In and around Philly next weekend? Join us at the annual Dance Critics Association Conference at the Gershman Y. Early registration rates available through Monday! Full program and other info here: Dance Critics Association 2014 Annual Conference “ Philadelphia Dance Conversations: Part One ” Philadelphia - Friday June 13 and Saturday June 14 EARLY REGISTRATION DEADLINE EXTENDED TO JUNE 9 PHILADELPHIA – Join us for animated discussions of the past and future of dance in Philadelphia and the impact of dance in Philadelphia on the larger dance world. We will discuss the future of dance writing, and give you a chance to learn from colleagues and hone your craft. The DCA conference coincides with the Pennsylvania Ballet’s 50th-anniversary season. All conference registrants will be able to receive a complimentary ticket to a PB performance during the weekend of the conference. Registrants are responsible for making their own arrangements with PB. The DCA is grateful for the assistance of the Pennsylvania Ballet in presenting this conference. For more about the Pennsylvania Ballet 50th anniversary season, please see below. Financial assistance for DCA members to attend the conference is available. The June conference is the first of what will be a two-part conference. The second part, also to be held in Philadelphia, will be scheduled for the Fall of 2014. We hope to see you in June in Philadelphia. Fall in love with dance all over again. And spread the love of dance - bring a colleague! Conference Program Current Panels Planned and Schedule (as of 5/17/2014): *All scheduling and panelists are subject to change. Friday, June 13 8:00 am to 9:00 am REGISTRATION OPENS 9:00 am to 10:00 am OPENING REMARKS and KEYNOTE by LISA KRAUS, FOUNDER of thINKingDANCE There will be a few short remarks welcoming attendees to the conference. Lisa Kraus, co-founder and editor-in-chief of thINKingDANCE, will be the keynote speaker. 10:00 am to 10:10 am BREAK 10:10 am to 11:30 am PHILADELPHIA’S UNIQUE HERITAGE: THE CITY’S EARLY DANCERS This panel will discuss the work of John Durang and Mary Ann Lee and show a mini-film about George Washington Smith. The panel includes Lynn Matluck Brooks and Barbara Malinsky. Dr. Matluck Brooks will present John Durang. Ms. Malinsky will present Mary Ann Lee. John Durang: The Engaged Philadelphia Thespian As the United States formed its national identity, American performers wove their work and lives into the new nation. Dancer John Durang, the first American-born stage professional, centered his wide-ranging career in Philadelphia. Best known as a dancer, but also working as an actor, singer, set-painter and manager, Durang performed in civic events, theaters, circuses and pleasure gardens. He also brought his own family-based troupe to outlying Pennsylvania and Maryland towns while owning his own land and home in Philadelphia. Durang established America’s first “dynasty” of American-born theater practitioners, a family line that stretches to contemporary playwright Christopher Durang. His navigation of the rocky road between native pride and European snobbery allowed him and his offspring to traverse the performance terrain of late-eighteenth and early-nineteenth centuries America. Mary Ann Lee: Philadelphia’s Bridge to the Romantic Era The career of Mary Ann Lee (1823-99) mirrors social developments in Philadelphia. So important was dance to the city’s social fabric that audiences and press took sides in the rivalry between ballerina Augusta Maywood and the endearing Lee, who earned the sobriquet, “Our Mary Ann.” In 1844, Lee left Philadelphia to study in Paris and returned with improved technique and authentic versions of French Romantic ballets not yet seen in the United States - La Fille du Danube, La Jolie Fille de Gand, and Giselle - her great contribution to American dance history. 11:30 AM to 1:30 pm LUNCH (Informal brownbag lunch session where you can talk to colleagues about recent performances, or get lunch on your own. Elizabeth Zimmer’s Kamikaze Workshop will also meet over lunch.) 1:30 pm to 2:30 pm BALANCHINE’S EARLY TIES TO PHILADELPHIA This panel will discuss the Philadelphia dancers trained by Catherine Littlefield who formed the nucleus of George Balanchine’s first American company--the American Ballet--as well that company’s two notable Philadelphia-area engagements. This panel includes Sharon Skeel and James Steichen. 