Conference 2017: Events & Presentations

CORPS de Ballet International’s 2017 Conference:

Professional Guest Artists

ADAM SKLUTE | Artistic Director, Ballet West & Ballet West Academy

Since 2007, Adam Sklute has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting Company premieres, increased touring and public exposure, and greater focus on Ballet West Academy and Ballet West II.

Under Sklute’s leadership Ballet West has toured extensively, appearing three times at Washington DC’s Kennedy Center for the Performing Arts to sold out audiences; a weeklong engagement at New York City’s Joyce Theater; Chicago’s Auditorium Theater with two separate programs; twice at New York City Center’s Fall for Dance Festival; and twice at the Chicago Dancing Festival. The Company has also appeared at Wolf Trap National Park for the Performing Arts, The Laguna Dance Festival, Aspen, CO, Dallas, TX, twice in Las Vegas, NV, Minneapolis, MN, and Victoria, BC.

In 2009, Ballet West graced the cover of Dance Magazine for the first time in 25 years and again was on the cover in 2013. Under Sklute, the Company has garnered numerous reviews and articles in such publications as The New York Times, The Washington Post, Dance Magazine, Ballet Review, and Pointe to name a few. Ballet West was the subject of the BBC Worldwide Production’s docu-drama television series Breaking Pointe which aired for two seasons on The CW channel.

Sklute has introduced Ballet West audiences to such renowned contemporary choreographers as Nicolo Fonte, Jiri Kylián, Mark Morris, and Twyla Tharp, among others, all while expanding the company’s Balanchine repertoire and adding early 20th century Diaghilev-era masterpieces. In addition to reintroducing lost elements of Christensen’s production of The Nutcracker and reconstructing his The Firebird, Sklute conceived and produced his own new versions of Swan Lake, The Sleeping Beauty and Giselle. Sklute has created wildly successful annual programmatic additions to the Season, including a Family Series and Innovations programs.  All in all, in his eight years as Artistic Director, Sklute has introduced over thirty new works and nearly forty world premieres to Ballet West.

A native of Berkeley, California, Sklute began dancing at the age of 16. His early training was at the Oakland Ballet and San Francisco Ballet schools.  After only two years of formal study Sklute became one of the last two artists personally chosen by Robert Joffrey for The Joffrey Ballet. He danced with The Joffrey from 1985 to 2000 and then rose through the ranks to Associate Director in 2005. He became Artistic Director for Ballet West in 2007.  Sklute has served on the boards of Chicago’s Dance for Life, Salt Lake Community College, School of the Arts Advisory Board; and the Salt Lake County Cultural Facilities Master Plan Advisory Board. He currently serves on the Board of the Gerald Arpino/Robert Joffrey Foundation. A finalist judge and international representative for numerous ballet competitions including the Youth America Grand Prix, Los Angeles’ Spotlight Awards, The International Ballet Competition, The Japan Grand Prix, and an adjudicator for the American College Dance Festival Association, Sklute was listed as one of the 25 Movers and Shakers of the Utah Arts Scene in 2007. In 2014 he was named one of Utah’s Enlightened 50 and he received the Utah National Guard’s Bronze Minuteman Award for outstanding service to Utah and the nation.

 

PETER MERZ I Director, Ballet West Academy

Peter Merz has choreographed over 40 original ballets across the USA and internationally.  His award-winning choreography relies heavily on classical ballet, but is informed by his passion for contemporary dance forms. As a performer he worked with the Dayton Ballet, the Louisville Ballet and the Cincinnati Ballet. In 2002, Peter served as the Artistic Administrator for the USA International Ballet Competition in Jackson, MS. In 2004, Peter joined the faculty of Point Park, where he is an associate professor of dance and Head of Ballet He has served as a judge and Master Teacher for Youth America Grand Prix and the American Dance Competition.  Peter is also in demand throughout the US as a master teacher, and is known for his enthusiastic and encouraging approach to ballet training.  He has twice been named Outstanding Choreographer by the Youth America Grand Prix, and was also honored to be named Outstanding Teacher by that organization in 2014.

