Basically Baroque

July 1, 2013 Dance Class at Santa Barbara Dance Center  http://santabarbaradancecenter.com/about/  from 7:30-8:20pm

127 West Canon Perdido Street

Santa Barbara, CA 93101

(805) 899-2901

Cost: $15, ticket price includes the lecture/demonstration following the class at 8:30pm

Open to all inquisitive minds and bodies. After learning the primary steps from which the more complicated dance vocabulary emerges, students will learn the first figure of the Royal Ann, a triple metered couple dance choreographed by Mr. Isaac in honor of Queen Anne’s birthday in 1712.


Queen Anne’s Lace, the wild flower, was supposedly named after this queen. When working on her lace, Anne pricked her finger and a red drop of blood stained the middle of the lace work. Ode for the Birthday of Queen Anne, written by George Frederick Handel, was dedicated to her,celebrating the end of the War of the Spanish Succession with the Treaty of Utrecht  (1712) negotiated by the Tory ministry of Anne.

Taught by Catherine Turocy, Artistic Director of the New York Baroque Dance Company, along with students from the Santa Barbara Historical Dance Workshop.

Baroque Dance, Old and New, Lecture/Demonstration in period costume from 8:30 to 9:30 followed by a Q and A

Cost: $15

olsi in red 1

Olsi Gjeci, photo by Tom Caravaglia

Baroque Dance, Old and New: This lecture/demonstration in period costume looks at the process of reviving original Baroque dance notations for performance as well as building on this knowledge to create contemporary works. Members of the New York Baroque Dance Company, Justin Coates, Sarah Edgar, Olsi Gjeci and Catherine Turocy will perform social and theatrical dances of the period with guest dancer from Paris, Bruno Benne.

Choreographers Sarah Edgar and Bruno Benne will talk about and demonstrate their own contemporary choreography influenced by the Baroque. Carrie Diamond, a choreographer as well as a student with us last year, will join the discussion and present her most recent trio, Jumble.



sandraSandra Noll Hammond, a recipient of the Ballet Lifetime Achievement Award from CORPS International, has embraced ballet, modern dance and historical ballet as a performer, teacher and choreographer  on the professional stage and in university dance programs.  Her research, lectures, and publications on ballet technique and history have been lauded by the dance community and the press. Hammond’s professional training was guided by ballet icons  Antony Tudor, Margaret Craske, Thalia Mara, and Arthur Mahoney, with a major influence from Martha Hill at Juilliard. Her publications include two college text books,Ballet Basics (now in its 5th edition and with recent editions in Korea and Finland) and Ballet: Beyond the Basics . Her research into the history of ballet technique has appeared in articles for Dance Chronicle, Dance Research Journal, Dance Research (London), Journal of Social History, International Encyclopedia of Dance, Dictionnaire de la Danse, and numerous chapters in edited books on ballet. As guest artist and lecturer, Hammond has presented her work internationally in Copenhagen, Paris, London, Ghent, Leuven, Sydney, Turku, Helsinki, Mexico City, and Mérida, Yucatan. She is the recipient of research grants from the University of Arizona, University of Hawaii, and the National Endowment for the Humanities. She received the President’s Citation for Meritorious Teaching from the University of Hawaii, and she is an Honorary Member of CORPS de Ballet.

Richard_2011Richard Powers has been teaching contemporary and historic social dance for over 35 years.  He leads workshops around the world and is currently a full-time instructor at Stanford University’s Dance Division. Praised to the skies by his students, he is very much in demand and we are fortunate to have him at our workshop. Looking at his teaching engagements from now until November, I am impressed with his commitment to all who wish to dance:  from the beautiful grassy fields of Kentucky to the onion domes of Moscow. Workshops are to be held in: Makinac Island, MI; Fairbanks, AK; Santa Barbara, CA; Santa Clara, CA; Boulder, CO; Chelyabinsk, Russia; Moscow, Russia; Paris, France;  Berea, KY; Bern, Switzerland; Catalina Island, CA.  Historic Dance Performances Richard has directed include 19th century and ragtime dance at the Smithsonian Institution, Henry Ford Museum, the National Governors Conference, Detroit Symphony Orchestra, Cincinnati Ballet Company, the Scott Joplin Ragtime Festival, leading the Palace Hotel’s Valentines Ball, St. Moritz, Switzerland (featured on CBS “60 Minutes”); performance for Prince and Princess Mikasa of Japan; and a tour of the former Soviet Union. For more about Richard Powers, please see his website: http://richardpowers.com/