2:30 pm to 2:40 pm BREAK 2:40 pm to 4:00 pm THE PHILADELPHIA STORY: THE UNSUNG LITTLEFIELDS AND THE PENNSYLVANIA BALLET Barbara Weisberger and Sharon Skeel will discuss the significance of two Philadelphia companies established in the 20th-century--the Philadelphia Ballet (founded by the Littlefields) and the Pennsylvania Ballet (founded by Weisberger)--and the ties that bind them. 4:00 pm to 4:10 pm BREAK 4:10 pm to 5:30 pm THE FUTURE OF DANCE WRITING With newspaper support declining, the business of dance writing is changing. In some cases writing is becoming a celebrity sport, with individuals like Nate Silverman and Glenn Greenwald managing their own personal branded channels. At the same time, non profits are gaining a toe-hold in some areas, and in some cases, doing their own writing, a la the Chicago Symphony. The panel will discuss their experiences, and dialogue with attendees. Is there a model for the future of dance writing? This panel will be moderated by Rob Bettman of Day Eight. Confirmed panelists include Merilyn Jackson of the Philadelphia Inquirer 5:45 pm to 7:30 pm MEET AND GREET RECEPTION Location: Valanni restaurant 1229 Spruce St Philadelphia, PA, 19107 Socialize with your fellow dance critics and writers. valanni Saturday, June 14 8:00 am to 9:30 am REGISTRATION OPENS and BOOK TABLE Workshop sessions - this year there will be two workshops running simultaneously, in addition to the Kamikaze workshop. – Workshop option 1 – 9:30 am to 10:20 am A ‘GARLAND’ FOR DANCE: AN INTERACTIVE PLANNING MEETING FOR A NEW ENCYCLOPEDIA - A WORKSHOP Did you know DCA was instrumental in the planning stages of the International Encyclopedia of Dance? That A-to-Z resource, modeled on the Grove Encyclopedia of Music, helped transform the study of dance. Come to this workshop to participate in a new initiative, a digital encyclopedia modeled on the Garland Encyclopedia of World Music Online. DHC is taking the lead to coordinate a field-wide collaborative planning process for a digital resource that can accommodate streaming video and other features that digital publishing makes possible. Open to all: brief questionnaire will be distributed and collected to test interest and needs of workshop participants. This workshop will be led by Libby Smigel of the Dance Heritage Coalition. 10:20 am to 10:30 am BREAK 10:30 am to 11:30 am ARTIST-DRIVEN/CRITIC-DRIVEN ARCHIVING: ARCHIVING AS A CREATIVE PROCESS - A WORKSHOP Making dances is a creative process; so is dance writing. No wonder neither choreographers nor critics relish the idea of confining their creative output to boxes in dark corners of archives. This workshop will encourage input from critics, dance writers, and other conference attendees to create active models for sharing and preserving primary source materials. Case studies from Dance Heritage Coalition’s “Artist-Driven Archiving” and from the New York Public Library’s (NYPL’s)Sleeping Beauty panel discussion will help spur thinking about new ways of archiving and sharing a critic’s legacy materials. The workshop will be led by Libby Smigel and Kat Bell of the Dance Heritage Coalition. Terry Fox of Philadelphia Dance Projects will also assist in the workshop. – Workshop option 2 – 9:30 am to 11:30 am Master Class: STRUCTURALLY CREATIVE APPROACHES TO CRITICISM AND RESPONDING TO ART WITH ART In a two-hour master class, we will discuss structurally creative approaches to criticism as well as the practice of ekphrasis (responding to art with art). We will look at brief examples of writing (potentially culled from Roland Barthes, Anne Carson, and August Kleinzahler), and discuss recent columns popping up on Internet culture magazines such as The Rumpus and McSweeney’s Internet Tendency/The Believer devoted to “Favorite Songs” and “The Last Good Thing I Read.” We will watch a short dance video and brainstorm potential approaches that foreground the writing’s structure and style (rather than viewing these as always subordinate to content) as strategies capable of interrogating, responding to, and elucidating the work at hand. This master class will be led by Kirsten Kaschock, and is being organized by thINKingDANCE. 11:30 am to 1:30 pm LUNCH (Informal brownbag lunch session where you can talk to colleagues about recent performances, or get lunch on your own. Elizabeth Zimmer’s Kamikaze Workshop will also meet over lunch.) 