way of Tehran, Iran. Javedani is Artistic Director of compani javedani, a contemporary dance theater ensemble devoted to cultivating an empowered, intelligent and socially responsible community uniting all generations, cultures, races, and religions. Javedani has a Master of Fine Arts in Choreography and Integrated Media from California Institute of the Arts, a Bachelor of Arts in Dance and Theater from Hollins University, and was nominated for the 2008-2009 Rolex Mentor and Protégé Arts Initiative. compani javedani’s recent performances and collaborations have included the Lincoln Center Out of Doors Festival “”Dreams of a Caspian Rain,” Abrons Art Center “Maahinen Neito,” Alvin Ailey Citigroup Theater, Tribeca Performing Arts Center “from Persia, with Measured Love,” Brooklyn Museum “Bazm-o-Razm” with Susan Oetgen and Likeness to Lily, Performance Mix Festival at Joyce Soho “Reparations” with James Scruggs, Triskelion Arts Center, Movement Research at DTW, The Chocolate Factory, Voice and Vision Envision Retreat and Lab at Bard College, Dance Conversations at the Flea Theater, Whitewave Dumbo Dance Festival and Whitewave Wave Rising Series, “In the Valley of Damavand,” Dance New Amsterdam, Empire Fulton Ferry Park, New York Theater Workshop, Fort Greene Park Dance for Peace Festival “Once upon a Time in India,” American Dance Guild’s festival at the Hudson Guild Theater, Dixon Place, The FAR Space, newsteps and Ear to the Ground Series at Mulberry Street Theater, Solar One Dance Festival, and the Chashama Oasis Festival “Story of Devdas and Paro.” Sahar Javedani is currently participating in her second year as an Artist-in-Residence at Tribeca Performing Arts Center and in the 2008-2009 DTW Fresh Tracks Performance and Residency Program and most recently in the 2009-2010 Dance Theater Workshop Studio Series creative residency.

What brought you to CalArts?

I have to thank my dear friend and collaborator of sixteen years Kate Conklin for bringing me to CalArts. She completed both her bachelors and masters degree in music at CalArts and is currently on faculty as director of the Bulgarian Vocal Ensemble.

 

How has your CalArts education been relevant to your professional path?

As a prospective student for the MFA program, I knew that I wanted to pursue a double concentration in Choreography and Integrated Media. CalArts was a perfect fit, I felt completely embraced by all of the departments including music composition, puppetry, film, and animation. It is through these collaborations that I have developed strong and enduring relationships with fellow artists, a priceless resource of talent indeed! 

What advice would you give to our current or perspective students?

I have a consistent comment that I share with all prospective students that you can have two distinct experiences at CalArts. 1) Stay focused and rooted in your school of choice, perfect your craft, build a powerful repertory/portfolio, etc. and 2) Open your creative heart and embrace the opportunity to diversify your talents in collaborative work with students in other departments.

 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

I had the great fortune of collaborating with artists in the various departments at CalArts but most notably in commissioning original music for my MFA 1 Thesis Concert from Kate Conklin and Bryan Landers which included their live performance with guest artist John Bergamo. I studied North Indian Sargam as well as Balinese and Javanese dance. Both years, I worked with fellow artists in the Integrated Media program to develop installations for the annual showcase and collaborated with students in the puppetry program for a thesis performance. I continue to work with composer Bryan Landers, who designed the compani javedani website and commissioned music for a few large-scale performances.

How did the School of Dance fulfill your need to forge a career in dance?

When I came to CalArts, I wasn’t entirely convinced of a future in dance per se, but with a goal to deepen in the areas of performance studies and composition. The MFA program allowed me the freedom to explore various digital modalities and fortify my knowledge of technical theater, design and execution. The unlimited access to desirable resources as rehearsal space, dedicated students/performers, a media lab, etc. all played integral roles in strengthening my voice as a dancetheatermaker.

How did the technique classes prepare you for the physical demands of a career in dance?

In all honesty, I struggled with technique while pursuing my degree. I don’t believe I was a very good listener in class, and I always wanted to change the dance phrases to make them more meaningful for me, more theatrical, more narrative, I desperately wanted to fall in love with the dance. In retrospect, I believe I tried as hard as I could with the strengths I had at the time. Where I believe I excelled was in composition and in weekly showings where I was able to clearly speak about work in a fiercely honest and critical manner.

 

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

I believe that I came to CalArts with a very strong background in dance history, anatomy, etc thanks to a wonderful bachelor of arts program at Hollins University. What I quickly realized in pursuing my MFA at CalArts was the imperative requirement for self-discipline and sustained vigor. I spent many evenings locking myself up in the media lab until 4am, editing film, working diligently to hone my vision, how I want the audience to experience that which I have created. This practice has followed me to this day, and yes, cultivating balance in my daily life is a constant challenge and I wouldn’t want it any other way (insert devious and satisfied smile here.)

How has the technical production requirements of the program informed the way you communicate about your work?

As the daughter of an architect and set designer, raised in musical theater and opera, I came to CalArts with very strong technical skills, which played a great role in communicating with fellow lighting designers and designing costumes for every dance concert presented. The technical education I received at CalArts helped me to clarify in a concise and impactful manner the vision I desired to make manifest with my own work. 

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career?