Catherine Turocy Planning Ahead, photo by Catherine Andrako

Catherine Turocy Planning Ahead, photo by Catherine Andrako

Catherine Turocy, recognized as one of today’s leading choreographer/reconstructors and stage directors in 17th and 18th century period performance, with over 60 Baroque operas to her credit,  has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters.   She received the prestigious BESSIE Award in New York City for sustained achievement in choreography as well as the Natalie Skelton Award for Artistic Excellence.  In 1980 she received the Dance Film Association Award for “The Art of Dancing” video produced with Celia Ipiotis and Jeff Bush.  NEA International Exchange Fellowships supported extended visits where she lived in London and Paris, conducting research and interacting with other artists.  In the 1980’s she worked under famed stage directors Pier Luigi Pizzi and Jean Louis Martinoty.

A founding member of the Society for Dance History Scholars, Ms. Turocy has lectured on period performance practices around the world including the Royal Academies of Dance in London, Stockholm and Copenhagen; the Festival Estival in Paris and The Society for Early Music in Tokyo.  She has served as consultant to Clark Tippett of American Ballet Theater and Edward Villella of the Miami City Ballet.  As a writer she has contributed chapters to dance history text books, articles to Opera News , Early Music America and Dance Magazine, many which have been translated into French, German, Japanese and Korean. A chapter in Janet Roseman’s book, Dance Masters: Interviews with Legends of Dance, published by Routledge is dedicated to her work.   Books in which Turocy has authored chapters include:   Moving History/Dancing Cultures: A Dance History Reader; Creating Dance: A Traveler’s Guide and  Dance on its Own Terms: Histories and Methodologies, eds. Melanie Bales and Karen Eliot, published by Oxford and is due out in April, 2013.

Sarah Sarah Edgar earned a BFA in dance from the Ohio State University in 2000 and immediately afterward joined The New York Baroque Dance Company. With the NYBDC, she has performed at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and the Potsdam Sanssouci Music Festival. While living in NYC, she also presented her choreography, including the full-length show Courtesan, and curated the genre-mixing experimental programs Modern Burlesque and Avant/Après le Déluge.  Since moving to Cologne, Germany in 2006, she has been an active freelance performer and toured Italy and Belgium with Deda Christina Colonna’s The Fairy Queen.  In Cologne, she has co-founded the “postmodern baroque” group The Punks Delight with the musician Beate Alsdorf. The group has produced several performances, and they were invited to perform at the Kölner Musiknacht 2010. The Punks Delight is currently in the planning phase for Psiché; or, Come Back Amor.  Sarah Edgar continues to perform with The New York Baroque Dance Company and regularly works as Ms. Turocy’s assistant, most recently as the directing assistant for the operaTeseo at the 2011 Internationale Händelfestspiele Göttingen.  She has taught many master classes in baroque dance, including classes at New YorkUniversity and CornellUniversity, as well as in Germany at the TANZhautnah Festival, Schwetzinger Tanztage, and the Musikhochschule für Musik und Tanz Köln. She has also given scholarly papers on eighteenth century dance at the American Society for Eighteenth-Century Studies, the Conservatorium van Amsterdam, and the Utrecht Early Music Festival. In 2010, she began studying for her MA in Tanzwissenschaft (dance studies) at the Hochschule für Musik und Tanz Köln. This past February she was the choreographer for the production of Dido and Aeneas with the Haymarket Opera in Chicago.