1:30 pm to 2:10 pm DCA MEMBERSHIP MEETING 2:10 pm to 2:20 pm BREAK 2:20 pm to 3:40 pm THE AFRICAN AMERICAN CONCERT DANCE CULTURE OF THE MID-TWENTIETH CENTURY IN PHILADELPHIA This panel will discuss Marion Cuyjet, Sydney King and their students, such as Judith Jamison and Joan Myers Brown, and the ways in which both King’s and Cuyjet’s influence/instruction informed the aesthetic/cultural milieu of the era (1940s-1970s). Panelists include Brenda Dixon-Gottschild, Joan Myers Brown and Merilyn Jackson, and others to be announced. 3:40 pm to 4:00 pm BREAK and BOOK SIGNING 4:00 pm to 5:30 pm HATCHING THE NEXT GENERATION: MATERIAL FOR A FEATURE STORY In the past 15 years, a number of Pennsylvania Ballet dancers have emerged as choreographers, seeding the Philadelphia and Trenton area with interesting contemporary work. Matthew Neenan (artistic director of BalletX and widely produced freelance choreographer), Amanda Miller (artistic director of Miller Rothlein), Meredith Rainey (professor, Drexel University and former director of Carbon Dance Theater), and Heidi Cruz Austin (lecturer, Muhlenberg College and co-director, DanceSpora), talk about how PB shaped them as artists, and how Philadelphia feeds their habits. Elizabeth Zimmer moderates. For more information contact: DCA Conference Coordinator Bill Doyle bill@go2guyphilly Kamikaze Dance Writing Workshop The Kamikaze Dance Writing Workshop is “boot camp” for a maximum of eight writers, a chance to produce overnight reviews under the pressured conditions faced by dance reviewers in a professional environment. Participants meet for an introductory session in which they will do observation and writing exercises. Then they attend a performance and file a 300-word review by 10 a.m. the following day. At the second session, held over a brown-bag lunch, participants will bring nine copies of their work, read their reviews aloud, give each other feedback, and then observe as Elizabeth Zimmer edits their reviews as she would for the dance section of a professional journal. All participants must write; there will be no “auditors.” 2014 DCA Conference - The Fine Print - Registration rates: Members - $125 full conference pre-registration until June 1 ($90 for seniors and students); $150 full conference registration after June 1 or on-site ($100 for seniors and students); $100 single day pre-registration until June 1 ($85 for seniors and students); $115 single day registration after June 1 or on-site ($95 for seniors and students). (If you are a DCA member and would like to work at the conference in exchange for free registration, please contact DCA Conference Coordinator Bill Doyle: bill@go2guyphilly. There are a limited number of these “work-study” positions available.) Members of affiliate organizations (DanceNYC, DHC, ADG, DFA, SDHS, CORD, WDA) – $150 full conference pre-registration until June 1; $170 full conference registration after June 1 or on-site; $110 single day pre-registration until June 1; $130 single day registration after June 1 or on-site. Non-members – $175 full conference pre-registration until June 1; $195 full conference registration after June 1 or on-site; $105 single day pre-registration until June 1; $125 single day registration after June 1 or on-site. Registration may be completed by mail with the attached form and paid by check or money order, or by going online at: dancecritics.org/ conferencepayment.html Conference location: The Gershman Y 401 South Broad Street Philadelphia, Pennsylvania 19147 Conference Hotel: PROCEDURE TO BOOK GROUP HOTEL SPACE AT SPECIAL LOW RATES. There are three primary Hotels for the DCA Meeting: Marriott Downtown, Marriott Courtyard and The Doubletree. The Marriott Downtown is $159.00 plus taxes per night and The Courtyard and Doubletree are $149.00 per night plus taxes etc. All three hotels are very central and near to meeting location, dining, shopping and all important tourist sites. -For MARRIOTT DOWNTOWN Located at 1201 Market Street in the center of Center City, adjacent to The Reading Terminal Market, famous for its Amish Farmers Market. Walking distance to Independence Hall and The Liberty Bell. Book your discounted DCA Rate online at ‘https://resweb.passkey/go/go2guy OR you can Call the group discount hotline at 1-877-212-5752 BOOKING DEADLINE IS MAY 22. -For COURTYARD BY MARRIOTT 21 N. Juniper Street. Adjacent to CITY HALL in an historic building, the location is perfectly situated to allow easy access to the most popular destinations in the city. Call 1-800-321-2211 OR 215-496-3200 and identify yourself as a member of the GO2GUY LLC Group so That you get the discount price. BOOKING DEADLINE IS MAY 22. -For the DOUBLETREE HOTEL. 