I believe the strongest mentors I had were in my fellow collaborators and the dancers I worked with, which I believe included nearly the entire first year dance student base. I required unabashed honesty from them and they delivered. I was always very conscious of making their involvement in a project worthwhile.

 

Do you continue to work or correspond with any CalArtians?

I love this question! You could say I’m one of the strongest advocates of CalArts. Immediately after graduation, I served two years on the CalArts Alumni Board of Directors and continue to sing the praises of CalArts to anyone who will listen. I continue work to with dancers who’ve graduated from the BFA dance program and support the work of my fellow alumnae from the dance, music, theater and film schools.

Current positions in occupation:

Artistic Director : compani javedani

World Music/Dance + Yoga Teaching Artist: Learning thru an Expanded Arts Program, Inc.

Group Exercise Instructor in Bellydance and Athletic Stretch: Reebok Sports Club/NY

Any other degrees or certifications that you have earned?

Master of Fine Arts California Institute of the Arts in Choreography and Integrated Media 2002

Bachelor of Arts Hollins University in Dance and Theater

 About this Artist:

 

Links:

http://javedani.com/

http://www.myspace.com/saharjavedani

http://www.facebook.com/people/Sahar-Javedani/643748229

http://twitter.com/saharjavedani

http://www.youtube.com/user/saharjavedani

Streaming Video:

http://javedani.com/

http://www.youtube.com/user/saharjavedani

Reviews:  

http://www.nytimes.com/2009/01/27/arts/dance/27trac.html?_r=1&ref=arts

http://idanznews.com/2009/01/26/and-the-winner-isfresh-tracks-dance-theater-workshop-january-23-2009.aspx#comment-1747212

http://www.offoffoff.com/dance/2009/fresh_tracks_2009.php

http://www.dancespirit.com/articles/1695

Upcoming Performances, Workshops or Exhibitions:  

May 16-17, Danspace@BRICstudio, Brooklyn, NYC

June 20, American Dance Guild Performance at the Construction Company

June 14-28, Guest Artist Voice & Vision Retreat, Bard College

July 23-25, Solar Powered Dance Series, New York City

 

Photo Credits:

"In the Valley of Damavand" with Angel Vasquez and Megan Sipe

 "In the Valley of Damavand" with Kelley Branch and Megan Sipe

"Dreams of a Caspian Rain" with Angel Vasquez, Makenzi Rasey, and Ruby MacDougall

"in the Middle, somewhat aggravated" with Sahar Javedani

 Return to webpage: www.calarts.edu

Jessica Gaynor MFA '02

Jessica Gaynor holds a BA in American Studies from Brown University and an MFA in Dance from California Institute of the Arts. Since moving to New York in 2003 her work has been performed at Triskelion Arts, Dance Space, Williamsburg Arts Nexus, Jennifer Muller/The Works HATCH series, The Kitchen, Hudson Guild Theater, Brooklyn Arts Exchange, The Merce Cunningham Studio, DancenOw/NYC, The FAR Space, Movement Research and Brown University. Ms. Gaynor is a co-founder of ThisThat Dance Collective, through which she produced two New York dance seasons, and is currently Artistic Director of Jessica Gaynor Dance. She was the repertory guest choreographer at the Fieldston School in 2005, and artist-in-residence at Brown University in 2006. She currently teaches dance at The Brearley School and is the Assistant Director of Alice Teirstein’s Young Dancemakers Company.

What brought you to CalArts?

CalArts was the only place I found where I could truly focus on choreography.

 

How has your CalArts educations been relevant to your professional path?

CalArts never pushed a particular aesthetic on me. As a choreographer I was encouraged to be an individual, develop my own aesthetic, and take chances in my work. To this day I have continued to explore movement ideas, develop new vocabulary, push beyond my comfort zone, and experiment with new ideas.

 

What advice would you give to our current or perspective students?

Take every class you can and take in as much information as you can. It becomes difficult to fit in dance class, work, and rehearsals in your life outside of school. I never slept through a dance class at CalArts and I think that is one of the best things I did for myself while I was a student.

 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

I tried to collaborate as much as possible. I really enjoyed the collaborative composer/choreographer class. From there, I met a composer who ended up writing music for my thesis concert. I have since worked with various CalArts composers and musicians in New York, which has enriched my work tremendously. For my thesis concert, I also collaborated with a costume designer, a technical theater major who built a set for my show, and a graphic designer who worked on both the poster and program for my concert. Not every element of the show was successful, but I realized that school was a safe place to experiment, and so I tried to do so in every element of my concert. This idea of collaboration has influenced my work today.

 

How did the School of Dance fulfill your need to forge a career in dance?

Before coming to CalArts I didn’t feel ready to show work in New York. After leaving CalArts, I formed a dance company and began showing work in small festivals in New York City and worked my way up to producing full evenings of work. CalArts gave me the confidence I needed to perform my work in professional venues.

 

How did the technique classes prepare you for the physical demands of a career in dance?

I never missed a dance class at CalArts. Taking ballet and modern dance everyday both improved my technical abilities and made me understand how important it is to take care of my body through disciplined study. After CalArts I continued to take class on a regular basis, which helped me as a performer and a choreographer.