In June of 2015, Peter launched MERZTANZ, a contemporary ballet company built solely around his choreography.  This evening length premier performance included several short works interspersed with videos.  The final piece of the program, The Togethercoloured Instant combined video projection and live theater to realize images inspired by the poetry of e.e. Cummings.

Peter’s choreography has been produced by Dayton Ballet, Louisville Ballet, Cincinnati Ballet, Gem City Ballet, Charlottesville Ballet, Point Park University, Burklyn Ballet Theatre, Hope Garden Children’s Ballet, Mid-Atlantic Ballet.  He has worked as a production manager for the University of Cincinnati and the Opera Theater of Lucca.  He has helped stage galas for the USA International Ballet Competition and for Youth America Grand Prix. He has served as a judge for the Youth America Grand Prix and the American Dance Competition, and is increasingly in demand as a private coach, master and choreographer.

In August of 2015, he joined Ballet West as the Director of the Academy.

SUMMER LEE RHATIGAN I Artistic Director, San Francisco Conservatory of Dance

Summer Lee Rhatigan, artistic director, San Francisco Conservatory of Dance retired from performing in 2010 after a thirty-two-year career as soloist and principal dancer with: London Festival Ballet (now known as the English National Ballet), Oakland Ballet, National Ballet of Canada, Alonzo King Lines Ballet and San Francisco Opera Ballet.

Selected Press Quotes: “Rhatigan shapes the dance into coherent utterance—enigmatic, yet full of emotion” The Village Voice; “riveting” San Francisco Chronicle; “led…with  exciting brio” The New York Times; “exquisitely musical”  Oakland Tribune; “commanding presence” Toronto Sun; “radiantly expressive” Bay Area Reporter; “[Rhatigan’s] sensual recklessness soared” San Francisco Examiner; “once the assoluta of the Oakland Ballet and currently filling that role with LINES Ballet” San Francisco Examiner (2000).

Choreographers worked with: David Allan, Sir Frederick Ashton, Tandy Beal, Nicholas (Papa) Beriosov, Ruthanna Boris, John Butler, Val Caniparoli, Carlos Carvajal, Michael Clark, Michael Corder, Agnes de Mille, Betsy Erickson, John Field, Beryl Grey, Ronn Guidi, John Hart, Matthew Hawkins, Ronald Hynd, Kurt Joos, Alonzo King, Eugene Loring, Kenneth MacMillan, Léonide Massine, Barry Moreland, Bronislava Nijinska, Robert North, Rudolf Nureyev, Dame Marie Rambert, Mary Skeaping, Michael Smuin, Anna Sokolov, Ben Stevenson, Glen Tetley, and Antony Tudor, among many others.

Venues performed in: London Coliseum; Palais des Sports, Paris; Metropolitan Opera House, New York; Kennedy Center, Washington DC; the San Francisco Opera House and elsewhere across the United States, Canada, England, France, Italy, Scotland, Czechoslovakia, Poland, Guatemala and China.

Training:  The Royal Ballet School, London, England. Teachers included Elizabeth Anderton, Piers Beaumont, Svetlana Beriosova, Dame Ninette de Valois, Julia Farron, Alicia Markova, Monica Mason, Léonide Massine, Pamela May, Madame Messerrer, Nadia Nerina, Katherine Wade and Terry Westmorland. Other influential teachers included Stanley Williams, Svetlana Afanasieva, Anna Du Boisson, and Bridget Espinosa. She trained also at Elmhurst Ballet School, Surrey, England and was the Winner of the Adeline Genée Gold Medal.

Teaching: Founding Director & Teacher, San Francisco – Kansas City Ballet, Washington Ballet, North Carolina Dance Theater, Smuin Ballet, and Ballet B.C. Conservatory of Dance, www.SFconservatoryofDance.org (2004—) Founding Director & Teacher, Alonzo King Lines Ballet School & Pre-Professional Program (2001-2004).

Guest Teacher with Joffrey Ballet, Milwaukee Ballet and former faculty member of: City Ballet School, San Francisco; San Francisco Dance Center; Performers Ballet School, Albuquerque; Marin Ballet School; Marin Dance Theater.

