2020 FSU School of Dance Magazine

FLORIDA STATE UNIVERSITY SCHOOL OF DANCE FALL 2020

SAVE THE DATE FLORIDA STATE UNIVERSITY SCHOOL OF DANCE

VIRTUAL

SUMMER DANCE INTENSIVE JULY 11–24 2021

CONTENTS 3

Letter from the Chair

4

Year in Review

8

Student Spotlight

9

Nancy Smith Fichter Scholarship

12 ARTS in NYC 14 Faculty Updates 18 Dance Photography 22 Guest Artists 24 Choreographic Award Spotlight 25 Scholarship Recipients 26 Maggie Allesee National Center

for Choreography Letter from the Director Ongoing Initiatives Year in Review Student Spotlight

32 Friends of Dance Letter from the President Take a Seat! Campaign

CREDITS Anjali Austin Chair, School of Dance

Classes include ballet, pointe, jazz, contemporary technique, as well as conditioning and hip-hop.

Online Auditions. dance.fsu.edu.

Carla Peterson Director, MANCC Dr. James Frazier Dean, College of Fine Arts Editor Dr. La Toya Davis-Craig

Contributors Maddie Kurtz Jessica Comas Designer Amanda Cole, University Communications Principal Photographers Meagan Helman (SOD) Chris Camerson (MANCC)

dance.fsu.edu

LETTER FROM THE CHAIR

A

s we enter into this new academic year let me first congratulate School of Dance’s Class of 2020. With the emergence of the pandemic SoD held its first ever virtual graduation ceremony complete with students, staff, faculty, family and friends.

These summer months have been a roller-coaster ride of changes with physical distancing, interacting and learning through Zoom, and unsettled matters of racial unrest. Throughout this period, School of Dance has worked to navigate how to best meet the needs of students, faculty and staff, while engaging in critical discussions about our role, responsibilities and response to this nationwide cultural shift. School of Dance’s efforts are bolstered by the initiatives of the University and the College of Fine Arts.

We, as a School, met regularly over the summer to develop plans that promote physical and mental safety and well-being, while maintaining rigorous and quality instruction. What heartened me most was the leadership role our students took on in these conversations. The heightened and overt racial issues plaguing our society brought about a need to come together as a SoD community. A series of Anti-Racist Town Hall meetings, spearheaded by our students, were held throughout the summer. At these virtual meetings students, staff, and faculty listened to each other and discussed holistic plans to address student needs. In this, I found a correlation with our students’ participation in exercising their civic duty and an expansion of their educational experience.

Fall classes are in process and Dance is happening. Life in Montgomery Hall has taken on a different shape. Students participate face-to-face or remotely via Zoom, social distancing is maintained, and sanitation is prioritized. In accordance with state and local recommendations, the School of Dance has suspended all live performances for the Fall semester. As creative artists we have taken this opportunity to explore the vast number of ways to engage in art making outside of the proscenium stage. Keep an eye out for special online opportunities to engage with students and faculty as they share their creative and scholarly research.

We are excited to announce a few updates and upcoming planned events. For the first time, our School of Dance audition process is completely online. Our graduating MFA and MA candidates will present their research and creative projects via non-traditional platforms. The Friends of Dance sponsored Workshop for Young Dancers is shifting to a virtual model. Dance artists from award-winning Camille A. Brown’s dance company will teach master classes for SoD majors in December. October 28-30 marks the date for our annual Alumni Gathering. Included in this year’s festivities is a celebration of Professor Emeritus, Dr. Nancy Smith-Fichter, illustrious former Chairperson of the School of Dance.

We hope to see many of you at some of the virtual gatherings this year. Visit us at dance.fsu.edu to stay up-to-date with the School’s events.

As always we appreciate the community’s support, the trust of our partners, and the willingness of our students to journey with us as we dance through this year.

Anjali Austin Chair, School of Dance

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YEAR IN REVIEW Dancer Linxin “Kisa” Li in Ben Howard’s MFA Thesis immersive work, The Unspoken. This multi-sensory dance theatre reimagining of Oscar Wilde’s The Picture of Dorian Gray followed performers through theatrically designed rooms as guests witnessed a fractured narrative of love, loss, and transformation.

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Above: Aigars Larionovs MFA Thesis performance entitled Rules of Engagement 2.0 transformed the Grand Studio of Montgomery Hall into a 360 degree performance space where cast members explored the intersection of the Afro-Brazilian martials form Capoeira and contemporary movement.

Left: Students aged 10-18 participate in the annual Workshop for Young Dancers sponsored by the School of Dance and the Friends of Dance. The workshop consists of classes such as ballet, jazz, hip-hop, contemporary, conditioning, and improvisation taught by faculty and renowned guest artist.

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YEAR IN REVIEW, CONTINUED

Trent Montgomery in his MFA Thesis performance, masc4masc, a choreographic investigation into traditional gender roles in classical dance through the use of men on pointe and the manipulation of stereotypically gendered movement.

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Above: The cast of Franciso Graciano’s Amor Fati reckon with the inevitable transformation of body, psychology, and place in his MFA Thesis performance.

Left: Holly Stone in her MFA Thesis work, Strange Loops. Stone used movement set to music by J.S. Bach and Arvo Pärt to analyze how consciousness emerges from the sum of its parts.

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Photo by Stephanie Rivas

STUDENT SPOTLIGHT

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FIONNA DORR

T

hroughout my training and time as an artist, some of the accomplishments I hold most dear are a result of the opportunities I have been afforded. For the past two summers, I have assisted one of my former teachers and mentors at his summer intensive. In this role, I was able to engage with and aid in facilitating the growth and love for dance in the next generation of dancers.

It has been one of the most rewarding and inspiring experiences. In the past I have struggled with maintaining relationships with those who I’ve only known a short time. However, maintaining connections from my pre-collegiate training while embracing and cultivating new ones at FSU has also been one of my biggest accomplishments.

In my time here at the school of dance I feel I have been embraced in a community that encourages exploration and individual expression. The opportunities I have had to engage with my friends and colleagues in processes and performance have been incomparable to anything else. I feel I’ve been able to not only hone my technique, but also work on discovering and developing my own artistic voice. The support and encouragement shared among every person within the school of dance has enabled me to be adventurous in stepping out of my comfort zone as well as facilitate the realization that we are a true arts community that works to sustain and push each other forward.

In terms of what’s in store for the future, I want to take things as they come and not limit myself in my choices, but I do still dream to one day dance for a contemporary or contemporary ballet company.

I know I am drawn to the dance community outside the United States and I hope to have the opportunity to tour and travel while doing what I love. This time of social distancing during the pandemic has led me to think a lot about dance and my future in it, specifically with how resilient this art form is and how maintaining dance as a creative outlet is incredibly important to me. In the future I hope to build and sustain connections with my fellow artists and embrace dance as a highly flexible and progressive mode of expression.