 

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

One of the best courses was the collaborative course between choreographers and composers. Since that class I have worked collaboratively with composers, live musicians, and taped music in an informed way. I am constantly questioning the relationship between music and dance. My favorite class at CalArts was Showings because I learned so much from the open conversation that existed in that forum.

 

How has the technical production requirements of the program informed the way you communicate about your work?

I was the TA in the theater during my time at CalArts, and I learned a great deal about lights, sound and the technical side of dance as a whole. This knowledge has been so important to my work as a choreographer. I am always prepared when I enter a technical rehearsal. I know what type of lights I want and I have the vocabulary to ask for them. 

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career?

As an MFA student, I felt like I was able to ask for feedback from many members of the Dance Faculty. I was constantly seeking critique while at school in order to get better at the craft of choreography. I am currently the Artistic Director of my dance company, as well as a full time dance teacher, and Assistant Director of a summer dance company for high school dancers, so I work hard at being a mentor. Similar to my experiences at CalArts, I try to be supportive, open and honest as a mentor to young artists.

 

Do you continue to work or correspond with any CalArtians?

I currently have three dancers in my company whom I met at CalArts: Sundara Duncan, Blythe Proffitt and Angel Vasquez, and I worked with Katie Diamond, Wan-Chen Chang, Lisa-Marie Elliott and Haley Hauglum in the past. My husband, Quentin Tolimieri, graduated from the Music School at CalArts and I have collaborated with him and many other musicians and composers from CalArts who are now living in New York. There is a large CalArts community in New York and I both work with and correspond with many other CalArtians on a weekly basis.

 

Current positions:

Artistic Director, Jessica Gaynor Dance

Assistant Director, young Dancemakers Company

Dance Teacher, The Brearley School

 

Other degrees or certifications:

BA, Brown University

 Links for this artist:

 www.jessicagaynordance.com

 Upcoming Performances, Workshops or  Exhibitions:

 March 28, 2009 - DanceNow/NYC RAW Festival  Studio Show at DTW

 April 7, 2009 – 60x60 Dance Festival at  Galapagos Arts Space

 

Streaming Video:

http://www.youtube.com/jessicagaynordance

Photo Credits:

Enlarged to Show Texture (2008)

Choreography by Jessica Gaynor

Dancers: Sundara Duncan, Angel Vasquez, Ashlie Kittleson, Blythe Proffitt

Photo by Yaniv Schulman

 

Enlarged to Show Texture (2008)

Choreography by Jessica Gaynor

Dancers: Angel Vasquez, Renee Kurz, Ashlie Kittleson, Blythe Proffitt, Sundara Duncan

Photo by Yaniv Schulman

 

Enlarged to Show Texture (2008)

Choreography by Jessica Gaynor

Dancers: Renee Kurz, Blythe Proffitt, Angel Vasquez, Ashlie Kittleson

Photo by Yaniv Schulman

 

Perched (2006)

Choreography by Jessica Gaynor

Dancers: Sundara Duncan, Katie Diamond, Ashlie Kittlson, Blythe Proffitt

Photo by Maribel Arce

 

Standstill (2007)

Choreography by Jessica Gaynor

Dancers: Renee Kurz, Angel Vasquez, Jin Ju Song

Photo by Maribel Arce

Return to webpage: www.calarts.edu

Wanda Gala BFA '05

Wanda Gala is an arts educator and choreographer from the US whose work integrates the somatic perspectives and histories of its participants into the creation and teaching of dance. Her performance works examine the historical and contemporary distortions of individual and cultural ideals, mythologies and fantasies. These," post nuclear family tales" (LA Weekly) occur in theatrical, installation, filmic and site-specific contexts. Individual and collaborative works have been presented in the US and abroad in Poland, Switzerland, Scotland, and Italy. Recent showings include the screening of “Okno (Okna, drzwi, sciany)” at the American Dance Festival and Festival Era Nowy Horyzonty in Wroclaw, Poland. And, The Blue Storm, a site specific work at the North Burial Grounds in Providence, RI: one of Rhode Islands oldest burial grounds dating back to 1700.

Gala has worked with children in public and private schools in the US and has also lead workshops for the past three years at the Thirteenth through Fifteenth International Contemporary Dance Conferences in Bytom, Poland. She has served as an artist in residence (2006-2007) for the Wolf Trap program at the Music Center of Los Angeles and the Beacon Center for Arts (2007-2008) in Brooklyn, NY. She holds a BFA in Dance from California Institute of the Arts (2005) and is currently a candidate for a Masters in Ethnochoreology at the Irish World Academy of Music and Dance at the University of Limerick.  

 What brought you to CalArts?

 I found it listed inside of a Performing Arts Handbook as one of  the top ten schools in the country for dance. I was interested in  continuing to live in Los Angeles because I was engaged in the  commercial dance world, but I think most people who know me  would laugh at that reality and its outcome.

 What kept you at CalArts?

 The continuous inspiration I received from, as well as, the radical  hospitality (charity) of my close friends.

 How has your CalArts education been relevant to your  professional path?

 My education at Calarts gave me a language for dance: a linguistic  and experiential vocabulary that continually serves me in expressing the forms value. Secondly, yet equally important, it gave me a rhythm, a pace with which to engage the world as an art-maker. This institution gave me a good sense of how much can happen in a day and how I can best go about facilitating that reality for myself.