Master classes taught at: U.C.L.A; U.C. Irvine; U.C. Santa Barbara; Cal. State U. Los Angeles; Cal. State U. Long Beach; Cal. Institute of the Arts; San Francisco State U.; U. of Utah; U. of Arizona; U. of Hawaii; U. of Cincinnati; Florida State U.; U. of Maryland; U. of Michigan; U. of Texas/Austin; Texas Christian U.; Brigham Young U.; Southern Methodist U.; George Mason U.; Point Park U; Townsend U.; Cornish College of the Arts; Mount Holyoke College; Skidmore College; Booker T. Washington/Dallas; Arts Umbrella/Vancouver, and dance schools across the U.S.

CHRISTIAN BURNS I Faculty, San Francisco Conservatory of Dance

Christian Burns is a director, choreographer, performer and educator. His choreographic platform burnsWORK (SF, CA) serves as a framework for training and performance projects relating to the intersection of improvisation, choreography and performance practice.

Burns began teaching when he was sixteen years old and has been a full time educator for over fifteen years. He is a faculty member of the San Francisco Conservatory of Dance and LINES Ballet Training Program and an Adjunct Instructor for Alonzo King LINES Ballet BFA at Dominican University. Burns teaches ballet technique, improvisation and composition.

Burns has been commissioned by several educational programs such as Stanford University, University of San Francisco, Mt. Holyoke College, University of Michigan Ann Arbor, The Laban Center in London, Interlochen Center for the Arts, the San Francisco Conservatory of Dance and LINES Ballet Training Program and BFA program. Between 2003 – 2008 Burns co-taught (with esteemed improviser Kirstie Simson) over sixty Contact Improvisation and Performance Improvisation workshops for independent studios, colleges and cultural institutions throughout North America, Europe and Taiwan.

His choreographic work has been presented in the San Francisco Bay Area’s Yerba Buena Center for the Arts, ODC Theater, Counter Pulse, The Garage, Headlands Center for the Arts, Z Space Theater and the San Francisco Conservatory of Dance. As well, in Minneapolis, New York City, Ann Arbor, Santa Fe, Western Massachusetts, as well as Germany, France, United Kingdom, Denmark, Sweden, Norway, Switzerland, The Netherlands, Italy, Belgium and Taiwan.

Burns is a recipient of the Choreographers in Mentorship Exchange (CHIME, as a mentor), Massachusetts Cultural Council Artist Fellowship for Choreography, the National Choo-San Goh Award for Choreography, the Paula Citron Award for Choreography for Camera (from the Moving Pictures Festival in Toronto), McKnight Artist Fellowship. Christian is a contributing author for When Men Dance, Choreographing Masculinities Across Borders, Edited by Jennifer Fisher and Anthony Shay, Oxford University Press 2009 and has self-published Motion and Process: knowing not knowing, ideas on dance 2006-08.

Burns was a guest artist with The Forsythe Company and a company member of Alonzo Kings LINES Ballet and James Sewell Ballet. He has performed with internationally acclaimed improvisers; Kirstie Simson, Chris Aiken, Ray Chung, Michael Schumacher and Katie Duck among others. Burns completed his formal training at The School of American Ballet.

Guest Presenter on Dance and Film and other Applicable Technologies for Dance

KAREN JENSEN I Faculty, Department of Dance, Brigham Young University

Karen Jensen (MA, MEd) is an Adjunct Professor of Dance at Brigham Young University.  Her dance training began as a young child with BYU Young Dancemakers where she cultivated her love of movement exploration and the creative process. She has taught a variety of

university course topics including Contemporary Technique, Introduction to Dance, Dance Education, Dance and Film and previously was the Artistic Director of Kinnect, an elementary school dance outreach program.

Karen has taught dance for grades K-12 in the public and private sectors and in Ghana and Taiwan. Her research interests include; learning technologies, dance and film, project based collaborative arts learning and international education. She is a doctoral candidate at Texas Tech University in Curriculum Studies and Teacher Education.




