Posts Tagged ‘early dance’

ingredients-uncut-for-webWe are all looking forward to Guest Artist Alan Jones teaching at our workshop this year!  He begins with his special one-day intensive Of Banquets and Balls looking at an 18th century cookbook where the recipes are set to dance music popular at the time.  The dances in the book are familiar to historical dancers and the one we will be exploring this year is published with more than one choreography, L’Aimable Vainqueur. 18th century copies of this dance were circulated all over Europe and the colonies.  The recipe for this dance is a mussel base broth. Mussels are in the news in Santa Barbara this year: Flexing Muscles Over Mussels


Alan will also be lecturing about the 18th century cookbook and the dances referenced in the recipes.

Going into the late 18th century and early 19th century ballet repertoire, Alan will teach an unknown ballet never seen in the United States, the Pas de Terpsichore.  Click this link if you missed our earlier posting on this Be a Part of History…

Terpsichore by Antonio Canova, 1812

Terpsichore by Antonio Canova, 1812

Click her for the Class Schedule

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BNP_Russia copy

Richard Powers has helped initiate a renaissance of interest in historical dance in Russia.  Three years ago, Richard presented his historic dance reconstructions in Moscow, and since then interest among Russian historical dancers has increased to the point where he can no longer accept all of his invitations to teach there.  In the past year Richard has taught five week-long workshops in Russia—in Kirov, Samara, Chelyabinsk and two in Moscow.  There are now over one hundred historical dance organizations in Russia, with about 6,000 members.  Russian historical dance organizations have also translated several of Richard’s papers into Russian.

We are delighted to have him teaching our students at the Santa Barbara Historical Dance Weekend and Weekend Plus this year.

Click to see the Russian evening news report on his work:

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2014 Santa Barbara Historical Dance Workshops!   Marci Hall, Administrator for all Communications, Marci Hall <marci.hall@outlook.com>; phone: 972-771-7279


This innovative workshop covering dances from the 17th to the 20th century  aims to give a fresh perspective on historical dance. Video from past workshops  Teachers will provide tools needed to extend the students’ knowledge into the past and, with the future in mind, experimental choreographers wishing to build new constructs based on historical works will learn how to realize their individual visions. A special feature this year is a focus on Regency Dance with Richard Powers who will be teaching the 1802 Congo Minuet (advanced),  1825 Ecossaise,  1805-1820 Scotch 6-Hand Reel, Wilson’s 1816 French Waltzing,  1820s German Waltzes (advanced) and the Regency Lancers Quadrille. Teachers, professional dance students, Vintage dancers and dance enthusiasts as well as actors, musicians and those interested in cultural history are all welcome!  Dorms with a meal plan or hotels in town are available to our students with early registration. The weekend Survey Course covering all periods is a wonderful way to begin one’s study of different eras or to round out one’s experience of historical dance. Specializing in one era is also possible. Bruno Our Guest Teacher, Bruno Benne, Director of Beaux- Champs, a New Baroque dance company based in Paris, was chosen by Lucinda Childs in 2013 to be her choreographic collaborator for the opera, Alessandro by Handel, in which she did the stage direction and choreography. This practical experience in the opera world with Childs has given him a unique perspective on today’s developments in the New Baroque style. He has also worked extensively with Beatrice Massin and Marie Genevieve Masse in historical dance and will teach a reconstruction of Beauchamp’s Sarabande. Faculty also includes: Catherine Turocy, Artistic Director of the New York Baroque Dance Company, decorated by the French Republic as a Chevalier (knight) for her contributions to historical dance and  James Richman, harpsichordist and conductor of Concert Royal in NYC an d the Dallas Bach Society.