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NANCY SMITH FICHTER SCHOLARSHIP

Dr. Nancy Smith Fichter

The Nancy Smith Fichter Scholarship was established in 1997 in the year in which Dr. Fichter retired from her 33 years as Chair of the Department of Dance at Florida State University. Endowed through generous gifts from friends, colleagues, and alums of FSU Dance, a scholarship is awarded to a deserving student majoring in dance. Only five students have ever been awarded with this honor: Kanisha Brown (MFA, 2010), Katherine “Katie” Lupke (BFA, 2011), Elizabeth “Liz” Dalal (MFA, 2012), Erika Leeds (BFA, 2015), and Bryanna Dean (BFA 2018).

In recognition of Nancy Smith Fichter’s 90th birthday, three past recipients reflected on the impact of receiving the scholarship that bears her name. Join us as we journey with Liz Dalal (MFA, 2012), Erika Leeds (BFA, 2015), and Bryanna Dean (BFA, 2018) from their time in the School of Dance to their current successes.

ELIZABETH “LIZ” DALAL 2010 SCHOLAR

What was the impact of the scholarship on your academic career?

The Nancy Smith Fichter Scholarship helped me achieve my goals of completing my MFA, obtaining my yoga teacher certification, and participating in the FSU in NYC [currently ARTS in NYC] program. I’m so grateful to have received this honor and financial support!

Do you have any favorite memories from your time at FSU?

One of my all-time favorite memories happened in Lynda Davis’ class. The whole class was repeating this big movement phrase for what felt like an eternity. You could feel everyone’s energy draining, but we kept going. Then Doug Corbin began playing the melody from Coldplay’s “Clocks” and it was this transcendent energy boost that lifted up the entire room. I’ll never forget that moment. Participating in the Ringling International Arts Festival was another of my favorite FSU experiences.

Where are you in your career now?

My career has taken a different direction than I initially expected when I was at FSU. I just completed my Doctor of Physical Therapy degree in May 2020. My eventual goal is to specialize in working with dancers and teaching dance science as part of a university dance department. I’m hoping to follow in the footsteps of School of Dance Professor Dr. Tom Welsh; he’s such an excellent mentor and professor.

Do you have any advice for current FSU or FSU Dance students?

Connect with alumni to hear how they are making their careers work post-graduation. If you think you might be interested in physical health sciences (physical therapy, physical therapy assistant, occupational therapy), consider taking pre-requisites while you are at FSU. 20 19 – 2020 MAG A Z INE | 9

ERIKA LEEDS

2014 SCHOLAR

What was the impact of the scholarship on your academic career?

Due to the generosity of the Nancy Smith Fichter scholarship, I was able to attend the American Dance Festival (ADF) the summer before my last year. I was exposed to numerous artists and dance technique styles that helped my growth as a dancer and artist immensely. Directly after attending ADF, I attended the FSU in NYC program where my horizons widened even further through my introduction to the dance community in New York.

Do you have any favorite memories from your time at FSU?

There were so many positive experiences from my time at FSU, but what stands out to me the most are the artists I worked with and the people I met. I had the opportunity to work with Nancy Smith Fichter personally and it is an experience that has stayed with me ever since. She is one of the most generous, insightful, and honest artists and choreographers I had the chance to work with.

Where are you in your career now?

After graduating I moved to Atlanta, where I had the opportunity to dance for several companies in the city, including Staibdance, performing both national and internationally. During my time in Atlanta I completed a Comprehensive Pilates Certification, and various specialized GYROTONICÂŽ certifications. Currently, I am freelancing and working as the Dance Conditioning Coordinator at FSU, helping dancers integrate the principles of conditioning into their studio practice to promote longevity in the field.

Do you have any advice for current FSU or FSU Dance students?

My advice to students is to embrace all the possibilities available to you during your time at FSU. I truly believe that this university provides the opportunity for students to hone their skills and develop the tools to pursue anything they desire.

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What was the impact of the scholarship on your academic career?

I think it gifted me with time I spent furthering my creative career. Working in-studio and watching master artists in college was the beginning of my creation career. Instead of working a second job, I could spend time after classes creating something.

Do you have any favorite memories from your time at FSU?

Developing, practicing, and performing my works Sostenuto and Bryanna has her pants down again on the Nancy Smith Fichter stage are some of my favorite memories. I got to handpick my cast and develop and rehearse material twice a week. I realized how much I enjoy creating and learning through this process.

Where are you in your career now?

I previously worked as the Operations Associate and Teaching Artist of Dances for a Variable Population, a non-profit dance company in New York City. They bring free movement classes to older generations and host multigenerational classes as well.

I recently moved to Virginia to manage and teach in a recreational dance studio, -the same studio I grew up dancing in. The director there planted a seed of love for creative movement and dance culture in me and helped it grow and bloom.

BRYANNA DEAN 2017 SCHOLAR

Do you have any advice for current FSU or FSU Dance students?

Keep your thoughts toward healthy growth, stay open to detours in life, and be kind to yourself and others. Life in the arts is not a competition—be proud of your skills but also make connections with others.

MAKE A GIFT TODAY to ensure that this scholarship can be awarded annually!

ONLINE give.fsu.edu/nancysmithfichter MAIL FSU Foundation 325 W. College Avenue Tallahassee, FL 32301 Make checks payable to “FSU Foundation” with “Fichter Scholarship” in the memo line

FOR MORE INFORMATION

on giving to FSU Dance, or to discuss legacy giving, please contact: JESSICA COMAS Director of Development FSU College of Fine Arts (850) 645-0701 jcomas@fsu.edu

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FSU’s Arts in NYC Welcomes Interim Director

DR. HANNAH SCHWADRON

This year marks the 18th year of the ARTS in NYC program, a mentored experience of interlocking classes, performances, and events that immerse students in New York City’s arts and culture scenes. We are proud of the collective efforts and support of FSU’s College of Fine, School of Dance, and our partnering institutions to ensure that ARTS in NYC continues. This year the program is on hiatus and will return Fall 2022.

As we plan for Fall 2022, we have been fortunate to offer remote programming for our ARTS in NYC community with the launch of the online ARTISTIMULUS Digital Dance Speaker Series through support from FSU’s College of Fine Arts and the School of Dance. Developed and curated by newly appointed Interim-Director Associate Professor Hannah Schwadron, along with Rebecca Fitton (Administrative Manager and BFA, 2017) and Michelle Fletcher (ARTS in NYC Teaching Faculty and MFA, 2008), ARTISIMULUS invited fourteen guest artists and service providers over eight weeks to share novel strategies of dance artistry, adaptability, and organizing during this global pandemic. Guests included J. Bouey (The Dance Union), Miguel Gutierrez, Michelle Fletcher, Donna Uchizono, Angie Pittman, Molly Lieber, Sunny Hitt, Patch Schwadron (The Actors Fund), Millicent Marie Johnnie (Creating New Futures), Antuan Byers (DANC), David Gonsier (DANC), Alex Rodabaugh (DANC), Megan Wright (DANC), and Candace Thompson Zachery (Dance/NYC). Aiming to build “nets that work,” a concept inspired by The People’s Institute for Survival and Beyond, ARTISTIMULUS worked to expand our generative creative capacity as an ARTS in NYC community and foster ties that help our students thrive.