JR crop 3 James Richman is Artistic Director/Conductor of Concert Royal and the Dallas Bach Society.  He is a prominent harpsichordist and fortepianist, as well as one of today’s leading conductors of Baroque music and opera. The first musician since Leonard Bernstein to graduate Harvard, Juilliard, and the Curtis Institute of Music, James Richman studied conducting with Max Rudolf and Herbert Blomstedt, piano with Mieczyslaw Horszowski, Rosina Lhevinne and Rudolf Serkin, and harpsichord with Albert Fuller and Kenneth Gilbert.  He holds a degree in the History of Science magna cum laude from HarvardCollege.  A recipient of the prestigious United States-France Exchange Fellowship from the NEA, he was knighted by the French government in the Ordre des Arts et des Lettres in 1995 in recognition of his contributions to the field of music. Richman has been a prizewinner in four international competitions for early keyboard instruments, including first prize in the Bodky Competition of the Cambridge Society of Early Music, laureate of the Bruges Harpsichord Competition and bronze medal in the Paris Harpsichord Competition of the Festival Estival and in the First International Fortepiano Competition (Paris).  In appearances at the Mostly Mozart Festival, the Spoleto Festival USA, the E. Nakamichi Baroque Festival, the Boston Early Music Festival, as well as in regular series in New York, he has organized revivals of such important works as Gluck’s Orfeo, Handel’s Ariodante, Alessandro, Acis and Galatea, Il Pastor Fido and Terpsicore, Purcell’s King Arthur, Monteverdi’s Incoronazione di Poppea, J.C. Bach’s Amadis des Gaules, Jean-Jacques Rousseau’s Le Devin du Village, and seven operas of Jean-Philippe Rameau including Hippolyte et Aricie, Pygmalion, and Les Indes Galantes.

Recent recordings by Concert Royal on Centaur Records include Handel’s Terpsichore; Rameau’s Pygmalion & L’Impatience, and Rameau’s Zephyre & Clerambault’s Triomphe de la Paix.

BrunoCatherine Turocy and Bruno Benne are setting the ground work for creating a French/American Exchange at the Santa Barbara workshop.  This year Bruno will be attending  to learn more about  historical dance in the United States. He will also be demonstrating his reconstructions and his contemporary work using Baroque dance technique.  We are working on funding to bring him back as a teacher for next year. Click here for Handel’s Alessandro withstage direction and choreography by Lucinda Childs (Bruno was her assistant on this project).

Here is a list of the companies he has danced with:

2005 à 2013- Fêtes-Galantes directed by Béatrice Massin

2006 à 2013- L’Eventail, directed by Marie-Geneviève Massé,

 Here is a list of operas and films he has worked in:

2013 – Alessandro, Haendel – Opéra Royal de Versailles/Megaron à Athènes, assistant pour les

chorégraphies baroques, Lucinda Childs

2013 – Le Bal Masqué, Verdi – Chorégie D’Orange, danseur assistant, Béatrice Massin

2011 - Atys, Lully – (Reprise)Opéra Comique/BAM/Caen/Versailles, Francine Lancelot

2010 – Le Sacre du Printemps pour le film Chanel et Stravinsky – Dominique Brun

2008 – Hippolyte et Aricie, Rameau -Théatre du Capitole de Toulouse, Nathalie Van Parys

2004 – La Grande Duchesse de Gérolstein, Offenbach – Théâtre du Châtelet, Laura Scozzi

Les Boréades, Rameau – Opéra de Lyon, Lionel Hoche

2003 – Les Indes Galantes, Rameau et Guillaume Tell, Rossini – Opéra de Paris, Blanca Li

Benne’s was trained and educated at the Cycle Notation Laban CNSMDP, the Conservatoire National Supérieur de Paris et Junior Ballet du CNSMDP and the Conservatoire National de Toulouse.  As a choreographer he has created the company, Beaux-Champs/Bruno Benne for the project Figures Non Obligées and in 2012 – Devill’s Dreame’s with Adeline Lerme  and the ensemble Les Witches and in 2011 – Figures Non Obligées(extraits) with Adeline Lerme.  He also danced in Le Rigaudon du Roi, vidéo for Fête de la Danse, Blanca Li and in 2010 – Elégie de Fauré, Solo pour Les Transeuropéennes de Rouen, Jean Manifacier.