What advice would you give to our current or perspective students?

Stick to your guns, if you have a vision follow it through. It is a gift to be a part of a community in which you have the resources to create mindfully. Do something you’ve never done before and don’t stop there. Do it because you can.

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice? 

Studying performance theory, philosophy and anthropology in the School of Critical Studies presented a multiplicity of perspectives within which to interpret the performance act.  These were most influential, next to courses in dance composition, where a whole other intelligence was promoted and actualized. Between these practical and academic discourses came a vision of why I may ‘dance’ in this world today (rather than some other social service) and how to best expand upon that sense. 

How has the technical production requirements of the program informed the way you communicate about your work? 

Under the direction of Technical Director DK and Assistant TD Jaime Hunter the lessons I learned within the theatre were invaluable. Having a sensitivity to realistically gauge and communicate your needs to the TD of your host venue not only creates a friendly work environment, but also saves time, money, energy and has insured my mental well being. This aspect of the BFA course in Dance at Calarts has been of great value.

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student?

The dance community at Calarts is tight knit. A personal interaction with each of your professors on, practically, a daily basis is the norm. My impression was that the faculty as a community worked together as my mentor providing me with a solid spectrum of opinions from which to pool and direct my own course of action as an artist.

Do you continue to work or correspond with any CalArtians?

Yes. I have been collaborating with experimental composer Bob Bellerue (MFA 2003) for the past five years. I continue correspondence with, and keep meeting more, alumnus that share similar addictions to their practical pursuits.  Some of them are engaging in some of the best performance actions out there.

Current Occupations:

Independent Choreographer, Movement Consultant, Arts Educator, and Post-Graduate Student

Any other degrees or certifications that you have earned?

Candidate for Masters in Ethnochoreolgy, The University of Limerick 2009

Link for this Artist:

www.crashfall.org

Blog:

www.movementresearch.org/publishing

 

Photo Credits:

Wanda Gala from,” Okna, Drzwi, Sciany” made in collaboration with Kamila Chomicz, in Warsaw, Poland 2006. US premiere, ADF Dance on Camera 2007.

"Lili’I": Performed by Lilia Kibarska. REDCAT, Los Angeles, CA (2006).

"W Ruchu Na Skos": Performed by Brooke Smiley. Highways Performance Space, Santa Monica, CA (2008).

"Dunmore Caves Project": Images from left: Dunmore Caves Ireland, Wanda Gala, Brooklyn, NY (2007).

"Solome ( w/Bob Bellerue)": Performed by Wanda Gala and Bob Bellerue. Galleria Entropia, Wroclaw, Poland (2006).

Activities 2009:

 6 March 2009

 Student Symposium: Dance Research Forum Ireland

 Irish World Academy for Music and Dance, Limerick, Ireland

http://www.danceresearchforumireland.org/

 17 – 26 April 2009

 IPEDAK 2009 - Intensive Programme in Ethnochoreology and Dance Anthropology                                                       Norwegian University for Science and Technology                                                                                                     Trondheim, Norway

http://www.rff-sentret.no

 19-22 June 2009

 The Society of Dance History Scholars Annual Conference                                                                                                Stanford and San Francisco, California 

http://www.sdhs.org/index.html

 28 June- 11 July 2009                                                                                                                                                          Projekty Społeczne  16^th Annual Contemporary Dance Conference and Performance Festival                                            Bytom, Poland

http://15conference.stt.art.pl/

 31 July- 8,August 2009
 PAF- Performing Arts Forum
St Erme Outre et Ramecourt, France

http://www.pa-f.net

 For short works set on and in collaboration with other performing artists, please visit:
 In NYC: Narcissister, nightly at The Box: http://www.narcissister.com
 

 Return to webpage: www.calarts.edu

 

 

 

Maria Hassabi BFA '94

Maria Hassabi

Director/Choreographer/Performer 

Maria Hassabi is a director/choreographer/performer. Her work employs extreme physicality and aesthetic precision, to create urban worlds filled with iconic images. Hassabi’s works live within a tense juncture of dance, performance art and installation.

Born in Nicosia, Cyprus, Maria Hassabi moved to the United States in 1990 to study at the California Institute of the Arts in Los Angeles, where she received a BFA in Performance and Choreography. In 1994 she moved to New York City and continued her studies in various “release” techniques and The Alexander Technique. She has performed with many independent choreographers and was a member of Chamecki/Lerner Company for 8 years.

Since 1999, Hassabi has created four evening-length works and eight short-form pieces.

Hassabi’s works have been performed throughout the US, at venues such as PS122, The Kitchen, Dance Theater Workshop, P.S. 1 Contemporary Art Center, Danspace Project at St. Marks Church, The Joyce Theater and Ballroom Marfa, Texas. Internationally Hassabi’s work has been presented at ImpulsTanz Vienna, TSEH-Springdance/Dialogue Moscow, In- Presentable Festival Madrid, Musée Géo Charles in Grenoble, France and numerous other European festivals in Cyprus, Greece and Portugal. Hassabi has collaborated closely with artists from various disciplines since 1997, including dancers, visual artists, photographers and fashion designers.

