Dance Critics Association
June 13-14, 2014
“ Philadelphia Dance Conversations: Part One ”
EARLY REGISTRATION DEADLINE IS EXTENDED TO THE START OF THE CONFERENCE - REGISTER NOW!
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. 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.
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!
Current Panels Planned and Schedule:
*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.
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.
11:30 AM to 1:30 pm 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?
5:45 pm to 7:30 pm MEET AND GREET RECEPTION
Saturday, June 14
8:00 am to 9:30 am REGISTRATION OPENS and BOOK TABLE
11:30 am to 1:30 pm 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
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.
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), Christine Cox (executive director of BalletX), 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
Kamikaze Dance Writing WorkshopThe 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 are:
$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: firstname.lastname@example.org. 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.
$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:http://www.dancecritics.org/conferencepayment.html
The Gershman Y
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
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.
BOOK ONLINE AT THE FOLLOWING LINK:
http://www.marriott.com/meeting-event-hotels/group-corporate-travel/groupCorp.mi?resLinkData=DCA%20Conference%20Room%20Block%5Ephldc%60dcadcaa%7Cdcadcab%60149%60USD%60false%606/12/14%606/15/14%605/22/14&app=resvlink&stop_mobi=yes 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.
Make your discounted reservation online at
https://resweb.passkey.com/resweb.do?mode=welcome_ei_new&eventID=11338719 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 email@example.com, 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 EMAIL firstname.lastname@example.org.
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
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 our brilliant Chorographer 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 http://paballet.org/50finale.
Presenter BiosLisa Kraus
Lisa Kraus's career has included performing with Trisha Brown, choreographing and performing for her own company and as an independent, 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, the Philadelphia Inquirer, Books & Culture: A Christian Review and Dance Critics Association 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 Maré 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.
Lynn Matluck Brooks
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, and 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
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. www.bdixongottschild.com 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 the Journal 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 loft district that later was developed into arts district. She often collaborated with choreographer/dancer Ishmael Houston Jones, and musicians Charles Cohen and Jeff Cain. As artist Curator she founded the "Dance With The Bride" series at the Painted Bride Art Center, where she was on staff from 1977-83 and again from '93 to 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 as adjunct faculty at various colleges and universities. Currently adjunct at Rowan University. She has a BA from New York University ('83) and participated in the Whitney Museum of American Art, Independent Study Program ('84). www.philadanceprojects.org
Robert Bettmann is the general editor of the recently published book, Bourgeon: Fifty Artists Write About Their Work, and the author of Somatic Ecology: Somatics, Nature, Humanity and the Human Body (2009, Verlag). Mr. Bettmann publishes regularly in popular and scholarly outlets, including the Huffington Post, and teaches modern dance, improvisation, and writing for artists. He serves as Board Chair of the DC Advocates for the Arts, and sits on the programming committee of Americans for the Arts State Arts Action Network. As founding editor and artistic director of the non-profit Day Eight he is currently co-directing a new project in collaboration with the DC Environmental Network.
Joan Myers Brown
Often called an innovator and communicator, Joan Myers Brown is listed in Who's Who in America as a powerhouse "Philadelphia Leader".
Ms. Brown is the founder of The Philadelphia Dance Company (PHILADANCO) and The Philadelphia School of Dance Arts. She serves as honorary chairperson for the International Association of Blacks in Dance, an organization she established in 1991. She is also founder of the International Conference of Black Dance Companies. She is a Distinguished Visiting Professor at the University of the Arts, which bestowed upon her an honorary Doctorate of Fine Arts, and is a member of the dance faculty at Howard University by Ursinus College and has made significant contributions to the national and international arts communities.
Joan Myers Brown has served a broad range of regional and national organizations, including NEFA's National Dance Project, the United States Information Agency, Arts America, the National Endowment for the Arts, the Arts Councils of Pennsylvania, New Jersey, Michigan, Nevada, and Ohio and the National Forum for Female Executives. Locally, she has been a part of the Greater Philadelphia Cultural Alliance, the Minority Arts Resource Council, the Philadelphia Mayor's Cultural Advisory Council, the Philadelphia Dance Alliance, The Woman's Heritage Society, the Coalition of African American Cultural Organizations, Dance USA/Philadelphia and many other organizations.
Ms. Brown's expertise and counsel have been sought by numerous organizations, including the Rockefeller Foundation's Arts & Humanities Program. She served as a trustee of the Stockton Rush Bartol Foundation and the Media Performing Arts Center. Ms. Brown was a member of the Philadelphia Chamber of Commerce Arts & Business Council, World Dance Alliance Americas, University City Board of Directors, Dance/USA and other non-profit organizations.
In 1988, she founded the International Conferences of Black Dance Companies and subsequently convened three other gatherings. She facilitated the Smithsonian Institution's Conference of Black Dance Companies and served as a consultant to the East Coast Committee of Festival 2000, the San Francisco Bay Area Cultural Initiative, the NEA "Dance on Tour" ad hoc committee and the Kennedy Center Adult Education Task Force.
Among Ms. Brown's many honors was the "Dance Women; Living Legends Award", during a four-day series sponsored by New York area presenters, in tribute to five African-American pioneer women who founded distinguished modern dance companies with deep roots in black communities around the country. She was also honored by the Kennedy Center for African American Choreographers. Most recently she received the Philadelphia Award, and was proclaimed a "Living Legacy" by the city of Harrisburg, PA. (the rest being too numerous to list) She received Dance/USA's Honor Award, and most recently she received the National Medal of Art from President Obama.
The success of her seemingly unending energy has been appreciated and recognized by the numerous requests for her keen input from such notable organizations as Pennsylvania State Council of the Arts, Ohio State Arts Council, New Jersey State Arts Council, National Endowment for the Arts, National Association for Female Executives, Port of History Museum (Ad Hoc Committee), Media Associates (Washington, DC), Greater Philadelphia Cultural Alliance, Wade Communications, Spruce Family Planning, Minority Arts Resource Council, West Philadelphia Chamber of Commerce, Mayor's Cultural Advisory Council, Advisory Panel for NEA, Expansion Arts Program, Executive Council of the Philadelphia Dance Alliance, Arts Administration for the Pennsylvania Council on the Arts, Women's Heritage Society, Painted Bride, Dance/USA, and the Philadelphia Arts Alliance.
Ms. Brown's efforts on behalf of dance excellence belie a much larger contribution to the arts and the community. She remains a tireless advocate and spokesperson and is a model of tenacity, hope, and discipline. She is the proud mother of daughters Ashley, Marlisa and Dannielle, who teach at her schools, The Philadelphia School of Dance Arts, and is the grandmother of six.
It must be emphasized that Joan Myers Brown's efforts for dance excellence are only part of her contribution to society and Philadelphia in particular. She speaks out, talks back, and shows up.