photo by Nicolai Spiess

photo by Nicolai Spiess

Justin Coates is a graduate of Sarah Lawrence College and joined the NYBDC in the summer of 2010. He has performed in their American premiere of the first staged production of Jean Philippe Rameau’s Zephyre in New York City and joined them in the groundbreaking production of Teseo (2011) at the International Handel Festival in Goettingen, Germany.  He has also appeared with the NYBDC at the French Festival at Hillwood Estate, Museum, & Gardens. Other Baroque credits include the Boston Early Music Festival production of Dido & Aeneas, as well as The Cunning Man, with choreography by NYBDC’s own Caroline Copeland.  In his other life, as a modern dancer, Justin has had the pleasure of dancing for a number of choreographers and companies, including Kraig Patterson, Mariana Bekerman, VIA Dance Collective, Anabella Lenzu DanceDrama, as well as an apprenticeship with Dusan Tynek Dance Theatre.



Olsi Gjeci

Olsi Gjeci

Olsi Gjeci was born in the beautiful city of Vlore in Albania. The son of one of Albania’s premiere folk dance choreographers Guri Gjeci, he began his professional career at fifteen with the prestigious Folkloric Group Laberia, where he rose to be a leader. He later moved on to dance with the National Albanian Folkloric Ensemble. He has performed throughout the world including France, Spain, Israel, Italy, Turkey, Lithuania and Macedonia. In 2006 moved to the United States and began his studies at Hunte rCollege concentrating on Modern Dance and Philosophy.  At Hunter, he has performed works from Mark Morris’ repertoire, Gerald Otte, Nicole Wolcott, and has studied with Vicky Shick, Natalie Desch, and Jennifer Nugent, Kendra Portier,and Barbara Mahler. Currently he is collaborating with Carlos Fittante as he learns Baroque and Balinese dance. He is a member of Balam Dance Theatre and BEMF Dance Ensemble. He first performed with NYBDC 2011. The founder and artistic director of Sublime Dance Company, he choreographs and performs in New York.



HeatherPerformer, Choreographer and Educator Heather Lipson Bell works nationally and abroad on stage and screen, in both the classroom and the community. She holds a Bachelor of Fine Arts from the Boston Conservatory. Credits include: New York and Los Angeles Philharmonics; Los Angeles, Dallas, Palm Beach and Boston Lyric Opera companies; Boston and South Dakota Symphony Orchestras; Pasadena Symphony and Pops; the Hollywood Bowl; City Ballet of Los Angeles; Helios Dance Theatre;   La Danserie; Wenta Ballet of Los Angeles; Theatre Bethune; South Bay CLO; Cabrillo Music Theatre and Odyssey Dance Theatre. Film Credits include two Academy Award Winners: The Curious Case of Benjamin Button and West Bank Story. Currently she is Co-Artistic Director of Teatro Filarmonico; Workshop Leader/Assistant Director &Choreographer with Los Angeles Opera Education Department; a Movement Specialist for mentally and physically challenged individuals and a Wharton Performance Certified Flexibility Technician.

Harl and ColKatie Gardner has an MFA from California Institute of the Arts and a BA from Kent State University.  In her own words:

“I am a performing artist earning my Master of Fine Arts in Voice Performance from California Institute of the Arts. I have tailored my graduate studies at CalArts to focus entirely on my interdisciplinary work as a vocalist, writer and aerial choreographer. My creative work and academic research is inspired by female voice performance history, circus and sideshow history, embodiment and perception.

I intend to research the role of circus arts in French baroque theater for my doctoral thesis. I am particularly interested in the cultural separation of circus arts performed in the theater and circus arts performed on the streets as well as the cultural meanings associated with inserting circus arts into plays, operas, and ballets of this period. I am in the process of applying to doctoral programs starting in the fall of 2014.

Other research interests include rhythmical entrainment and choreography, ‘the present’ in circus arts and gymnastics, text in music, recontextualized historical performance, and the embodied adaption process from text to libretto to stage.

It is my ambition to perform, write, research and teach at a higher level every year.  My goal is to continue fusing my passions seamlessly while teaching performance studies at a university. I can not imagine dancing without researching it. I can not imagine singing without dancing. I can not imagine choreographing without teaching. I can not imagine writing without putting it on its feet visually. I am proud that I have been able to pursue all of my passions and not limit myself to one metier. “


JPJekyns Pelaez has danced with the Diablo Ballet, The Ballet San Jose, the Charlotte Youth Ballet and Ballet Arizona.  As an actor he has often performed with Histrion Theater.  His education and training include The Instituto Columbiano de Ballet Clasico, St. Mary’s College and the Instituto Departmental de Belles Artes. He is also a photographer and plays the piano.