Maria Hassabi is currently developing a new diptych work titled SOLO SHOW, consisting of two evening-length performances. Both of the evening-length works will be presented at Performance Space 122 (PS122) in New York City concurrently during the Fall of 2009.  The works will be co-produced by PS122, the French Institute Alliance Francaise (FIAF) as part of their Crossing the Line Festival, and the 2009 Visual Art Performance Biennial, PERFORMA 09.  

Her first evening-length piece, Lights premiered at the Biennale of Young Artists of Europe and the Mediterranean in Sarajevo-Herzegovina in 2001, and was subsequently presented in New York City at P.S. 1 Contemporary Art Center.  In 2004, Dance Theater Workshop commissioned and presented the evening-length Dead is Dead, which was followed by the 2006 premiere of Still Smoking at The Kitchen. Hassabi’s most recent evening-long performance GLORIA was chosen as one of the best performances of 2007 in both The New York Times and TimeOut NY.  The work premiered at BALLROOM Marfa, Texas in May 2007 as a trio, and then in New York at Performance Space 122 in November 2007 as a duet. Roslyn Sulcas of The New York Times wrote, “A piece of pure theater in which the cumulative effect of their disaffected, sculptural poses was as compelling as it was mysterious.”

Hassabi has received funding for her work from the Lower Manhattan Cultural Council, Foundation 2021, The Brown Foundation, and The Allison Sarofim/990Manegement Trust.  

 

 

 

 "The boundaries between dance,  artwork,  installation and  performance  are subtly  blurred... every sculptural  position  suggests  unverifiable meaning."

 THE NEW YORK TIMES, ROSLYN  SULCAS, November 10,  2007

http://www.nytimes.com/2007/11/10/arts/dance/10roun.html? =Top/Reference/Times%20Topics/Organizations/D/Danspace%20Project

Other degrees or certifications:

"Pilates Method of Body Conditioning", certificate

 

 Links for this Artist:

 www.mariahassabi.com

  Streaming Video:

 www.mariahassabi.com

 www.youtube.com/mariahassabi

 “What made “Dead is Dead” work so  well…  was its luck of pretension and its  skillful staging and overall dramatic  arc."                                     

THE NEW YORK TIMES, Jennifer  Dunning December  15, 2004

http://www.nytimes.com/2004/12/15/arts/dance/15hass.htmln=Top/Reference/Times%20Topics/Organizations/D/Dance%20Theater%20Workshop

Return to webpage: www.calarts.edu

luciana achugar '95

Artistic Director/Choreographer

luciana achugar  

luciana achugar is an Uruguayan choreographer based in Brooklyn. 
She moved to New York in 1995 after graduating from Cal Arts. In NY she worked as a dancer with several influential choreographers including Maria Hassabi, Chameckilerner and John Jasperse. From 1999 to 2003, she worked in a close collaborative relationship with choreographer Levi Gonzalez and has been doing her own independent work since 2002.

achugar has created six independent works, the last one of which The Sublime is Us premiered at Dance Theatre Workshop in October 2008. Her work has been presented in NY at Movement Research’s MELT Festival; the Ensemble Studio Theatre; The Latino American Dance: Not Festival Project; CANADA Gallery; Klaus von Nichtssagend Gallery; La MaMa; Abrons Arts Center; Danspace Project and Dance Theatre Workshop; in Cambridge Massachusets at the Green Studios and in Uruguay at the Festival Iberoamericano de Danza and the Centro Cultural de España. 
The Sublime is Us will be presented again by DTW this January 8 & 10 as part of the NY APAP Conference. In April 2009 she will present A Super natural Return to Love (2004) at the Walker Art Center in Minneapolis, MN.

achugar received a BESSIE Award as Creator/Choreographer for her first full evening-length piece Exhausting Love at Danspace Project which premiered in November 2006 and most recently, in November 2008, she accepted Tere O'Connor's BAX10 artist and artists in progress "Passing it on Award", The BAX10 honors individuals in the arts who have revealed and transformed our creative world, deepened the definition of their field and paved the way for others.

luciana achugar is a 2008 New York Foundation for the Arts fellow in Choreography. She was a 2007 Choreography Fellow of the Maggie Allesee National Center for Choreography at Florida State University and a Sugar Salon Artist, a program developed by WAX in partnership with the Barnard College Department of Dance. She was a 2001-2002 and 2002-2003 Movement Research Artist-in-Residence and has been in Residencies at Barnard College, Bennington College, DTW’s Outer/Space Program, the LEX-Dance Summer Residency, MANCC at FSU and at the Daghdha Dance Company in Limerick, Ireland.

She is a 2008 recipient of Building Up Infrastructure Levels for Dance (BUILD), a program of New York Foundation for the Arts. BUILD is a JPMorgan Chase Regrant Program, made possible by The J.P. Morgan Chase Foundation, with additional support provided by The Starry Night Fund of the Tides Foundation. Her work has received support from the Meet the Composer Fund; the Puffin Foundation; The Leonard and Sophie Davis Fund; and from public funds from the Manhattan Community Arts Fund, supported by the NYC Department of Cultural Affairs and administered by the LMCC.

 

What brought you to CalArts?

I got to CalArts through a recommendation of a faculty member at Northwestern University whom I had had an interview with and who suggested that CalArts would be the right place for me.

 

How has your CalArts educations been relevant to your professional path?