Combattimento with Matthew Buffalo and Alexis Silver

Combattimento with Matthew Buffalo and Alexis Silver

Catherine Turocy will be teaching her choreography for Il Combattimento Click here for review by Monteverdi, assisted by dancers Alexis Silver and Justin Coates CLASSES BEING PLANNED FOR 2014:  Richard Powers will be teaching “Dances of the English Regency Era and French First Empire (1804-1820).”  One of the dances includes a revised reconstruction of the Minuet Congo based on new information discovered this year! For those of you who would like to know more about 19th century dance please see:Richard’s web page In the area of notation, Catherine Turocy will incorporate teaching the basics of Feuillet notation in her beginning technique class and will offer a slightly different class in using Feuillet notation as a contemporary dance score. Period movement and staging are of great current interest. Richard Powers will offer a class focusing on “Period Movement for Stage: techniques on bringing the era, and the dances, to life onstage.” In honor of our French guest, Catherine Turocy will teach La Voltaire et La Franklein, a quadrille from the late 18th century which was sold at Versailles. (Please note that classes listed are subject to change.) LIST OF CLASSES AND TIMES,  classes taught by Bruno Benne,  Richard Powers and Catherine Turocy Complete Class Schedule DATES: WEEKEND: Friday evening, June 27*- Sunday afternoon, June 29 OR…    WEEKEND PLUS: Friday evening, June 27*-Tuesday, July 1 (*Early check-in on Thursday is available) REGISTER NOW! Deadlines: March 15, 2014 guaranteed dorm room/meal plan.  After this date reserving a dorm room/meal plan is still possible but it is on a first come/first served basis until the rooms are full. May 15, 2014 Cancellation Policy: After this date there are no returns on money for tuition or for dorms. May 30, 2014 Please be registered and paid in full by this date to guarantee your participation in the workshop.  We will accept registrations/payment after this date if there is still room in the classes; however, we encourage you to register as early as possible. Weekend Registration (2) Weekend Plus Registration (2)  Early Arrival Registration TUITION:     WEEKEND-$150 + $10 application fee + $15 video and video archival access.  If you are not staying on campus and need to pay only for tuition, Click here to pay online: https:/paypal for weekend tuition and application fee                                             WEEKEND PLUS -$300 + $10 application fee + $15 video and video archival access.  If you are not staying on campus and need to pay only for tuition, Click here to pay online: https:/paypal for weekend plus tuition and application fee Please note that the video and video archival access fee supports video documentation of the workshop, recording the dances which are taught as well as the lecture.  In addition, all teachers will upload their handouts in electronic form and students will receive the access link in an email following the workshop. This information is invaluable to teachers, choreographers and those who want to continue to work with the material in creative projects or in their own classes. ROOM AND BOARD is available on campus for single and double rooms. All rooms come with a meal plan and linens. Please refer to Price Plan List Below WEEKEND: Arrival check-in Friday June 27th – check-out Sunday June 29 Room and Board Single –  $220.00  For online payment with one click for tuition, room/ board, video and application fee: Plan A Room and Board Double – $176.00* For online payment with one click for tuition, room/board, video and application fee: Plan B WEEKEND PLUS:  Arrival check-in Friday June 27th – check-out Tuesday, July 1st  Room and Board Single –  $438.50  For online payment with one click for tuition, room/board, video and application fee: Plan C Room and Board Double – $350.50* For online payment with one click for tuition, room/board, video and application fee: Plan D IF YOU NEED TO CHECK IN ON THURSDAY, JUNE 26TH Room and Board Single (one night plus dinner and breakfast and lunch the following day) $108.63 For online payment: Plan E Room and Board Double (one night plus dinner and breakfast and lunch the following day) $86.28 For payment online: Plan F *two people must reside in a double occupancy room.  Roommate recommendations are available upon request. SCHOLARSHIP FUND DONATION If you wish to make a contribution to the Scholarship Fund through PayPal, please click here:  https:/paypal for Scholarship Fund SANDRA NOLL HAMMOND has contributed much to our workshop. Although she is now retired from teaching, she is still a consultant.  Please visit her website to learn more about her work:  Sandra’s Website

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Sarah Edgar and Justin Coates

Thank you dancers and photographers Amitiva Sarkar, Stefan Gloede, Courtlyn Hanson and Zachary Wu

Caroline and Terry at Operation Sail in Norfolk, Virginia

Olsi Gjeci

Carly Fox

Gregory Youdan and Olsi Gjeci

Gregory Youdan and Meggi Sweeney Smith

Glenda Norcross and Junichi Fukuda

Combattimento with Matthew Buffalo and Alexis Silver

Ballo delle Ingrate

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Catherine Turocy was the co-director and choreographer for an interdisciplinary project at Indiana University which resulted in two performances of “Lully, Glory Without Love?”  Mace Perlman, co-director and author of the spoken dialogue, performed in the production, drawing from his gifts as actor and mime.  Conceived by Allison Calhoun and conducted by Nigel North, the project was a huge success.  Catherine is grateful to Sarah Edgar for assisting her in teaching and coaching the dancers from the Ballet Department who donned Baroque costumes for the first time and performed in both noble and grotesque dances.  Here is the review link with the complete names of the artists: http://blogs.music.indiana.edu/choral/2012/04/25/review-baroque-orchestra-pro-arte-singers-dancers-magically-tell-lullys-story/

photos taken by Sung Lee

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The Early Dance Institute

” As a young student at The Ohio State University in the 1970’s I dreamed of what the early dance field would be in decades to come.  Here are my current thoughts.  I welcome your feedback – it takes more than one person to make this dream a reality. Feel free to post comments on this blog or to send a letter of support emailed to cturocy@gmail.com  ”  Catherine Turocy

Brief Description: The Early Dance Institute would provide a comprehensive program in the study of historical dance performance before 1900,  supplementing performance with research and theoretical studies, leading to degrees at the graduate level. The faculty would consist of internationally known performers and dance historians who specialize in the performance of early repertory. The EDI would include university-wide academic support from disciplines as diverse as musicology, computer studies, literature, medieval studies, and fine arts.