MarielMariel McEwen received an undergraduate BFA in Dance from the University of Arizona at Tucson in 1978. She concentrated her work in dance history working under the direction of Sandra Noll Hamond, specializing in the dances of the Renaissance and Baroque eras. Three summers were spent working with the 18th century dance historian Wendy Hilton.

She danced in the company of the pioneer modern dancer Eleanor King as she continued her studies at the University of New Mexico and completed a Masters Degree in Theater and Dance with an emphases in dance history and costume design. Under the guidance of Dr. Judith Bennahum she created the Baroque productions of Fetes Gallants and Harlequin’s Garden. After graduating, she was the resident costume designer for the Albuquerque Civic Light Opera from 1981 to 1989.

In 1989 Mariel moved to Los Angeles where she was accepted as a Producing Fellow at the American Film Institute. After graduation she worked with Anne Drecktrah for film production companies such as Jones Inter-Cable and Mitsubishi. During 2004-2006 she worked at Sparkhill creating documentaries for the Warner’s and Paramount Studio for the re-release of classic films such as the Thin Man collection for Warner’s Home Video and a series of documentaries  for seven John Wayne titles for Batjac Productions and Paramount Home Video that included the titles The High and the Mighty, Island in the Sky, Hondo, McLintock and The Track of the Cat.   For more information see her website: http://www.marielmcewan.com/Media/WEB_WELCOME.html





The Hungry Harlequin, a Pantomime


Inspired by Jacques Callot at the court of the Medici Family

Dancers: Matthew Buffalo, Carly Fox, Meggi Sweeney Smith, Gregory Youdan

Choreographer: Catherine Turocy

Music:  a compilation of Renaissance dance tunes





When the Commedia dell’Arte troupes came to town during the 1500′s and 1600′s, they often performed outside in the market place.  Their loosely woven improvisational plots were full of characters from everyday life: merchants, servants, lovers, musicians, masters, priests and captains.  These troupes were of the Italian comic tradition harkening back to Roman times.  Some say the commedia never died and indeed, with the recent revival of historical arts, one still sees actors and dancers  bringing laughter and amusement to their audience.

The Hungry Harlequin, a Pantomime, 

brings to life the antics of the Harlequin, Mezzetino, Isabella and Flavio through dance and mimetic gesture. Created with children in mind, this event will be a delightful introduction to Italian commedia dell’arte. 

Location: the Children’s Garden
When: Memorial Day Weekend: May 25-27 with repeat performances in July, August and September. Time: 12pm and 2pm with a dance lesson for the children at 1pm and 3pm.  

Cultivating the Inner Courtierfour seasons

Musician: Paul Shipper

Dancers:  Meggi Sweeney Smith and Gregory Youdan

The study of music and dance were key to the cultivation of a noble courtier.  All state occasions such as royal weddings and births, official visits of foreign dignitaries and victories at war, were celebrated in the ballroom.  Proper etiquette, courtly manners and knowledge of the current dances were expected of every member of the court.  Improvisation in both music and dance displayed the wit and character of the performer.  In other words, anyone attending the ball was not only enjoying the evening but was also on display to society.

Imagine you are guests at the Court of the Duke and Duchess of Parma in the year 1600.  Dancing Master, Fabritio Caroso has recently sent a copy of his soon -to- be published manuscript from Venice in which he describes your favorite dances in detail. To give you a sense of the manners at court, the performers will paraphrase  excerpts  from this important manuscript as they demonstrate a pavan and galliard and dance the beautiful

Laura Suave, a ballo dedicated to Christina Lorena de Medici. Paul Shipper will also talk about his instruments and music.  A Q&A will complete this enticing event.

Location: Ross Hall

When: Memorial Day Weekend May 25, 26 and 27, repeat performances July, August and September

Time: 1pm and 3pm

In the photo you see one of the Four Seasons, in the Conservatory Courtyard at the gardens, an installation of four sculptures, each standing more than 15 feet high- Spring, Summer, Autumn and Winter- by contemporary American artist and filmmaker Philip Haas.