It was instrumental in developing a strong sense of what I was most interested when it came to Dance as an art form, and in learning to be eloquent when talking about work. It also helped me develop my own sense of discipline and rigor when it comes to approaching my career.

 

What advice would you give to our current or perspective students?

I would advice them to learn to write proposals for projects and to learn some other skill besides dancing because it is really difficult when you get out of college to start to build one’s career just with dancing skills.

 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

Just by being at CalArts one gets to meet other students from different schools so as the years went on I began to be more aware of what was going on in other schools and was exposed to a lot of music and visual art especially which greatly influenced my view of art in general. I was mostly influenced by the art school because it opened my mind up thinking of work conceptually and by several of the Critical Studies courses I took while I was there. Some of those courses helped me articulate ideas I already had but didn’t know about some of the reasons I was so drawn to working with the body as a medium.

 

How did the School of Dance fulfill your need to forge a career in dance?

It helped me develop a relationship to dance that was so much more specific and focused than when I started my first year, just wanting to dance but not having a specific path within it. It encouraged me to make my own work and it prepared me by giving me all the responsibility that it comes with producing a show; from choosing dancers to scheduling rehearsals, collaborating with costume designers, composers and lighting designers. It encouraged all of the students to see each other’s work and give each other feedback creating a strong sense of dialogue which kept me engaged and has continued to in my relationship to contemporary choreographers in NYC.

How did the technique classes prepare you for the physical demands of a career in dance?

The consistency of the technique classes and the importance given to attendance helped me wanna seek out the same level of consistency in my own practice once I was out of college. The Ballet classes felt incredibly helpful in organizing my body and they did not feel like they were imposing the classical aesthetic in terms of style but just giving me an incredible tool to use for any kind of work. The Modern classes felt a bit dated when I was there (‘91-‘95) but the regularity of visiting artists that were connected with more contemporary ways of moving and thinking of technique was incredibly influential and helpful. In fact, I went on to study with some of those visiting artists, such as Shelley Senter and Ralph Lemon, once I moved to NY.

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

The Dance History courses were particularly influential because I had a very limited knowledge of what had happened in Dance since Martha Graham when I got to CalArts. I was most specifically influenced by learning about the Judson Church Post-Modern Movement during the 60’s and 70’s, and this prompoted me to go much deeper into studying these forms, going straight to the Trisha Brown Company to study more after College.

The Composition classes were without my knowing it at the time what mostly prepared me for my career. Having had numerous opportunities to create without so much pressure of succeeding while in school gave me an opportunity to play and learn about what my tendencies and recurring interests were. I learned  so many different ways to make material and arrange it and most of all I learned to look at other people’s work, to talk about it and to learn what I like in dance through seeing their work.

How has the technical production requirements of the program informed the way you communicate about your work?

The fact that I spent so much of my time at Theater 2 while being in school made me incredibly comfortable and familiar with the technical aspects surrounding a production and it taught me the language that one needs to use in order to communicate with the lighting designer and the crew for everything to work smoothly and to feel a mutual respect with your collaborators; especially when time is so limited in those situations.

 

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career?

I think my relationship to my mentor was a critical part of my education at CalArts. I had a particularly traumatic experience since my first mentor was Rebecca Bobele who passed away when I was on my second year. She was very influential because of her passion for choreography and fierce dancing.

I guess you could say that in some ways I have mentored some of the dancers that have worked with me for a few years. I have given a lot of advice and speficic feedback in terms of choreography and career choices. It feels really good to know that you have something to give back.

 

Do you continue to work or correspond with any CalArtians?

Yes! I have a lot of close friends that I am in close contact with who are all here in NY. When I first moved here they were my support group and practically like my family.

I started choreographing with Levi Gonzalez with whom I had done a lot of work while at CalArts. I danced for Wendy Winters and for Maria Hassabi before I started choreographing. Later Wendy became a Costume Designer for Dance and she desgined costumes for me and for Levi. I built a Dance Loft space to live and rehearse in from scratch with Maria Hassabi in 2004 but we unfortunately ended up losing it. (NY real estate is a nightmare). And I continue to be a strong supporter of both Maria’s and Levi’s work and they are of mine.

Last but not least I have been collaborating very closely for the last three years with Michael Mahalchick (an CalArts alumni form the MFA Art program), mostly he has been making music for my shows. But it has become more like a relationship to a dramaturg since he becomes deeply invested in the process of the work.

Any other degrees or certifications that you  have earned?

I became a Pilates Instructor with The Pilates  Method.

  

  Links for this Artist: 

  www.lachugar.org                                                                     

  www.youtube.com/lachugar

  www.dtw.org

  http://movementresearch.org/performancejournal/

  http://www.mancc.org/2007-2008-artists/luciana-achugar-2.html

   

  

 Photo Credits:

 Headshot: luciana achugar. Photo by Chase Granoff.

 “legs”: from “A Super Natural Return to Love”, December ’04 at DTW. Photo by Briana Blasko.          Dancers: L to R: Kim Osterberger, Willa Carroll, Beatrice Wong, luciana achugar, Anna Azrieli and      Jennifer Kjos.   

 “towards altar”: from “Exhausting Love at Danspace Project”, November ’06 at Danspace Project.  Photo by Briana Blasko. Dancers: L to R: (back) Hilary Clark, Beatrice Wong and Jennifer Kjos.      (front) luciana achugar and Melanie Maar.