ARTS in NYC hosts virtual panel discussions over the summer with the College or Fine Arts sponsored ARTISTIMULUS series.

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In all of this, we carry forward enormous gratitude for ARTS in NYC co-founder and director Dr. Sally Sommer, whose recent retirement has left an incredible model to celebrate and emulate. Dr. Sommer’s shaping of the program has amounted

Dr. Sally Sommer (L) announces Dr. Hannah Schwadron (R) as the new Interim-Director of FSU School of Dance’s ARTS in NYC program at her retirement brunch in Manhanttan, NY. Photo courtesy of Tony Terry.

to much more than any sum of its parts, and we now build on the foundation she established of academic integrity, creative curiosity, immersive arts engagement; what ARTS in NYC student participants have regularly referred to as “the art of the hustle.” Dr. Sommer’s has led by example, evidenced in the list of over one hundred arts and culture partners and individuals who continue to host student internships, house students at nominal rates,serve as guest teachers in the Arts & Resource and Composition classes, and open their rehearsal and performance spaces to students at no cost. The ARTS in NYC community thanks Dr. Sommer for her immense insight and leadership throughout almost two decades of work in building the legacy of ARTS in NYC both

in Tallahassee and in New York City. In recognition of the years of service put in by Dr. Sally Sommer and cofounder Dr. Patricia Henry-Young to provide students with the opportunity to study and intern in the NYC arts community, Florida State University formed the Sommer-Young Study HERE Fund in Dance. Funds crowdsourced from the wide-reaching ARTS in NYC community will provide key support for programmatic initiatives to come.

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FACULTY UPDATES

ANABEL BORDELON After graduating with a BFA from FSU’s School of Dance with a minor in physics, Anabel Bordelon joined the MANCC staff as the Administrative Assistant in July 2019 and had the honor of helping support the logistics of six residencies along with the second iteration of MANCC Forward Dialogues. After her year-long contract ends in June, Anabel is thrilled to stay at FSU to pursue her Masters in American Dance Studies beginning Fall 2020.

ANSJE BURDICK Ansje Burdick, MANCC’s Managing Director, took a part time leave of absence in 2019–2020 to join her partner, a Fulbright recipient, in Norway while continuing to provide MANCC with key administrative support on a part-time basis.

In addition to daily remote support for MANCC’s six core residencies and the 2nd iteration of MANCC Forward Dialogues, she concentrated efforts on developing contextual materials for incoming artists in residence, furthering MANCC’s archive initiative, evaluating MANCC’s fiscal processes, and developing MANCC’s enhanced media strategy. Additionally, Burdick secured a second round of funding from the Sustainable Arts Foundation to support and implement MANCC’s parent artists program, and assisted in obtaining a National Endowment for the Arts grant for the third iteration of Forward Dialogues for emerging artists.

CHRIS CAMERON Chris Cameron, MANCC’s Media Specialist, documented artists’ creative processes over the course of MANCC’s 2019–2020 season during rehearsals, work-in-progress showings, post-showing discussions, interviews, and Entrypoint engagements. In addition to the video and photo documentation released on MANCC’s website and widely disseminated, Chris’s documentation continues to expand MANCC’s singular archive of photo, audio, and video materials. This year, he has made major strides in the advancement of MANCC’s archive with the pilot “Archive Residency,” slated to take place later this season. See mancc.org for published videos and photos of this year’s hosted artists.

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Fiona Dorr in Glenn’s Iron-horse Ocean (2019) Photo by Savannah Lee Sickmon

TIM GLENN Professor Tim Glenn presented two new choreographic works at FSU in the past year, Iron-horse Ocean (Days of Dance) and Brella and the Old, Red Bag (An Evening of Dance). A site-specific version of Iron-horse Ocean was included in the Paint Around Gala and Auction, an arts fundraiser held in the William Johnston Building. This new work was also performed by Santa Fe College in Gainesville, FL, and at the American College Dance Festival’s Southeast Regional Conference in Kennesaw, GA. Glenn is creating an experimental Screendance entitled 337, a project recently delayed by COVID-19. He continues to contribute to the School’s curricular offerings with courses in Movement Analysis, Screendance Composition, Dance & Video, Movement Lab, and Contemporary Dance. This year, Glenn worked with Tiffany Rhynard on a Student Technology Fee Award for Portable Technology Labs.

He also served as chair of both the Advisory Committee and Promotion & Tenure Committee.

Ilana Goldman’s Crossing photo by David Moss

ILANA GOLDMAN Ilana Goldman received a promotion to Associate Professor with tenure this year. She choreographed for Bowen McCauley Dance Company Dance Place season in Washington, D.C staging a new work, Crossing, and a previous work, Petit Four. Goldman worked with ARC Dance, a professional contemporary ballet company in Seattle to perform her work, Gaining Ground, for their 20th Anniversary Retrospective at Seattle’s City Center. She presented her dance short film InterState, at the Sans Souci Festival of Dance Cinema as part of the Dance is for Every Body Showcase in Boulder, Colorado. Goldman choreographed three new dances for students: You are not Yourself, for FSU School of Dance’s Evening of Dance, Six of One for Shenandoah University, and Out of the Box for Perry-Mansfield Performing Arts School. She also led a workshop, “Interrupting Ballet Class”, at the CORPS de Ballet International Conference hosted by FSU. KEHINDE ISHANGI Kehinde Ishangi, Assistant Professor, received a Planning Grant from FSU’s CRC to create Ancestors, a collaborative project choreographed by Irène Tassembédo that explores African-Contemporary and classical pointe work. Ishangi was invited to perform the 13-minute solo at Le FIDO

(Festival International de Danse de Ouagadougou) in Burkina Faso. During the Fall semester, she completed a 6-year journey to becoming a Level 3 Franklin Method Educator, which is the advanced level in the traditional training system.

Training from this somatic practice heavily informs her research and teaching within the SoD. Lastly, Ishangi was nominated for this year’s University Undergraduate Teaching Award.

MADDIE KURTZ During her second season as MANCC’s Research Associate, Maddie Kurtz supported six residencies, in addition to the emerging artist laboratory, MANCC Forward Dialogues.

During these residencies, she arranged multiple Entrypoints to help artists engage with their research questions outside of the studio. These Entrypoints ranged from meetings with renowned FSU faculty to influential community members, as well as visits to local museums, and open showings and conversations, both during School of Dance classes and in the evenings for community members. Kurtz also furthered her own written and choreographic research through a presentation at the National Dance Education Organization Conference in Miami, a guest artist residency at the University of Tampa, and as an Adjunct Faculty member in the School of Dance.