EDI would be a unique environment of research and experimentation that does not exist anywhere else in the world. Here, students could delve deeply into the sources of dance from the 15th-early 19th century, and would eventually be able to independently reconstruct dances as well as use their knowledge for new, contemporary creations rooted in the principles of historic performance practice.  While classes in early dance that include technique and discussions of period sources exist in a handful of other universities (Université de Nice inFrance and the Danshögskolan inSweden), they are not comprehensive focuses of study, but rather elements of a well-rounded dance education. Most professional dancers working in period styles in Europe expand their knowledge by taking workshops, working on their own, or learning by performing in various short-term projects. The Early Dance Institute would be the only place where students can fully concentrate on early dance and its application in today’s dance world. This extended period of study outside of the pressures of the current dance scene leads to a more profound depth of knowledge that engender exciting experimentations, fresh ideas about reconstructing dances from period sources, and insights into creating new dances in period styles.

Uniqueness of Program: Programs such as EDI are very current in music departments across the country and in Europe. Art History and Theater History programs also exist on the graduate level. The University of California at Riverside at one time carried a Dance History program on the graduate level, but has since changed its focus to world culture. The Early Dance Institute as described in this proposal would be a unique program, drawing international interest from around the globe.  This would bring a new era in dance studies and their practical application to dance performance.

The program would include lessons in Western period dance technique with extensive solo and ensemble performance opportunities.  The program would offer academic courses designed to provide an understanding of the many practical and theoretical areas essential to performance of medieval, renaissance, baroque, and classical dance (e.g. improvisation, ornamentation, articulation, period movement and gesture, mask work, costume design, historical stage direction, historical notation, bibliography, dance theory, etc.). Research would be encouraged, and opportunities for research provided both in academic courses and in elective special projects. The faculty of the Early Dance Institute would make every effort to accommodate a student’s specialized interests without losing sight of a broader commitment to artistic excellence and scholarship.

The student body would be comprised of graduate students and a smaller number of undergraduate students minoring in early dance from the culturally diverse student population. In addition, all activities of the EDI would be available to the approximately  200 dance students majoring in standard practice areas.

Practical Questions

Which classes would be offered/required?

1. Foreign language: choice of French, Italian, German, Spanish, Russian

2. Historical Dance Technique as the daily 2 hour technique class. We could offer a different period each semester.  Perhaps it should also be at a different time than the ballet and modern technique, so that they could take those classes in addition.

We could offer a separate, more “survey” course for the minors and non-early dance students in the afternoon.

3. Dance Observation and Writing connected with an investigation of period sources

4. Historical Dance Analysis including cultural perspectives

5. Musical Score Reading from different periods

6. Historical Dance Theory and its application in period repertoire

7. Dance Composition (historical choreographic conventions and how those conventions can, or are, still used today. Choreographing in a period style)

8. Reconstruction and Interpretation of Historical Notations/Texts

9. Repertory Performance

How does the NYBDC interact with the program?

Answer: Teaching technique, composition, notation, early dance repertoire.  Acting as advisors.  Inviting student dancers to join us in summer projects in European festivals.  Working individually with students in applying dance theory to practice in an experimental fashion…this could be a neo-historical effort or an effort to further define a historical style by deepening approaches of “authenticity.”  Also, after graduating, for those dancers who wish to continue performing on the stage, we could definitely help to place them in our company or another company they might be interested in.

Additional Thoughts:

I think we could make this work in the Midwest.  With so many early music programs and dance programs at Oberlin College,  Indiana University, Case Western Reserve, Ohio State University and Denison University, a production could be created with students where the production would tour the different universities but the student performers would change, depending upon the needs and strengths of the particular university. This would allow the different institutions to join resources to support period theatrical productions in which their students would gain valuable experience and the early dance and music fields would benefit  by seeing productions which are too big for the smaller professional companies to produce. The NYBDC dancers could enhance the educational experience by participating in weekend residencies with the various university departments, preparing the students as needed.

Theater projects would also be very exciting to do.  We could alternate music and theater if we want.

We could also collaborate with the Art Department, local Museums, local historical sites and interact with the community on historical projects which would have a dance component.

The performance element of EDI is important.  Combining theory and practice is very important to me and important to furthering the field of dance history.

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