 “crawling”: from “Franny & Zooey”, April ’07 at DTW. Photo by Alex Escalante.                            Dancer: luciana achugar.

 “luciana at mirror”:  from “The Sublime is US”, October ’08 at DTW. Photo by Ryutaro Mishima.  Dancer: luciana achugar.

 

Upcoming Performances, Workshops or Exhibitions:

 January ’09:  Interview in the Issue #34 of Movement Research’s Performance Journal.

 January 10^th, ’09: Presenting The Sublime is Us, (which premiered at DTW in October ’08) for the New York APAP Conference (2 shows at 5:30 & 8 pm).

Winter ’09: Commissioned by the George Washington University Dance Department to make a new piece on their students.

March 1^st:  Composition Workshop: The Inherent Proposition in the Making of a Dance,  for “CLASS” at BARN in Brooklyn, NY.

 April 30-May2: Presenting A Super Natural Return to Love, (which premiered at DTW in December 2004) at the Walker Art Center in Minneapolis.

 Winter ’10:  Premiere of new work at The Kitchen, NYC.

We are pleased to announce that achugar's next work, *PURO DESEO* premiering

at The Kitchen in the Spring of 2010, will be supported through a generous

grant from the MAP FUND. *PURO DESEO*, which translates both to "pure

desire" and "nothing but desire," will examine the relationship between

artistic process and art as commodified product. To create *PURO DESEO*,

achugar will deepen her collaboration with visual artist Michael Mahalchick.

The two will work with her other recent collaborators including lighting

designer Madeline Best and dramaturg Victoria A. Davies.

For more information about 2009 MAP FUND grantees, click

here<http://www.mapfund.org/>

. <http://www.mapfund.org/>**

*

*

*BAX names luciana achugar a 2009/10 Artist-in-Residence*

* *

**achugar is currently developing her new work as a 2009/10 Artist in

Residence at the Brooklyn Arts Exchange. She also will present several

public work-in-progress showings of *PURO DESEO*throughout the year. As part

of the residency achugar receives administrative and artistic support. For

more information about BAX and the AIR Program, click

here<http://www.bax.org/inResidence.html>

.

*Winter Tour to Uruguay*

Two of achugar's works, *A Super Natural Return to Love *(2004) and *Franny

and Zooey* (2007) will be presented in Montevido, Uruguay at Teatro

Solis<http://www.teatrosolis.org.uy/> this

coming December. The home of opera, ballet and classical music for 150

years, Teatro Solis will present the performance in the newly-minted

contemporary dance and theater wing of the renowned theater: the first venue

of its kind in Uruguay.

*A Super Natural Return to Love **presented at Walker Art Center*

achugar's 2004 work, *A Super Natural Return to Love* enjoyed a successful

Minneapolis premiere as part of New World Dance: New York. The work

completed an evening featuring work Nora Chipaumire, Nami Yamamoto and

achugar. ìIn an evening defined by strong female artistic perspectives,î

said Caroline Palmer of the Star Tribune, ìachugar's 'uncivilized women'

provoke the most extreme reaction.î

For more information on the Minneapolis premiere at Walker Art Center, click

here <http://performingarts.walkerart.org/detail.wac?id=5055&title=Articles>

.

*The tour was supported in part with funding from the Foundation for

Contemporary Arts.*

*LMCC honors luciana with the 2009 Liberty Award*

* *

The Lower Manhattan Cultural Council, honored luciana achugar at The

Downtown Dinner 2009 Gala on April 20, 2009. Maggie Boepple, President of

the Lower Manhattan Cultural Council, presented achugar with *The Liberty*,

LMCC's 2009 prestigious President's Award: The Liberty. For more information

on LMCC programs, click here <http://www.lmcc.net/>.

*www.lachugar.org*

*

*

For more information on upcoming shows and the work of luciana achugar,

visit www.lachugar.org.

                                          *CALENDAR** 2009*

Sept. 22 at 8:00pm

Dixon Place

*Body Blend*

161A Chrystie Street,

NYC 10002

Tickets $12 - 15

www.dixonplace.org<https://www.ovationtix.com/trs/pe/7463375;jsessionid=7336B9D5BACF18381FCEC5F32F62175F>

Nov. 11 at 5:30pm

Brooklyn Arts Exchange

Open Rehearsal

421 5th Ave,

Brooklyn, NY 11215

Free

www.bax.org <http://www.bax.org/inResidence.html>

Dec.16 - 17 & 21 - 23

Teatro Solis

*A Super Natural Return to Love* / *Franny & Zooey*

Teatro Solis,

Montevido, Uruguay

www.teatrosolis.org.uy

                                           *CALENDAR** 2010*

Jan. 22nd & 23rd at 7:00pm - Brooklyn Arts Exchange

Workshop: *Puro Deseo*

421 5th Ave

Brooklyn, NY 11215

www.bax.org <http://www.bax.org/inResidence.html>

May 2010

The Kitchen

Premiere *Puro Deseo*

512 W 19th St

New York, NY 10011

www.thekitchen.org

Return to webpage: www.calarts.edu

Dallas McMurray BFA '06

Dallas McMurray from El Cerrito, CA, began studying jazz, tap, and acrobatics with Katie Maltsberger, and ballet with Yukiko Sakakura. Dallas has performed with the Limón Dance Company in addition to works by Jiri Kylian, Alonzo King, Robert Moses, and Colin Connor. After graduating with a BFA in Dance from the California Institute of the Arts, Dallas joined Mark Morris Dance Group as an apprentice in 2006, becoming  a company member in 2007. Dallas most recently performed a solo choreographed by John Heginbotham at Dance Theater Workshop, as a part of the danceNOW festival, and with Steeledance(Teri and Oliver Steele) at Dance New Amsterdam, in an evening length work entitled “Bicipital Groove or Echo My Instincts”.