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ALAYNA LEE Alayna Lee spent her third year as MANCC’s Residency Coordinator supporting six residencies and the second iteration of MANCC Forward Dialogues. She served as MANCC’s chief liaison with the SOD in terms of production support for MANCC artists. She also assisted in the management of a team of student interns and graduate assistants, and worked with the Director and Managing Director to submit a successful grant application to the National Endowment for the Arts (NEA) that will support the third iteration of Forward Dialogues for emerging artists and grant reports to The Andrew W. Mellon Foundation and the NEA. Lee represented MANCC at the National Performance Network conference in New Orleans in December 2019.

CALEB MITCHELL Caleb Mitchell completed his second year of professorship at FSU’s School of Dance. Mitchell’s active year of academic and dancemaking consisted of presentation of choreography, at the Detroit City Dance Festival, Detroit Institute of the Arts in Detroit, Michigan. The performance of Forbearance (pas de deux) featured two professional dancers from Ballet Tucson and Diablo Ballet. Mitchell also received an artistin-residence opportunity to guest teach and coach Steven Mcmahon’s (Artistic Director) Romeo and Juliet at Ballet Memphis in Memphis, Tennessee. In spring 2020, Mitchell presented research on neoclassical/post-neoclassical dance at Palm Beach Atlantic University and was a visiting instructor at the Nord Anglia Performing Arts Festival sponsored by Julliard held in Fort Lauderdale, Florida.

CARLA PETERSON Carla Peterson continued to serve as the Director of MANCC. She invited nationally significant artists who reflect diverse practices, identities, and geographies into residence to create new work. Beyond MANCC’s core residency program, she continued and created partnerships (Urban Bush Women, Global First Nations Performance Network) and, with staff, submitted a successful NEA ArtWorks grant to support the third iteration of Forward Dialogues for emerging artists.

She also utilized multi-year funding from The Andrew W. Mellon Foundation to commission new writings on performance and plan for work with indigenous artists through a pilot archival residency and staff-wide Cultural Competency training with Emily Johnson (Yup’ik), and site visit and residency with Maura Garcia (Cherokee non-enrolled/Mattamuskeet). Peterson attended Dance/USA, National Performance Network, Association of Performing Arts Professionals, and Global First Nations Performance Network’s two convenings in NYC and Ottawa as part of Mòshkamo: Indigenous Arts Rising. She continued to serve on Mount 16 | F SU SCHOOL OF DANCE

On set for filming Not My Enemy directed by Kehinde Ishangi and Tiffany Rhynard. L to R: Tiffany Rhynard, Aaron Ellis, Kehinde Ishangi, Ahmad Ratiff-Brown, Joseph McDonald, Baba Olusegun, Ramone Nelson, Aaron Smith, Christa Williams. Choreography by Kehinde Ishangi. Photo by Francisco Graciano.

Tremper Arts’ board, “Bessies” Steering Committee, and national funding panels, co-chaired Dance/USA’s Deaf and Disability Working Group, and taught arts administration at the Perforacije Festival in Rijeka, Croatia.

JENNIE PETUCH Jennie Petuch completed her third year as Adjunct Faculty and staff serving as Documentation and Tech Lab Facilitator at the School of Dance. Her Tallahassee teaching includes Wildwood Ballet, South Georgia Ballet, Lifelong Fitness Pilates studio, Summer Intensives at FSU, School of Dance, and The Tallahassee Ballet. Some of her commissioned work included designing large-scale projections for South Georgia Ballet, Tampa City Ballet, and Louisburg College Dance Company where she completed a Guest Artist Residency in Spring 2019. Petuch worked alongside Tim Glenn as his Rehearsal Assistant for his Evenings of Dance piece in Fall 2019, Assistant Videographer for his upcoming film “337,” and served as his Assistant Editor in the Screendance, “Tracing Modern Dance: The Reconstruction of Paul Taylor’s Lost Tracer.” Her highlighted creative works in Tallahassee, include the full-scale projection work “Propinquity” which premiered in Days of Days 2019 and “Liminality,” an underwater dance film created in collaboration with dancer/choreographer Annali Rose in Spring 2020. She continues documenting and editing footage for events and performances from companies including The Tallahassee Ballet, Wildwood Ballet, CORPS de Ballet International, Inc., and was commissioned to film underwater for MANCC artist Pat Graney, in Spring 2020.

TIFFANY RHYNARD Tiffany Rhynard received funding to complete Not My Enemy, a dance documentary project with Assistant Professor Kehinde Ishangi, which is still in production. In Fall 2019, she was in residency at Sipp Culture in Utica Mississippi with FSU alumni, dancer, and filmmaker, Millicent Johnnie (BFA, 2002, MFA, 2007) to edit their choreopoem film, Ma Negresse. Rhynard presented her research on improvisation and social consciousness at NDEO (National Dance Educators Organization) and through performances with students from FSU. Recent artist residencies included setting repertory at the School for the Creative and Performing Arts in Lexington, Kentucky, and directing screendance workshops at University of Buffalo Dance Department in Buffalo, New York.

DONNA UCHIZONO Donna Uchizono premiered a new work, Iron Jane, which has been three years in the making. The work challenges expected hierarchies of weight with a considered approach to audience engagement. The evening-length work features five dancers, original score by ikkyung lee and visual and lighting design by Joe Levasseur. Iron Jane was initially slated to premiere in May 2020 at the Baryshnikov Arts Center, co-presented by the Chocolate Factory Theater, and is postponed to 2021. Uchizono received support for Iron Jane from Dance Advancement Fund, New Music USA, New York State Council of the Arts (NYSCA), Department of Cultural Affairs, Harkness, New York Foundation for the Arts, FSU’s AHPEG, a MANCC residency, and a Baryshnikov Artist in Residency. She sat on the Alpert Award panel in February 2020 and will be a dance panelist for NYSCA in June, 2020. She was recently invited to be part of NCCAkron’s first bookproject, Women in Dance Volume I, through The University of Akron Press.

GWEN WELLIVER Gwen Welliver advanced her work with The Portal, in Brooklyn, New York, under the direction of Founder and Director Cori Olinghouse. Welliver commenced the first stages of an oral history project via interviews with two of her long-standing creative collaborators, Kayvon Pourazar and Stuart Singer. Additionally, she worked with Olinghouse and FSU’s Masters of Science in Information graduate student, Laura Miller on the next stage of cataloguing Welliver’s choreographic process notes, drawings, rehearsal and performance videos, and teaching notes from her 30-year career to date.