Adjudicated Member Presenters and Presentation Abstracts (listed in order of presenting)

JESSICA ZELLER I Assistant Professor, Texas Christian University

 Jessica Zeller is an Assistant Professor of Dance in the TCU School of Classical & Contemporary Dance. She holds a Ph.D. in Dance Studies and an MFA in Dance from The Ohio State University. Published by Oxford University Press in 2016, Zeller’s monograph, Shapes of American Ballet: Teachers and Training before Balanchine, unearths the work of several European and Russian ballet pedagogues during the pre-Balanchine era in the United States. Her research has been published in Dance Chronicle and in the Oxford University Press anthology Dance on Its Own Terms: Histories and Methodologies.

A New York native and student of Maggie Black, Rochelle Zide-Booth, and Jan Hanniford Goetz, Zeller’s studio teaching makes reference to their work and is complemented by her research into ballet’s national styles and pedagogies. Zeller has danced several works from the ballet canon—most notably the role of Giselle. She has danced in Bebe Miller’s work, as a guest artist with the Indianapolis Opera, and with project-based companies in New York City. Before arriving at TCU in 2012, Zeller was on the ballet faculty of the BalletMet Dance Academy in Columbus, Ohio.

 Tradition and Innovation: Dance Manuals and Ballet Training in Early Twentieth Century America

 CONDENSED ABSTRACT: Pedagogues have long recorded and disseminated the ballet of their time in print. This study examines several such publications authored by various ballet teachers in the early twentieth century United States. These primary documents brought Euro-Russian systems of training to aspiring American ballet dancers who, sometimes located in far-flung towns, may have been without access to a ballet teacher. Using historical methods and archival analysis, this presentation demonstrates how, in addition to their contents, the designs and functions of dance manuals in the early twentieth century became integral to ballet’s development in the United States.

JOAN BUTTRAM I Associate Professor, University of Georgia, Athens

MICHELLE ARINGTON I Certified Yamuna Body Rolling Practitioner

 Joan Buttram, Co-Presenter and Author

Joan Buttram, an Associate Professor at the University of Georgia, received her MFA in Pedagogy from Texas Christian University and a BFA in ballet performance/pedagogy from Virginia Intermont College. She is the Founding Artistic Director (1991) of the UGA Ballet Ensemble and created a new course, Classical Ballet Forms for the Department of Dance. Her classical ballet instruction is based on a strong pedagogical background, influenced by a variety of training techniques, current scientific methodologies and experience garnered during her professional performance career. As a soloist and principal dancer, Joan performed with Dayton Ballet Company, Ballet Metropolitan, Lexington Ballet Company, Bristol Ballet Company and Ballet Concerto as well as the modern dance based Contemporary Dance/Fort Worth and the New Century Danscene. In 1982, Joan was honored to receive the coveted Vera Volkova Award for Outstanding Ballet Performance. She has received choreographic awards in Paris, France, Barcelona, Spain, Ragusa, Italy, and from the National Endowment for the Arts, The Atlanta Project, UGA Lily Fellows Program, and the UGA Performing Arts Center. In addition to  creating original choreography, Joan has reconstructed La Bayadere, Giselle, La Sylphide, Les Sylphides, Paquita, Le Grand Pas de Quatre, The Nutcracker Suite and Firebird. A founding member of the CORPS de Ballet International, Joan has served on the board as secretary and treasurer and received the Outstanding Service Award in Paris, France (2013).

 Michelle Arington, Co-Presenter

Michelle Arington is a certified Yamuna® Body Rolling (YBR®) practitioner, therapeutic Yoga instructor and Holistic Health and Fitness coach, specializing in self-care solutions that empower her clients and students to cultivate a healthy, pain-free body and mind. YBR® is a therapeutic fitness practice, created by Yamuna Zake, that provides the anatomy education and tools needed to self-heal chronic pain, injury, tension and stress, and to quickly and easily increase flexibility and strength, core integrity, range of motion, balance, and bone density. She began studying with Yamuna Zake in 2003 after using the method to fully recover from past dance injuries and car accidents, and received her YBR® certification in 2006. Since then, she has worked with hundreds of people, helping them to improve their own alignment, strength, flexibility, balance and awareness through the practice of YBR®. Michelle has been a ballet and modern dancer for most of her life and sees a strong need for integrating the YBR® tools and education into the world of dance. She has worked closely with Joan Buttram, Associate Professor of Dance at the University of Georgia and has been sharing the practice with her ballet dancers since 2014.