237 South Broad Street. Located on Philadelphia’s “Avenue Of The Arts”, and directly across the street from the historic home of The Pennsylvania Ballet at The Academy Of Music. This modern high-rise hotel is just blocks from all DCA events and venues. Make your discounted reservation online at OR Call 800-222-8733 and tell them yor group code is DCA. BOOKING DEADLINE MAY 13. -To book other hotels not listed above, or to UPGRADE to The Rittenhouse Hotel, The Warwick, The Palomar, Le Meridien, Or Sofitel email bill@go2guyphilly, or call 267-315-4229. -OTHER TRAVEL OPTIONS / FULL PERSONAL CONCIERGE SERVICES Your Host in Philadelphia is GO2GUY LLC. We can offer you the following services and others not listed. Let us be your guide to all the best in Philadelphia. Call Bill at 267-315-4229 or EMAILbill@go2guyphilly. Pre/Post meeting hotel stay. Air Tickets. Car Rentals. Walking Tours. Atlantic City by Limousine. Dinner Reservations. Theatre and Sports Tickets. Room Sharing and Ride Sharing: If you are interested in room sharing or ride sharing, please contact the conference coordinator. We are looking into bus and other travel prices as well. For More Information Contact: DCA Conference Coordinator Bill Doyle bill@go2guyphilly About the Pennslyvania Ballet’s 50th Anniversary Season Celebrate the culmination of the 50th Anniversary Season with a multifaceted grand finale. Nuance and depth saturate In the middle, somewhat elevated, William Forsythe’s frenetic experiment in abstract movement, set to Thom Willems’ pulsating, electronic soundscape. It’s classical ballet, but with an off-kilter edge: off-balance positions, extreme extensions, and increased hip action. In contrast, revel in the lush romance of Jerome Robbins’ In the Night. Three couples portray different stages of love in extended pas de deux: tender and young, mature and balanced, and passionately fiery. The program includes two works from PA Ballet Choreographer in Residence Matthew Neenan. Penumbra is an intimate work for five dancers. Premiered in 2008, Penumbra quickly became a favorite of the dancers to perform, with lots of partnering and interaction among them. The piece is set to an Alberto Ginastera score for cello and piano that creates a somber yet sweet mood on stage. Plus, Neenan creates his 15th commission for the Company. For more information, see paballet.org/50finale. Presenter Bios Lisa Kraus’s career has included performing with Trisha Brown, choreographing and performing for her own company and independently, teaching at universities and arts centers, presenting the work of other artists as Coordinator of the Bryn Mawr College Performing Arts Series, and writing reviews, features and essays on dance for Internet and print publication. She trained in Graham and Cunningham techniques before attending Bennington College where Judith Dunn and Steve Paxton were her teachers. Dancing with the Trisha Brown Dance Company from 1977-82, she continues to restage Brown’s work at venues including the Paris Opera Ballet and Venice Biennale. She began writing to communicate about this experience and has been published in the Philadelphia Inquirer,Dance Magazine, Dance Research Journal, Contact Quarterly, the Dance Insider, the Dance Advance Publications & Research site and her own weblogs. She was a 2010 National Endowment for the Arts Fellow in Dance Criticism and in 2011 co-founded thINKingDANCE, an online dance journal and dance writers’ training scheme based in Philadelphia. Sharon Skeel has been researching Catherine Littlefield for the last 20 years. She received a Pennsylvania Council on the Arts grant to support her work, which has included presenting papers at Society of Dance History Scholars conferences, lecturing for the Pennsylvania Ballet, Philadelphia Orchestra and Philadelphia Museum of Art, co-curating a small exhibit at the Free Library of Philadelphia, and resurrecting Littlefield-commissioned ballet