Highlights from the year also include being a recipient of three fellowships in support of her current research: Bogliasco Foundation Fellowship, Baryshnikov Arts Center Bogliasco Foundation Joint Fellowship, and the Van Cleef &

Welliver with longstanding creative collaborators Pourazar and Singer in the studios of Movement Research, in New York City. L to R: Kayvon Pourazar, Gwen Welliver, Stuart Singer. Photo: by Cori Olinghouse

Arpels Special Fellowship in Dance. Welliver traveled to Macau to remount and choreograph for the opera Paradise Interrupted, directed by Jennifer Wen Ma and composed by Huang Ruo. She also taught and presented a new choreographic work in Cambridge, Massachusetts. Welliver continues her service on the Artist Advisory Committee for New York Foundation for the Arts, the governing body for the NYFA Artist Fellowship Program, in addition to serving on FSU departmental, College of Fine Arts, and University committees.

TOM WELSH Dr. Tom Welsh, who specializes in dance science at FSU’s School of Dance, had a busy year in the world of dance science academia. His year in review includes teaching conditioning for dancers at the Dance West Festival and the Utah Ballet Intensive (Summer 2019), Salt Lake City, Utah; co-writer for a chapter “Individualizing Training for Dancers,” (August–September 2019) with FSU Dance graduate alumni Kaitlin Morgan (BFA, 2017) and Gabriel Williams (MFA, 2018). In October 2019, Welsh presented Comparing Information Yield in Two Families of Experimentation with co-author Michael Rowley, a post-doctoral fellow at Brown University at the International Association for Dance Medicine & Science conference in Montreal. He is currently working with co-editors, Jatin Ambegaonkar (Athletic Training professor, George Mason University) and Lynda Mainwaring (Sports Psychology professor, University of Toronto) commissioning and editing a new Research in the Dance Sciences textbook to be released in the near future.

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DANCE PHOTOGRAPHY

D

ance and Photography share many compositional foundations. A photographer considers many of the same elements as a choreographer when creating their work; there is a harmony of visual elements that both aim to achieve.

The School of Dance offers Dance Photography as a part of the Dance Technology specialization or as a special area elective. In the course students study the representation of dance and dancers in image-based media. Students learn the essentials of photography including exposure, composition, and lighting. The Department has a full photographic studio with strobes. Students also have the Photo by Alana Scheuerer

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opportunity to work in the theatre with live performances, and outdoors in natural lighting.

Through their course work, the dancers are able to explore the role of the photograph and how it can impact the greater field of dance. Images used in publicity and the media can play an important role in the recognition and public image of a choreographer or dance company. As aspiring performers and choreographers, it is important for our students to explore and consider the multitude of possibilities of ways to represent. The better a photograph aligns with the artistic aesthetic of the choreography the more chance it has of capturing the essence of the dance experience.

Photo by Trevor Reese

Photos by Lian Thorne

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Photo by Lacey Vick

Photo by Calypso Haddad

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Photo by Aliya Siegel

Photo by Will Andrews

Photo by Kylie Fowler

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2020–2021 GUESTS ARTISTS

IRVIN MANUEL GONZALEZ Irvin Manuel Gonzalez (he/him/his) is a Ph.D. candidate at the University of California, Riverside in the Critical Dance Studies Program.

His research analyzes quebradita, a Mexican/Mexican American social dance form.

Gonzalez considers how immigrant, queer, and working-class quebradita dancers construct mexicanidades to navigate trans/national politics. He examines how affective affiliations between quebradores/as/xs, on both sides of the U.S.-Mexico border, are embodied to forge belonging as strategy. In doing so, Gonzalez theorizes the body as an archive of movement that brown dancers use to resist xenophobia/homophobia and the instability of neoliberal economies. He is a founding member of Primera Generación Dance Collective (PGDC) and a board member for Show Box Los Angeles (SBLA) and the Dance Studies Association (DSA).

JUEL D. LANE Juel D. Lane is a dancer, choreographer, filmmaker, and one of Dance Magazine’s “25 to Watch.”

Most recently he won Celebration of Dance: Choreographer of the Year and Best Choreography for Live Performance for Ailey II’s Touch & Agree. He has performed nationally and internationally with Ronald K. Brown/Evidence, and currently dances with Bessie Award winning Camille A. Brown & Dancers.

In 2012, Lane became the first black independent Atlanta-based choreographer ever to be commissioned by the Atlanta Ballet, choreographing “Moments of Dis” for the company. Lane was selected to participate in the 2015-2016 Alvin Ailey Dance Foundation New Directions Choreography Lab. Lane’s dance on film, The Maestro was featured on AfroPunk.com. He recently choreographed on Ailey II and Dallas Black Dance Theatre. Lane was last seen as a dancer in the Emmy Award winning tv special, Jesus Christ Superstar Live on NBC. He was recently awarded The University of North Carolina School of the Arts Chancellor’s Alumni Artpreneur of the Year Award, Southwest Arts Center Young Innovator Award and Best Music Video for Bronze Lens Festival. Currently his film, Touch & Agree is being screened at multiple film festivals.

MAYTE NATALIO Mayte Natalio was born and raised in Queens, New York. She studied at the Laguardia High School for the Performing Arts and received her BFA in Dance from SUNY Purchase College.

Mayte began her career as a concert dancer and was a member of the Parson’s Dance Company and Camille A. Brown & Dancers. She has also performed with Kyle Abraham’s A.I.M and Darrell Moultrie amongst others.

As a performer she also worked with pop artists such as Mylene Farmer and Kanye West and has performed in several regional theaters and off-Broadway.

She was a member of the original cast of the immersive hit, Queen of the Night. Her favorite TV and film credits include, Marvelous Mrs. Maisel and Jesus Christ Super Star Live on NBC and Netflix presents Ma Rainey’s Black Bottom (Winter 2020). Mayte has worked as an Associate Choreographer to Camille A. Brown on several productions. As a choreographer her favorite credits include, A Winter’s Tale (Dallas Theater Center/ Public Works), Into the Woods (Barrington Stage Company), Runaways (NYU/New Studio), Love in Hate Nation (Two River Theater). Mayte is a founding member and executive producer of the immersive events production company, MinuteZero.

YOUNG DANCERS

WORKSHOP FOR

FEBRUARY 6 & 7, 2021 Featuring virtual master classes with Suzanne Farrell, Antuan Byers, Michelle Fletcher & FSU Dance Faculty REGISTER TODAY dance.fsu.edu/programs-2/youth-programs Full Registration $155 • A la Carte $25 per class Ages 10-18 SPONSORED BY

2020–2021 SCHOLARSHIPS

SCHOLARSHIP RECIPIENTS Anthony Morgan Choreographic Scholarship Award Aaron Smith Dance Alumni Scholarship Jeremy Guyton FSU Friends of Dance Scholarships Academic Year Katherine Acosta Paige Babb Alison Cole Ariel Douglas Angelina Fernandez Kylie Fowler Samantha Frost Giltrecia Head Claudia Hillmann Ellen Kilby Summer Ariel Douglas Rafael Tillery Howell L. Ferguson & Sharon Maxwell-Ferguson Scholarship Casey Copeland Dedrick Gray Rafael Tillery Elizabeth Zuccaro Shaw Modern Cailey Campbel