What brought you to CalArts?

I actually didn’t know much about the school before I went. I had a friend that was going, so I thought it would be fun to know somebody already. 

How has your CalArts educations been relevant to your professional path?  

I went to CalArts to study dance. I wanted to learn as much as I could about it, and strengthen my technique and performance quality so I could someday be professional. 

What advice would you give to our current or perspective students? 

 I would say to them, start thinking where you want to go with your dancing while you are there. I have no regrets about the way I spent my time at CalArts, but if I could do it again, I would have taken more advantage of the available space and talent…it’s free!! I was a bit insecure with my own choreography, so that affected how often I showed pieces. I look back now and realize..no one cares! That is the point of the Showings class, to grow, learn, and make mistakes. Also, I would tell them to see dance performances, and do research about different companies, etc. It would be very helpful to know what direction you want to go, if you know what is out there. 

CalArts is unique in that it houses the Schools of Art, Critical Studies, Dance, Film/Video, Music and Theater as well as the Division of Library and Informational Resources under one roof. As a student, how did you engage with other members of the CalArts community and how did it influence your art making?

I learned that it is hard! I wasn’t very good at collaborating much, but it was nice to see my classmates finding the ways they liked to work, or being in a piece that was a collaboration. 

 

 How did the School of Dance fulfill your need to forge  a career  in dance?

 In my last semester, I had no clue at all what I was going to do  after. I was afraid I would just be stuck somewhere, and end up  not dancing much. I knew I wanted to dance, I just didn’t know  where or with whom. During spring break, the dance school  organized a trip for our class to visit New York. That was my first  time in NY, and I knew I wanted to go there, just from that one  week. That helped give me some direction on where I wanted to  go. There are a lot of opportunities in New York, and I’m glad I’m  here.

 How did the technique classes prepare you for the physical  demands of a career in dance? 

 All of the teachers I had while at CalArts taught me a lot. The 3  week rotations helped keep taking class fresh. I always knew they were good classes while I was there, but after visiting last year, it was nice to see how hard they really are! I haven’t taken a ballet class as tough as Laurence’s anywhere in the city….not yet at least!

 

How did the other curricular courses (composition, dance history, anatomy, etc) inform you about the world of dance and how did it prepare you to move forward with your ideas and personal voice?

I still share memories from all these classes with friends that went to other schools, comparing and contrasting. The project I recently did with Steeledance forced me to utilize certain aspects from my comp classes. Taking phrases and changing them up, or creating duets and quartets from the movement. I’m glad to know that all of those tools are still in there! 

How has the technical production requirements of the program informed the way you communicate about your work?

I have an appreciation for what the people involved with the technical side do. It’s tough, and it was great to have been on that side of things during performances at CalArts. 

CalArts has a strong mentoring system for each student. How did you find the guidance and support of your mentor as a student? Have you had the opportunity to mentor young artist in your career? 

Colin really helped me a lot. He never let me slack off, and kept me pushing harder and harder! It was tough, but I look back now and thank him so much for that support! 

Do you continue to work or correspond with any CalArtians?

ALL THE TIME!

 

“Mr. McMurray, a new dancer, was a marvel of seemingly artless grace in both “Excursions” and “New Love Song Waltzes.”  -NY Times, Alastair Macaulay

Links for this Artist:

www.mmdg.org

 

Streaming Video:

http://www.youtube.com/watch?v=oBH3NjU0aAg

 http://www.youtube.com/watch?v=S25Ud7ZWu7I

 

Upcoming Performances, Workshops or Exhibitions:

Mark Morris Dance Group

December 5, 2008	Olympia, WA	Washington Center for the Performing Arts
January 29-31, 2009	Washington, DC	Kennedy Center for the Performing Arts Production: Mozart Dances
February 16, 2009	Big Island, HI	Kahilu Theatre
February 19, 2009	Maui, HI	Maui Arts & Cultural Center
March 19-22, 2009	Boston, MA	Cutler Majestic Theatre
May 14-17, 2009	New York, NY	Lincoln Center for the Performing Arts Production: Romeo & Juliet, On Motifs of Shakespeare

   

 Photo Credit:

"Romeo and Juliet: Motifs on Shakespeare" - choreography by Mark Morris

"Italian Concerto" - choreography by Mark Morris, photography by Stephanie Berger

"Romeo and Juliet: Motifs on Shakespeare" - choreography by Mark Morris

"Excursions" - choreography by Mark Morris

"Mozart Dances: - choreography by Mark Morris

"Romeo and Juliet: Motifs on Shakespeare" - choreography by Mark Morris

 

Return to webpage: www.calarts.edu