music for a concert at Philadelphia’s Kimmel Center. Her articles have been published in American Heritage magazine, thePhiladelphia Inquirer, Books & Culture: A Christian Review and DCA News. She co-produced a short film on George Washington Smith for the award-winning Philadelphia: The Great Experiment documentary series and is currently assembling a small display on Littlefield ballet designs for the New York Public Library for the Performing Arts, Dance Division. She earned a B.A. in English with honors at the College of William and Mary. James Steichen is a PhD candidate in musicology at Princeton University and is completing a dissertation on George Balanchine and the early history of the New York City Ballet. His research has been supported by a Mellon/ACLS Dissertation Completion Fellowship and the Howard D. Rothschild Fellowship in Dance from Harvard University’s Houghton Library. He has authored reference articles on impresarios Lincoln Kirstein and Rolf de Mar? for the Routledge Encyclopedia of Modernism and has published two articles on the Metropolitan Opera’s “Live in HD” cinema broadcast initiative. His reviews and translations have appeared in The Opera Quarterly, The Yale Review, and TLS. He studied comparative literature at the University of Virginia and holds a master’s degree in humanities from the University of Chicago. Dr. Lynn Matluck Brooks, Arthur and Katherine Shadek Humanities Professor at Franklin & Marshall College, founded the Dance Program there in 1984. She was awarded the Bradley Dewey Award for Outstanding Scholarship at the College. She holds degrees from the University of Wisconsin and Temple University. A Certified Movement Analyst and dance historian, she has held grants from the Fulbright/Hayes Commission, the Pennsylvania Council on the Arts, and the National Endowment for the Humanities. She was both NEH fellow and faculty member in the Aston Magna Academies, and was an invited participant at the International Council for Traditional Music symposium on Musical Iconography (Burgos, Spain). Brooks has authored books and scholarly articles, and served as performance reviewer for Dance Magazine, editor of Dance Research Journal and Dance Chronicle, and writer and editor for thINKingDANCE in Philadelphia. Her interests include modern dance, historical dance & the social history of dance. Barbara Malinsky received a National Endowment for the Humanities grant to research and curate an exhibition at the Philadelphia Museum of Art, Dance in Pennsylvania: The Nation’s First Steps, which comprised three centuries of dance in Pennsylvania. She is the biographer for John Durang, Mary Ann Lee, and Catherine Littlefield for the International Encyclopedia of Dance, Oxford University Press. She continues to write and research dance for national and international publications. M.Ed., Dance, Temple University. Kirsten Kaschock is a Presidential Fellow in the Dance Department of Temple University, currently earning a second PhD. Her dissertative work in dance investigates the compositional methods of modern and postmodern choreography to uncover connections to the poetic avant-garde. Kirsten holds a PhD in English Literature from the University of Georgia. She is a published poet and novelist (with Slope Editions, Ahsahta Press, and Coffee House Press) and has worked as a free-lance choreographer and master teacher in the Northeast. She resides with her three children and their father in Manayunk where she likes to work with words, bodies--and when she is lucky--other people. Brenda Dixon Gottschild is the author of Digging the Africanist Presence in American Performance: Dance and Other Contexts; Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era (winner of the 2001 Congress on Research in Dance Award for Outstanding Scholarly Dance Publication); and The Black Dancing Body - A Geography from Coon to Cool (winner of the 2004 de la Torre Bueno prize for scholarly excellence in dance publication). Her most recent book, Joan Myers Brown and The Audacious Hope of the Black Ballerina-A Biohistory of American Performance, was published in 2012. She received the Congress on Research in Dance Award for Outstanding Leadership in Dance Research (2008) and the International Association for Blacks in Dance Outstanding Scholar Award (2013). A freelance writer, consultant, performer, and