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CHOREOGRAPHER’S AWARD

AARON SMITH

EMERITUS PROFESSOR ANTHONY MORGAN CHOREOGRAPHIC AWARD

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aron Smith, originally from Clarksville, TN, began his dance training at his hometown studio, Dance Force. He is currently a BFA in Dance candidate at Florida State University, anticipating graduation in spring 2021. Aaron’s choreographic voice is driven by very physical and technical movement that combines peculiar steps within imaginative structures. In his group work he tries to constantly surprise the audience with unexpected formations and hidden transitions. During his sophomore year, he co-choreographed a duet with his peer Katelyn Hamilton called Relief in Tandem (2019), and in his junior year, he choreographed the ensemble work, For the sake of (2020), which included himself with seven other dancers. Both dances in their respective years were selected to be performed at the American College Dance Association’s Southeast Regional Conference. At FSU, he has performed in dances choreographed by faculty members Tim Glenn and Donna Uchizono, and Returning Professional Francisco Graciano. Along with his training at FSU, he has attended summer and winter intensives at Paul Taylor American Modern Dance in New York. He was recently selected as an Emerging Choreographer for the Sarasota Contemporary Dance Summer. Upon graduation, Aaron hopes to move to NYC to join a professional dance company and continue to make tangible his choreographic visions.

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MANCC MAGGIE ALLESEE NATIONAL CENTER FOR CHOREOGRAPH

LETTER FROM THE DIRECTOR Dedicated to seeing the world as it is now, and how it could be in the future…

Since its inception in 2004, Maggie Allesee National Center for Choreography has hosted 98 professional dance makers based around the United States and 989 collaborators in 117 ‘on the ground’ residences at MANCC within the beautiful facilities of FSU’s School of Dance. For years, the Center has been the only one of its kind embedded within a research university, while always insisting that creative support of artist professionals--which also impacts dance student lives and careers—calls for other such entities to be created. MANCC is now joined in creative support efforts by a sister center, The National Center for Choreography, NCCCAkron, begun in 2015 and located on the campus of University of Akron.

Prior to the globe changing pandemic of COVID-19, MANCC was on its way to supporting a total of nine lead dance makers in 10 residencies including two with our Urban Bush Women and First Nations partners, six embedded writers, and the second iteration of MANCC Forward Dialogues. COVID-19 forced us to stop after hosting Edisa Weeks in residence from February 25– March 11 (see Year in Review for details of her wonderful residency). Four residencies and one site-visit scheduled for spring 2020 had to be postponed to a safer time. However, we’ve been turning such disappointing postponements into opportunities to explore a wider and more adaptive palette of support mechanisms, including remote residency options, that can enable MANCC to stay in close connection with our artist communities, and also ensure student engagement.

Since the start of the pandemic, MANCC staff has been in ongoing dialogue with the national field of arts and culture as well as with FSU and the School of Dance as we work to see how to best support artists in the coming season, not only in light of this ongoing pandemic but in response to the rising calls to upend White Supremacy in society at large and within our university and School of Dance.

These times are challenging, but offer hope as well, as we engage in the work of examination and self reflection, individually, as a Center, and with the national field, to ultimately find a revitalized way of working with artists working in this dance form that we love.

Many thanks to our University, the College of Fine Arts, The School of Dance, and our philanthropic community including The Andrew W. Mellon Foundation, The McKnight Foundation, Sustainable Arts Foundation, and the National Endowment for the Arts for their generous and impactful support.

With hope and resilience,

Carla Peterson Director

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ONGOING INITIATIVES In recent years, MANCC has been hosting annually, on average, from 10–14 choreographers and their collaborators in one-three week residencies that support and reflect a range of identities, artistic practices, and geographies for the field and for School of Dance students. MANCC also has been initiating programs, beyond our core residency framework, that respond to identified gaps within the dynamic and evolving field of dance and performance. These programs include an Embedded Writers Program (since 2015, hosting 28 writers invited by 25 lead artists), Writers Commissioning program, MANCC Forward Dialogues (facilitated emerging artist laboratory first implemented in 2017 and soon to see a third iteration next spring 2021), and

a pilot Archive Residency that is supporting an indigenous MANCC artist and indigenous archivists/librarians. Since 2017, MANCC has been providing parent artists with funds to enable childcare support. Partnerships also play an important role in ensuring representation. Current partners include Urban Bush Women’s Choreographic Center Initiative’s Choreographic Fellows Program (UBW’s CCI) and First Nations to ensure our continuing support of women dance makers of color and intentional support of indigenous makers in dance, respectively. We are in the process of developing a partnership to ensure support of artists who self-identify as disabled.

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Emerging Artist Laboratory • August 2-15, 2019

MANCC was thrilled to host the second iteration of its early career artist laboratory, MANCC Forward Dialogues (MFD), welcoming seven collaborative pairs of artists in a 14-day immersive lab. Facilitating the program were field-leaders in dance and performance: Yolanda Cesta Cursach, Gesel Mason, and Ishmael Houston-Jones. Throughout the laboratory experience, participants had various opportunities to engage with and seek feedback from these three highly respected experts in the field. Additionally, New York City based writer, critic, and curator Eva Yaa Asantewaa led a one-day writing ritual for all participants.

MFD was funded by the National Endowment for the Arts.

WILL RAWLS (NY)

Visiting Artist • September 8-20, 2019 Will Rawls came to MANCC for the first time to develop his work [siccer]. To further his research on the citation and misrepresentation of black bodies, Rawls met with Professor Ravi Howard who teaches in the English Department at FSU in the areas of creative writing, fiction, creative nonfiction, and African-American narratives.

The two discussed the topic of regional blackness, the role of gesture, and the overlaps in generating embodied material versus that which lives in language. Rawls and his collaborators hosted a workin-progress showing and film screening in the School of Dance.

Embedded writer Kemi Adeyemi, Assistant Professor of Gender, Women & Sexuality Studies at the University of Washington, joined the residency. [siccer] will premiere in 2021 at The Kitchen in NYC. This residency, including the Embedded Writer, was funded by The Andrew W. Mellon Foundation.

MANCC

YEAR IN REVIEW

MANCC FORWARD DIALOGUES

ANANYA CHATTERJEA (MN)

Urban Bush Women Choreographic Center Initiative Partnership Fellow • September 23–28, 2019 & February 14–22, 2020 As part of a three-year partnership with Urban Bush Women’s Choreographic Center Initiative and following a March 2019 site visit, Ananya Chatterjea came to MANCC in fall 2019 and spring 2020 with her collaborators to further her work Fires of Lost Homes.