Yamuna® Body Rolling for the Classical Ballet Dancer: A Healthy Embodied Practice

 CONDENSED ABSTRACT: Yamuna® Body Rolling (YBR®) Certified Instructors and co-presenters Michelle Arington and Joan Buttram share qualitative research on integrating the innovative methodologies of YBR® to the training of classical ballet students, specific to turnout at the hip. Self-care routines using small inflatable balls, YBR® promotes anatomical awareness, strength, flexibility, proper alignment and therapeutic benefits. Through the visceral awareness and experiential anatomy innate to YBR®, students were better able to locate and isolate their lateral rotators and refrain from overworking their gluteal muscles. Additional, YBR® routines especially relevant to dance will be offered for the chest and shoulders, quadriceps, and hamstrings.

SHAYLA BOTT I Assistant Professor, Brigham Young University

ROB WOOD I Associate Professor/Lecturer, University of Utah

Shayla Bott, Co-Presenter

Shayla Bott has taught for 22 years in private studios and in the University setting, including University of Utah, Utah Valley University (UVU) and currently as an Assistant Professor at Brigham Young University (BYU). Shayla has served as the Artistic Director of UVU’s Repertory Ballet Ensemble, BYU Ballet Showcase Company, and BYU Theatre Ballet.  From the University of Utah, Shayla holds a BFA in ballet performance as well as an MFA in ballet with a focus on music, choreography and pedagogy. After retiring from a professional career with Utah Regional Ballet, she has continued to choreograph and teach in professional and academic  venues.

Shayla’s research interests are in ballet pedagogy, neo-classical and contemporary ballet choreography, and the relationship between dance and music in a performing arts setting as well as in the ballet technique classroom.

Shayla’s choreography has won several choreographic awards including Utah Regional Ballet’s Choreography Design Competition (1st place in 2008, 2010, 2016 and 2nd place in 2012) and the National Choreographic Recognition Award from Regional Dance America in Montreal in 2012 for her work entitled “Weaker”. Her work “Apart” was selected for the gala performance at American College Dance Association festival in 2012. She has set original works on Central Pennsylvania Youth Ballet, Ballet Arkansas, Santa Cruz Ballet Theatre, Idaho Regional Ballet, Utah Regional Ballet, BYU Theatre Ballet, BYU Showcase Company, BYU Contemporary Dance Theatre, UVU’s Repertory Ballet Ensemble, Ballet West Summer Intensive, University of Utah’s Ballet Ensemble and on Shayla Bott & Company and Ballet Arkansas for Chop Shop contemporary dance festival in Bellevue, Washington.