presenter and former consultant and writer for Dance Magazine, she is Professor Emerita of dance studies at Temple University. bdixongottschild and Facebook. Elizabeth Zimmer has been a member of the DCA since 1976. She has written about dance for the Canadian Broadcasting Corporation, WBAI, the Village Voice, the Los Angeles Herald Examiner, the Philadelphia Inquirer, Ballet Review, and many other publications. She currently teaches at Hollins University in Roanoke, Virginia, and lectures across North America and abroad. Libby Smigel is currently executive director for Dance Heritage Coalition (DHC), where she designs projects and programs to preserve and create access to materials that document America’s dance legacy. She spearheaded DHC’s Fair Use Project in 2008, which resulted in the first library Statement of Best Practices in Fair Use; she coordinated a panel on fair use for DCA at the joint WDA/DCA conference in 2010. She has more than 25 years of experience in teaching and research in a number of periods and genres of dance. Her publications have appeared in encyclopedias, newspapers, scholarly journals, and books, and her work as editor includes guest-editing a special-topics volume for The Mid-Atlantic Almanack [sic] and service as an associate editor of theJournal of American Culture. As Dance Heritage Coalition’s project director, Kat Bell currently leads DHC’s direct outreach to dance companies and individuals located outside NYC. She is also active in digital stewardship communities such as the National Digital Stewardship Alliance. In September 2013, she presented DHC’s first webinar “Adapting Traditional Processes to Nontraditional Collections: Putting the Dance Theatre of Harlem Archives Back Together” through Amigos Library Services Preservation Back to Basics web conference, a component of the innovative continuing education services one of the nation’s largest library service organizations offers. Kat first worked with DHC in 2011 through a Save America’s Treasures grant and Mellon funding for which she created an inventory of the archives at the Dance Theatre of Harlem. Before rejoining DHC, she served as the Tobin Fund Intern in Theatre Arts at the McNay Art Museum in San Antonio, Texas, and also worked as digital archives technician in Texas Woman’s University’s Woman’s Collection. She holds master’s degrees in library science and in dance from Texas Woman’s University. Terry Fox, Executive Director of Philadelphia Dance Projects, is a former choreographer/dancer. As an artist she was one of the first in Philly to explore post modernism with improvisational structures in performance as well as “pioneering” the Old City arts district. She often collaborated with choreographer/dancer Ishmael Houston Jones, and musicians Charles Cohen and Jeff Cain. She founded the “Dance With The Bride” series at the Painted Bride Art Center, on staff from 1977-83 and again from 1993-2000. In the interim she was Managing/Artistic Director of the Danspace Project at St.Mark’s Church In-The-Bowery. She has served on numerous Boards and panels and taught at various colleges. Currently at Rowan University. She has a BA from New York University and participated in the Whitney Museum of American Art, Independent Study Program. philadanceprojects.org DCA 2014 Conference Registration Form Name: _____________________________________________________________ Address: ___________________________________________________________ City/State/Zip: _______________________________________________________ Phone(s): ____________________________________________________________ Email: _____________________________________________________________ DCA member?: ______________________________________________________ Member of affiliate organization? (if yes, please identify): ____________________ Kamikaze Writing Workshop registration: _________________________________ Conference registration: $______________ DCA membership: $ ______________ Donation: $______________ Total: $______________ Mail this form and your payment (check or money order only, please) to DCA Conference 2014 c/o Karyn Collins 318 S. Third Ave. Apt. B Highland Park, NJ 08904 You will receive an email confirmation if you include an email address.
Posted on: Fri, 06 Jun 2014 17:57:32 +0000
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