 These activities are part of the new exhibition which opened over the weekend: Wild Medicine: Healing Plants Around the World Featuring the Italian Renaissance Garden
Tickets and more information: http://www.nybg.org/visit/tickets.php


Even Nicki Minaj sees the 18th Century as a time of Beauty and Grace  (Photo by Francesco Vexxoli for W Magazine).

Don’t miss the Sarabande at the Dance of the Month this Saturday, April 13, MMDC.   Ani Udovicki will be teaching the Sarabande and Leah Gale Nelson will bring her expertise on the Baroque violin and accompany the class.  Come to the Mark Morris Dance Center  this Saturday, 3 to 4:30pm, only $15 for this rare experience.

Have an early dinner after the class and then catch the world premieres of Mark Morris at his performance space in the MMDC. Don’t miss this rare appearance of Baryshnikov dancing!

Join us the first Saturday in May and learn excerpts from the Sarabande Tancrede taught by Gregory Youdan.

This Week ‘s News with the NYBDC, very interesting…

1. Our office received a call from the Radio City Hall Rockettes wanting to know if we would like to sign up for a workshop with them.

2. Catherine Turocy’s “Spinning Spheres” is Chapter 2 in the newly published book,

Creating Dance: A Traveler’s Guide published by Hampton Press. http://www.hamptonpress.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=1-61289-112-5

STAGE Découverte de la danse baroque avec Bruno Benne

3. Beatrice Massin’s beautiful choreography for Que ma joie demeure http://vimeo.com/17284780  includes the talented dancer, Bruno Benne, who will be joining us at the Santa Barbara Historical Dance Workshop this June.  Benne is a young up-and -coming- choreographer in his own right and will be demonstrating some of his neo-Baroque works for us.  Dorm rooms are available on a first come first serve basis so please register today!

Catherine in Drott. on stage

Study with Baroque specialist Catherine Turocy this summer at the Santa Barbara Historical Dance Workshop June 28th through July 2nd on the beautiful UCSB campus.  Please click to our webpage for information on the international faculty, description of classes and registration forms.

For vocal students and young professionals, study with Ms. Turocy at the Hawaii Performing Arts Festival

Baroque Opera Boot Camp

Handel’s “ORLANDO”: led by renowned Early Music specialists Stephen Stubbs, conductor [Boston Early Music Festival] and Catherine Turocy, stage director/choreographer.  Juliana Gondek, Program Director [Met Opera/UCLA].

Students are cast in our Handel’s “ORLANDO” productions (two staged and choreographed productions of extended segments from Baroque operas), and can expect classes and training in:  Baroque style and repertoire, Ornamentation, Secco recitative, Historic dance and Baroque gesture.

All students receive a minimum of six private voice lessons and six private coachings during the festival, as well as instruction in acting, diction, and audition repertoire selection and presentation. Visit this Link for more detail:



Come and Join Us for our Multi-era Workshop in Santa Barbara, California!  santa-barbara-historical-dance-weekend page/

Let our internationally recognized faculty take you through your paces and give you a treasure of resources, knowledge and contacts.

Where else in the United States can you learn the dances of Camargo and Cassanova from a Knight (Chevalier Catherine Turocy, decorated by the French Republic  in 1995)...


“Nobody today seems more qualified to reconstruct the French dances of the 18th century than this American and her New York Baroque Dance Company.“ Le Figaro, Paris, France

Or learn dances from Richard Powers, dance historian for the Tony Award-winning musical, Titanic…


“With Richard Powers, you really are dancing with a star.” Alyssa Wisdom, The Stanford Daily

Why not learn early ballet from the dancer/author/historian Sandra Noll Hammond who wrote the book on basic ballet technique.


“Sandra Noll Hammond, after her work in NYC with American Ballet Theater, will be coming to our workshop to instruct students in the graces of early 19th century ballet…where else can you find open classes like this in the world?”  Catherine Turocy, Director of NYBDC and the SBHDW

Discover the application of historical thought to contemporary creations with the emerging and talented choreographer, Sarah Edgar.