Rob Wood, Co-Presenter

Rob Wood graduated with a Bachelor of Music degree in Music Performance from Brigham Young University.  At that time he was also class and rehearsal pianist with Ballet West in Salt Lake City where he accompanied many teachers, including Bruce Marks, Toni Landers, Willam Christensen, Denise Schultze, and Louis Godfrey.  In 1991 he began working for the Aspen Ballet Company & School as music director and accompanist. He has spent his summers as pianist and lecturer for a variety of workshops in the Intermountain West including Dance Aspen, Vail International Summer of Dance, Aspen Ballet, Ballet West Academy, Nevada Festival Ballet Summer Workshop and the University of Utah Summer Ballet Intensive.  During the many workshops, Rob has accompanied many international teachers including; Hillary Cartwright, David Howard, Jillana, Gilbert Meyer, Toni Pimble, Alonso King, Violette Verdy,   Edward Villella, Gretchen Ward Warren, Patricia Wilde, Patricia Neary, Darla Hoover, Suki Shorer, Laura Alonso, Yoko Ichino, Mark Goldweber, Susan Jaffe, and Adam Sklute; to mention a few.   Rob has performed live on stage accompanying a performance of the Pas de Deux from George Balanchine’s “Harliquinade” with Ethan Stiefel and Miranda Weese of the New York City Ballet at the Gerald R. Ford Amphitheater in Vail, Colorado. Rob has recorded two CD’s under the direction of David Howard which were produced and are being marketed by Roper Records in New York City. Rob is currently Associate Professor, Lecturer in the newly formed School of Dance at the University of Utah, where he has been a faculty member and Director of Music in the Ballet Program for nineteen years. His duties include hiring, training, and supervising all ballet pianists in the extensive studio program.  Rob also teaches BALLET 1500, Elements of Music, which emphasizes music as it applies to the ballet class, choreography and performance.  Rob has recently designed a new course, BALLET 2500, for up and coming ballet teachers.  Music for the Ballet Class was designed for the ballet methodology and pedagogy students and leads to a ballet teaching certificate in the program. These courses are required classes to graduate with Ballet Degrees in Performance, Teaching, and Choreography.  In the Modern Dance Program, Rob co-teaches DANCE 1640, Elements of Music, along with faculty member Mike Wall.  Rob also co-directs the Graduate Show, which is the third-year graduate thesis concert. He has also co-directed with Professor Sharee Lane, Performing Dance Company in its collaboration with the School of Music. Elaine Kudo’s staging of Twyla Tharp’s “Sweet Fields” was at the center of this collaboration.

Rob is also musical director and principal pianist for the Utah Regional Ballet and regular Guest Class Pianist with Ballet West.  Rob has lectured on the subject of “Musicality in the Ballet Class for Teachers and Directors” at numerous Regional Dance America (RDA) festivals as well as at Central Pennsylvania Youth Ballet’s Teacher Seminar. During 2006 alone, Rob was pianist at three Regional Festivals of RDA include the Pacific, Mid-States and Northeast Regions.  From 2004 through 2013 Rob served as Music Director of RDA’s National Choreography Intensive eight different seasons working closely with Directors of Choreography Alan Hineline, Kathryn Posin, Janis Brenner and Nelly Van Bommel.  In March of 2010, 2011 and 2012, Rob was found in Berlin, Germany accompanying classes and teaching in music classes at the Berlin Statts Ballet Schule. Rob is a member of CORPS de Ballet International, Inc. and the International Guild of Musicians in Dance.

Rob is sought after nationally as a ballet accompanist because of his energetic approach to providing live piano music representing a vast repertoire of various styles, including classical, jazz, and popular melodies. Because of his kinesthetic awareness, he is known for always providing inspirational music that is closely tied to the technical demands of the teachers and dancers. His music always reflects the nuanced energy of the ballet vocabulary. Besides his work as a pianist, university professor and lecturer, Rob served eight years as a tenor in the world renowned Mormon Tabernacle Choir. Rob is married to the former Ballet West dancer Susan Sattler. Their family includes five children and eight grandchildren.

Choreomusicology in Practice: Enhancing Ballet Pedagogy Through Musicking

 Condensed Abstract: Training dancers with a focus on musicking (music as a verb and not a noun) rather than with a focus on simply creating exercises and applying music afterward, more effectively reaches pedagogical goals in dancers, such as muscular development, musicality, and forming technique. Using this interdisciplinary approach creates greater meaning and function in the training process which can provide insight into perceptual sensibilities, interpersonal dynamics, and move dancers beyond the mechanical operation of ballet exercises into a more cohesive aesthetic presentation. This presentation supports creative thinking in ballet pedagogy through an innovative interdisciplinary approach to music and ballet training.

JENNIFER WEBER I Assistant Professor, Lecturer, University of Utah

Jennifer Weber is on faculty at the University of Utah School of Dance. She was an Iowa Arts Fellow and received her MFA from the University of Iowa. She is a native of Omaha, NE and began her professional career with Omaha Theater Company. She also danced with Ballet Quad Cities and Ballet Nebraska. Ms. Weber has choreographed throughout the US as well as served on faculty in universities, professional schools, and community outreach programs. Her creative and scholarly research is fueled by the presence, power, and potential of the individual.