During her fall residency, Chatterjea visited the Florida People’s Advocacy Center, where she met with Director Karen Woodall and Shalini Agarwal, Senior Supervising Attorney at the Southern Poverty Law Center, both of whom attended her spring showing that included participation from School of Dance graduate and undergraduate students. Chatterjea also taught two masterclasses to School of Dance students in the fall and three in the spring, furthering her mission of exposing dancers to non-Western forms. As part of the partnership, Embedded Writer and Dramaturg Sharon Bridgforth joined the residency. Fires of Lost Homes is scheduled to premiere in September 2020 at The O’Shaughnessy in St. Paul, MN. This residency, including the Embedded Writer, was funded by The Andrew W. Mellon Foundation.

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BETH GILL (NY)

Returning Choreographic Fellow • January 7-16, 2020 Beth Gill came to MANCC for the third time (having previously been in residence at MANCC in 2013 and 2016) to begin the early stages of her new, currently untitled project, which marks the beginning of a three year work cycle. Reflecting on and selecting which ideas from past processes to carry forward, she spent her time at MANCC with her collaborators concentrating on the experience of being in the room with individuals. To further this line of inquiry in the studio, she spent two days working with fourteen FSU School of Dance seniors and graduate students.

This residency was funded, in part, by the National Endowment for the Arts. Funding was also provided by the Sustainable Arts Foundation to support Beth Gill as a parent artist.

PAT GRANEY (WA)

Living Legacy Artist • February 2-13, 2020 Pat Graney came to MANCC for the first time to develop her work ATTIC, which is the third piece in her House of Mind trilogy, which also includes an installation/performance work, House of Mind (2008) and Girl Gods (2015). With interests in aging and memory, Graney furthered her research by meeting with FSU Psychology Professors Dr. Walter Boot and Dr. Colleen Kelley. Graney and her collaborators also took part in an underwater video shoot with School of Dance Technology and Lab Assistant Jennie Petuch; they shared footage from this shoot, as well as live movement material during a work-in-progress showing in the School of Dance.

Prior to the COVID pandemic, ATTIC was scheduled to premiere June 4-7, 2020 at On The Boards, Seattle, WA. This residency was funded by MANCC’s endowment.

EDISA WEEKS (NY)

Visiting Artist • February 25-March 11, 2020 Multimedia artist Edisa Weeks came to MANCC to focus on the Liberty section of her work, 3 Rites: Life, Liberty, Happiness, which focuses on the black experience in America. To experience the work from multiple angles, Weeks hosted two work-in-progress showings: one outdoors under a tree and the other in the School of Dance, which included a post-showing discussion facilitated by Creative Advisor, James Scruggs. She also hosted a Roots Party, to which she invited School of Dance students and faculty to join her in her journey of making 1,865 roots out of paper and twine that will hang from the ceiling during the installation of Liberty. Weeks furthered her research into the black experience in America through visits to the Knott House Museum, FAMU’s Black Archives, and Goodwood Museum and Gardens where she and her collaborative team participated in the Invisible Lives tour, which focuses specifically on the experiences of enslaved people. Jerome Dent, Visiting Assistant Professor of Africana Studies at Hobart and William Smith Colleges joined the residency as an Embedded Writer. The full work, 3 RITES: Life, Liberty, Happiness, will premiere in Brooklyn, NY in Fall 2021.

This residency was funded by MANCC’s endowment with support for the Embedded Writer from The Andrew W. Mellon Foundation.

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STUDENT SPOTLIGHT MANCC

Q&A Q: How did you first get involved with MANCC? A: I transferred to FSU and came here in my sophomore year, so I got involved with MANCC pretty soon after I transferred. I was really interested in everything that was going on in the School of Dance and wanted to know what was happening since I felt like I was a year behind...and I hadn’t seen a lot of professional work, much less the kind of work that comes to MANCC. So I was really excited to see it and it sparked my interest.

Q: Can you recall the first residency to draw you in?

RACHEL HICKMAN BFA ‘20

A: I’m pretty sure Kinetic Light was the first residency to come to FSU that year—Fall 2017. MANCC sent an email [asking for student assistants] and I went and helped and just became enamored with them and went to every rehearsal I could. I remember vividly watching Alice and Laurel’s partnering—as they swept past each other across the hills and peak of the ramp—was the first time I began to understand what “intersectionality” could mean. I felt it on a visceral level that became more true each time I watched the work.

So I was hooked and I really enjoyed the conversations that came out of that residency. I think I’ve gone to every single MANCC event that I’ve been in town for since that first one in 2017. I also tried to be involved in any residency processes if I fit the criteria of who artists were hoping would be involved in their process.

Q: How has MANCC impacted you?

A: During my time at FSU, I learned I’m most passionate about dance as a way to provoke and stir social movement, and as a tool for activism and community organizing. For a lot of artists that MANCC brings in, this is key to their work. As a young emerging artist, it’s powerful for me to see that work does exist that isn’t just about product—but really is about process. And so I’ve been encouraged by all the questions that artists are asking, and especially by their commitment to ask for what they need as artists. MANCC gives them the space to do that. As a student observer/participant, MANCC provides a wealth of examples for how to go about my own creative process...and to be okay asking for what I need, allowing myself grace when my process changes.

Most recently when we were working with Beth Gill, she just decided that her needs had changed... and going into her process she was super vulnerable and open with us about how she was experimenting and wasn’t sure where it was all going. But the fact that the residency provides a space where artists are able to be genuine with themselves and with us is inspiring to me. Having spaces where artists are wanting dialogue has also been incredibly helpful for me to synthesize what I’m seeing and what I’m understanding. In a bigger sense—it’s given me a lot of courage to not only make 30 | F SU SCHOOL OF DANCE

connections between dance and the world beyond, but to voice those connections and articulate them into words, which is something that’s difficult.

Q: Are there any artists who have been especially influential?

A: There are so many that I’ve seen—and the interesting thing is that with some of them, the significance or the impact they’ve made doesn’t reveal itself to me until after they leave. I’m specifically thinking about Kathy Westwater.

I did audio for her showing and got to be in a little bit of the behind the scenes of that process, but some things about that piece I didn’t understand until much later in thinking about it and doing more research. So that was cool, and it’s been like that for many artists.

Q: Can you talk about your trajectory with Alice Sheppard/Kinetic Light?

A: I pretty much fell in love with their mission and with the way that they were talking about not just disability but all kinds of identities: race, gender identity, sexuality, ability, and how they were doing so in ways that weren’t in defiance or in spite of whatever was “normal.” It was a whole different level, and I was so appreciative of that without even knowing that I had been looking for that sort of conversation. I happened to be in San Francisco the summer after, when Alice was performing at a festival, so I got to see the company perform a snippet of DESCENT, which is what they worked on at MANCC. That was really fun. In the same span of time, I had also written them a couple of (fan girl?!) emails about how much their work had impacted me and how I was just authentically, genuinely grateful for what it had stirred in me.

And then, when I was prepping for New York for Arts in NYC, Sally and Andy asked me what company I would like to work with during my internship. I told them that if I couldn’t work with Kinetic Light, I would be fine with any company that was doing social justice work—truly, I would’ve been happy. But Kinetic Light was definitely far and above everything else that I was interested in. They trusted me a lot during that internship; I did everything from dipping my toes into grant writing, to monitoring a live stream of Jacob’s Pillow work, to taking photos of work, to getting ready for visa applications to go to Hong Kong...kind of everything under the sun.