“The Tragedy of Echo & Narcissus” (Sarah Edgar) was packed with polarities, mixing touches of historical costuming, punk rock music, high-energy contact improv-style movement, and recitation of text, to evoke this ancient story.”  Juliet Neidish from ballet-dance.com

Learn more about Baroque music and its close relationship to dance structures with Maestro James Richman of New York City’s Concert Royal Orchestra and the Dallas Bach Society (also decorated as a Chevalier).pyg cd“…but personally I think that the present performance by James Richman and Concert Royal is at least the equal of any of them – and for some listeners it may even have the edge thanks to James Richman’s thorough preparation and outstanding direction…” Stephen Midgley

Catch the latest news on Catherine’s residency at UCLA last week, January 13-20th: http://artsmeme.com/2013/01/21/catherine-turocy-goes-for-barocco/    from Debra Levine

January Events

photo by Beatriz Schiller

photo by Beatriz Schiller

For those students who joined Ani Udovicki at the Dance of the Month on January 5th,  you will have a fresh appreciation for watching the Minuet, Sarabande Tancrede, Entree d’Apolon and Gigue pour femme at the APAP showing this Saturday, January 12, 2013.  Here is the link with address, ticket info and a list of the other artists being presented by GEMS: www.gemsny.org/apapshowcase2013.html

Dancers Carly Fox, Amanda Salituro, Alexis Silver, Olsi Gjeci and Gregory Youdan with Concert Royal’s James Richman and Sandra Miller will be performing a 20 minute set as part of the GEMS Octagon Project. which is available to presenters for the 2013-14 season.  So look ahead to what is new in our coming season and do not miss this potpourri of talented artists!



Catherine Turocy begins her residency at UCLA on January 13 and will be in California through the 21st.  Be sure to catch her January 17th lecture,  Vitruvian Man Goes Baroque: The Renaissance Legacy and Baroque Dance, click here for details: UCLA Lecture

Other open classes will soon be listed in this post.


Registration is now open for our 2013 Santa Barbara Historical Dance Workshop June 28-30 for the Weekend  and June 28-July 2 for the Weekend Plus which offers more detailed work with the teachers.  Just click the link in the sidebar to the right for more information.


PlaceDecember has been an amazing month.  I taught a workshop at The Place in London sponsored by the Early Dance Circle on December 15th which was attended by Ann Hutchinson Guest (http://www.lodc.org/about-us/dr-ann-hutchinson-guest.html) and her husband Ivor Guest. (http://en.wikipedia.org/wiki/Ivor_Forbes_Guest)  Exploring ideas of the microcosm and macrocosm from the Renaissance and ending with concepts of Le Mouvement as described in 18th century sources, we danced and improvised to Playford’s music. I was delighted to have coffee with the attendees afterwards including Barbara Segal  (who organized the workshop), Mary Collins, Moira Goff among others.

The next day I flew to Paris and took the train to Versailles for a conference on early dance Hall of Mirrorssponsored by Le Centre de Musi­que Baro­que de Versailles, l’Association pour un Centre de Recherche sur les Arts du Spectacle aux XVIIe et XVIIIe siè­cles, Le Centre de Recher­che du Châ­teau de Versailles, with the support of the University of Paris-Sorbonne.

It was an honor for me to present my ideas on choreography to Mozart’s ballet music, especially Noverre’s ballet, Les Petits Riens, to such a prestigious collection of early dance artists and researchers.

  Indeed, this was one of the most interesting conferences I have attended.  It was exciting to hear the latest thought on interpretations of notation and treatises as discussed by American and European experts with dance practitioners in attendance from Japan, Hungary, Norway, Sweden, USA, France, England, Germany and Italy.  It was also a joy to see friends/colleagues Deda Cristina Colonna, Ana Yepes, Jennifer Thorp, Yoko Ichise and so many more.