Dreaming of Sugar Plum Fairies: Building Communities through Arts Inclusive Programing

 CONDENSED ABSTRACT: Ballet can be found in many cultures, but the patronage of ballet has been waning for many years. Ballet is under scrutiny for diversity and inclusion. Questions of elitism and unapproachability still persist. How is ballet supposed to address these issues? The art form of ballet creates its own community. But if ballet were to expand its boundaries to look at a broader community, could ballet be a leader in community development? Could ballet discover new sources of funding outside of a patronage model? Through community collaboration, could ballet discover new ways to advance as an art form?

MELONIE BUCHANAN MURRAY I Associate Professor, University of Utah

JAY KIM I Assistant Professor, University of Utah

 Melonie Buchanan Murray

Melonie is a scholar and an artist, both a professor and

choreographer.  Currently an Associate Professor and Ballet Program Coordinator within the School of Dance at the

University of Utah, Melonie holds a BFA in Ballet from Friends University, MFA in Dance from the University of California, Irvine, and is A.B.D. with anticipated completion of a Ph.D. in Dance from Texas Woman’s University.  Her research interests lie in exploring the continual evolution of ballet training methods and performances, and while honoring the past, investigating ballet through a critical theory lens. Topics of recent research have included analyzing the commoditization of dancers in the advertising campaigns of American ballet companies, exploring notions of ballet as a form of cultural identity, examining how gender is performed in early ballet training, and exploring ballet as a degree focus in American higher education.

Melonie is certified in American Ballet Theatre’s national training curriculum and has experience teaching multiple genres of studio and academic courses at several universities. Professional affiliations include Corps de Ballet International, Society of Dance History Scholars, Congress on Research in Dance, World Dance Alliance, and the National Dance Educators Organization; she has also served as an adjudicator for the American College Dance Association.

Jay Kim

Professor Kim is currently an Assistant Professor in the School of Dance at the University of Utah. He earned his MFA from the University of Utah, BA from the Sejong University, and is an ABT® Certified Teacher in Pre-Primary through Level 3 of the ABT® National Training Curriculum. His professional career includes dancing across 13 countries and 150 cities on the major stages of the world as a Soloist and Principal with Universal Ballet Company, Korean National Ballet, Korean Ballet Theatre, and Dayton Ballet Theatre. He has been awarded 9 grand prix and gold medals in international competitions in ballet, contemporary, modern, and Korean traditional dance categories.

Professor Kim’s choreographic works include a full-length Cinderella production, Reciprocity, Remembrance, Enraptured, Binari, Etudes, The Human Experience, and Elegy. His works and stagings have been performed internationally in Spain, Korea, and Costa Rica and nationally in Michigan, Nevada, Texas, and Utah. While serving as Artistic Director of Utah Ballet he co-directed a classical production of Swan Lake; directed a contemporary Choreographers of the Far East production of World Premiere creations of three

choreographers hailing from Asia; co-directed a joint international Spring Ballet Festival production with the Korean Ballet Theatre in Seoul, Korea; and directed Utah Ballet international performing tours to Zaragoza, Spain and Seoul, Korea.

An Experiment in 21st Century Assessment for Ballet: Developing Effective Assessment Methods and Utilizing an Online Learning Platform for Ballet Coursework at a Research-I University

CONDENSED ABSTRACT: University dance programs often struggle with meeting institutional requirements for student assessment practices. For dance, an artistic subject that is qualitative by nature, assessment practices tend to be problematic. At one Research-I university, faculty members collaborated to develop and refine effective assessment practices over a period of several years. This presentation discusses: 1) the process of developing rubrics for ballet technique course assessment, 2) the process of developing effective modes of delivering student feedback, 3) the advantages and disadvantages of using online learning platforms for these specific purposes, and 4) student and faculty reaction and engagement.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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CORPS 2017 Call for Abstracts Information:

2017 Abstract call

Abstract Submission checklist

Abstract Assessment Rubric

2017 Abstract Submission Form

CORPS 2017 Presentation Scholarship Award

Copyright permission

 

 

 

 

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