Dance Force

Description

Carlota Santana, Artistic Director and Founder of Flamenco Vivo Carlota Santana, has been designated "The Keeper of Flamenco" by Dance Magazine in recognition of her commitment to creating new works and developing young artists and choreographers. She has dedicated her company to the mission of building bridges between cultures, using the universal spirit of Flamenco. The company was founded in 1983 by Carlota Santana and Roberto Lorca; it was their vision that new Spanish dance should not only find a permanent home in the U.S., but also an environment in which its creation and performance would thrive. Since Mr. Loca's death in 1987 the Company, under Ms. Santana's direction, has expanded its repertory by presenting new music, dramatic works, and a mixture of various dance vocabularies, as well as by integrating Hispanic-American influences. Recent creations include "Bailes de Ida y Vuelta", flamenco's journey through Latin America, "Mano a Mano", a tribute to the bullfighter Manolete, and the contemporary flamenco story-ballet "Federico", a celebration of the life of Federico Garcia Lorca, all at The Joyce Theater.

TOPAZ ARTS, Inc. is a nonprofit organization founded in 2000 by artists Todd Richmond and Paz Tanjuaquio. TOPAZ ARTS fosters the creative process, producing the collaborative works of its founders and providing public programs for contemporary dance, music and visual arts. TOPAZ ARTS maintains a 2,500 sq. ft. multidisciplinary arts center in Woodside, Queens which includes a dance rehearsal space, audio room, and exhibition gallery. Providing a creative space, technical support, residency and presentation opportunities, TOPAZ ARTS enables artists to realize their projects and the process shared with audiences.

Jim Self, choreographer and painter, has taught modern and post-modern dance technique, improvisation, choreography and dance studies at Cornell's Department of Theatre, Film and Dance since 1989. He has been choreographing and teaching dance since the early 1970s in Chicago. Credits include dancing in Merce Cunningham Dance Co. (1976-79), collaborating with Robert Wilson and Philip Glass for the Civil Wars/Rome Opera (1984), creating the BESSIE AWARD winning film BEEHIVE with the late Frank Moore, and touring Europe and the USA with his former company, JIM SELF and DANCERS. His work is featured in the films RETRACING STEPS (1987), and JIM SELF COMES HOME (1986/Alabama Public TV). He is committed to cutting edge performance and dance, particularly in the collaborative areas of music, visual design, light, costume, and new technologies.

Danspace Project Executive Director Judy Hussie -Taylor has over twenty years of experience in arts administration and community relations. The former Executive Director of the nationally acclaimed Colorado Dance Festival (CDF), she has also served as Artistic Director for Theater Programs at the Boulder Museum of Contemporary Art and Deputy Director of the Museum of Contemporary Art/Denver. She taught in the Department of Art & Art History at the University of Colorado-Boulder and served as a director of the Department's prestigious Visiting Artist Program. Through her work at CDF, she participated in the National Performance Network and the National Dance Project. Recently, she served as a consultant for the National Dance Project's Regional Dance Development Initiative and Contemporary Art Centers Initiative. Her interviews, articles and essays have been published in Colorado newspapers, journals, and in catalogues and gallery brochures.for NYS DanceForce FAQ) The New York State DanceForce was founded in 1994 by David R. White of Dance Theater Workshop , Ivan Sygoda of Pentacle , Beverly D'Anne of the Dance Program of the New York State Council on the Arts (NYSCA), and a key group of partners around the state. The DanceForce was initially conceived as a think-tank to examine problems and opportunities facing the dance field within New York State. With the goal of re-energizing the art form, a group representing dancers, presenters, managers and art service organizations convened to focus on addressing the isolation of the state’s dance professionals by increasing the traffic of choreographers and dance companies within the state in meaningful ways. The issues raised included dance literacy, audience development and community cultural development.

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