Jean Georges Noverres On December 20th  I attended the dress rehearsal in Paris at the Opera Comique for the Noverre ballets choreographed by Marie-Genevieve Massé and danced by her company, L’Eventail.  The lavish and well-performed production underscored the support early dance enjoys in France for the revival of Noverre’s work on a scale much larger than what is possible in the United States.  Review:  http://www.ft.com/cms/s/2/48b687e8-5011-11e2-805c-00144feab49a.html#axzz2GP9qw3St   and another review from a musicologist: http://www.musicologie.org/publirem/ballets_de_noverre.html

Thoughts from Sarah Edgar

Sarah Edgar to dance a new interpretation of Venus

“I’ve been dancing my reconstruction of Anthony L’Abbé’s “Passacaglia of Venüs &Adonis” (1725) for three years, and I’ve developed an intimate relationship to the choreography. After performing it many times in a more “authentic” form with the original music played on period instruments, I decided to find out what would happen to the choreography if I took it out of its original musical context. I asked the new music and jazz composer Florian Rynkowski to work with me to create a new composition to accompany the dance. Florian worked closely with the structure of the original music as well as with the emotional landscape that I created for this dance. This is an experiment and an effort to discover more within choreography and to hopefully encourage the audience to look at baroque dance in a new way.”        Link to tickets: http://www.92y.org/Uptown/Event/Baroque-Ball.aspx


Dancers from Hofstra University to appear on Baroque Ball Potpourri in new choreography by Rachel List conceived in the Baroque style to music by Bach and Handel

Description: You are invited to join The New York Baroque Dance Company in a presentation of works the dancers have created in the Baroque style or reconstructed from period dance notation.  This will be an exclusive look at the inner talent of the company, the personalities shaping the future of Baroque dance and the intriguing process of exploration behind our work.

7:30-8:30 Our evening begins with an optional  Baroque Dance instruction for the beginner. We would like to “reconstruct the 18th century audience” by familiarizing our attendees with social dance and etiquette from the European courts of Louis XIV of France and Queen Anne of England. Whether you participate in dancing or watch from a chair, this event will be informative and entertaining as Catherine Turocy takes you from bows to bourrées. Class instruction will be slanted towards the evening’s dances by the general assembly at 9:30pm.

8:30-9:30  The NYBDC is perhaps the only professional dance company where all its members read and use a dance notation system.  Some dancers are more accomplished than others, but all are trained in the notation system and encouraged to do their own reconstructions.  This tool empowers our performers, helps us mount dances quickly and contributes to the spontaneity and discussion crucial to the creation of art.  We are happy to share this process with you as members of the company perform dances being reconstructed for performance. Company member Rachel List will also bring her student dancers from Hofstra University to give a preview of Rachel’s period choreography to be premiered at the university the following week.

9:30-10:30 The performance  will be followed by optional general dancing (a ballroom duet and Contredanse) with members of the NYBDC joining the audience in the pleasure of the dance.  Specific works will be announced on the website with links to the notation for those members of our audience who read the notation.  The 7:30 class instruction will be slanted toward the evening’s dances.

Please join us at the Baroque Ball and tell your friends about this most unusual event!  We anticipate a large crowd so please purchase your tickets in advance .

Tickets: $20 at the door

$15 when purchased in advance

Link to Buying Tickets online  http://www.92y.org/Uptown/Event/Baroque-Ball.aspx

From Dancer Carly Fox speaking of  her work on the Passacaille

“ I am creating a Passacaille for four,  taking my inspiration and much of the footwork from the notated “Passacaille pour un homme et une femme” by Guillaume Louis Pécour, and sprinkling in some solo work from the “Chaconne de Phaeton pour un homme” (also choreographed byPécour).  The challenge and the joy of working with this material is both adapting the choreography to four dancers  and to different music, a beautiful Passacaille composed by Francois Couperin. The music is twice as long as that of the original music for the notated Passacaille, so there is plenty of room for exploration.  Up to now, we have been working entirely on learning the footwork and experimenting with the spatial patterns that I have been imagining. The dancers are patient with me as we try different approaches to the same figure and find out what is possible with four bodies instead of two. Next we will be taking inspiration from paintings, sketches, and figurines to explore the use of our upper bodies, our arm movements, and possibly some props. There is so much to discover, I only wish we had more time!”

Additional comments will be posted on this blog by the other dancers presenting : Matthew Buffalo, Sarah Edgar, Carly Fox Horton, Olsi Gjeci, Rachel List, Alexis Silver, Ani Udovicki, Gregory Youdan