And now my official title at this point is Creative Co-Conspirator. They let me come up with a title and after some finagling, that was what we all agreed on. So it’s a little vague when I’m trying to explain my job—it’s like a head-scratch moment. But basically I am like a company coordinator... and it’s really great! My working relationship is evolving everyday—it’s a joy to be working and growing with them because they’re at tremendously exciting places in their work. Over the years our timelines have just worked out,

and it’s been such a joy to be able to see them now for three years really, really grow and boom. And I feel like in my own way, I’ve kind of done that alongside them separately—and now we’re getting to do it together which is really exciting.

Q: Anything else you’d like to share?

A: I’ve definitely enjoyed watching all of the different kinds of work that come through MANCC, and I actually enjoy when an artist comes in and I don’t like their work because... well, before seeing so much at MANCC, I used to say, ‘well, I don’t like that and I don’t really know why I don’t like it, but I just don’t like it.’ But now, even if I’m not sure why I don’t like it, there are some key things that I’ve been able to track about myself by going to all the showings over the years, so I’m like, ‘oh, I really connect with artists who do this and I don’t connect with artists whose approach is like this.’ So it’s interesting now—although my answers still aren’t always clear cut as to why I don’t like things, I have much deeper understandings of how I connect to work.

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"Working with Beth Gill liberated me from expectations about beginning a creative process as I've seen them in other, primarily academic, settings. She demonstrated rigor in looking for a kernel of her idea in whatever way it manifested during our participation in her process." – Scott Lindenberg, MA ‘21 “Having the opportunity to take class with Ananya Chatterjea gave me a new look into a collection of dance forms that I would not have the introduction to without MANCC.” – Ciara Byrne, BFA ‘20 “I really enjoyed my experience during Ananya's class.

This form is so specific and involves a different release into the floor and drop of the pelvis while dancing which is extremely different from my traditional training in contemporary and ballet. Because of this, everyone in the class is on an even playing field and there is no hierarchy of training which is humbling, challenging, and enjoyable.” – Ahmad Ratliff-Brown, BFA ‘20

“This was an awesome opportunity that has awakened my interest in learning more about Ananya and other artists who share her vision of dance making at borders, through borders, and at the helm of social justice. I thank MANCC for providing the way of making the opportunity a reality for students like me who thrive on dance making with a purpose that moves beyond the proscenium and onto the global stage.” – Giltrecia Head, MA ‘20 “These works, especially Edisa Weeks, reminded me that community engagement can take a project forward and make it more powerful.” – Emily Alderman, BFA ‘21

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FRIENDS OF DANCE

LETTER FROM THE PRESIDENT Dear Friends and Supporters, The 2019–20 season for FSU School of Dance was deeply impacted by the recent global pandemic.

Classes went to a virtual platform, performances were postponed, the stairwells were quiet and the studios still. In light of such unexpected worldwide changes, Friends of Dance found ways to support the school, program and students that are so near and dear to our hearts. Even in the face of uncertainty and tumultuous times, we remained steadfast in our mission and we prevailed.

While the year did not finish the way any of us envisioned, we still have much to celebrate and reflect upon. Last year alone, Friends of Dance awarded $30,000 in student scholarships and donated an unprecedented $8,500 to COVID-19 relief. Our annual Suzanne Farrell Workshop for Young Dancers remained a constant on our calendar and we were thrilled to host 120 aspiring young artists for the weekend. This workshop serves not only to bring local and regional dancers to Montgomery Hall but often is a catalyst for aspiring high school students who wish to attend the School of Dance upon graduation. One of our greatest accomplishments was the increase in activity and engagement facilitated by the School of Dance Graduate Dance Council with Friends of Dance including the creation of a new position for our Council, the Graduate Student Liaison. This position brought valuable insight to not only the needs of the students but also a glimpse of their process and preparation. It was truly a year we will never forget and we all feel thankful that we were able to make a positive impact for our deserving students in a time of so much need.

Now is the time to turn our focus to the future. If there is one thing recent months have taught us is that artists are endearing, resilient and strong. Although the upcoming season will look different as social gatherings and performances have been placed on pause, it doesn’t mean our efforts should stop and our support linger. Friends of Dance would welcome your involvement for the 2020–21 year. Your tax deductible contribution will actively support the artists of the future­—the ones who will “do it with love.”

Wishing you continued good health,

Amy Lowe Friends of Dance President

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BECOME A FRIEND Friends of Dance, the community patrons group for the School of Dance, are ambassadors for dance in the local community and foster relationships with the School of Dance. Your Friends of Dance membership not only supports students and their exciting art, but you also make possible special performances, opportunities for visiting artists, and financial assistance for professional conferences and dance festivals. Quite simply, we depend upon our Friends of Dance to maintain our national rankings and highest of professional standards.

We would like to invite you to be a friend and support our young artists. Your membership will be an integral part of building their future. To join or renew, please visit give.fsu.edu/friendsofdance. Your membership makes a difference.

MEMBERSHIP BENEFITS

Corps $50

Soloist $150

Business/Studio $250

Principal $250

Producer $500

Impresario $1,000+

Invitation to personal FOD virtual events with students and faculty

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Special invitation to MANCC Artist entry points

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Name recognition in concert program and annual School of Dance magazine

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Annual membership and recognition in College of Fine Arts Dean’s Society

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Sponsorship of one student scholarship to the Young Dancers Workshop

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“ “ “ Exclusive access to CFA other CFA programs

“This Friends of Dance Scholarship helps ease the financial burden of tuition for me as well as my family, and for that I am so thankful. I have always known I wanted to be a professional dancer, so I had Florida State on my radar for college from a young age. I plan on completing the combined pathways program and receive my BFA and MFA in Dance in 5 years time. Your support helps me stay at FSU so I can accomplish this goal.”

Maddie McClure BFA ‘23

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“Growing up in a less privileged community helped me realize the value of effort and hard work that opens doors of great opportunities to be educated. I am entering my 2ndyear as a graduate student pursuing my MA in Studio and Related Studies. Furthering my education in such a field is an opened door of great opportunity for me. With your generosity, I can do so with less worry of financial strain.”

Ariel Douglas MA ‘21

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“The past academic year has made me become a better human, as well as an artist. It makes me affirm the goal I want to purpose in the future; becoming a dance filmmaker that tells the critical story. My dreams and goals would not be possible, without this generous support from scholarship sponsors like you. Thanks again for this opportunity!”

Lixin Li MA ‘22

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FRIENDS OF DANCE

Donors celebrate the Take A Seat campaign with pre-show access and reserved seating in the Nancy Smith Fichter Dance Theatre before An Evening of Dance performance. Photo by Meagan Helman.

Friends of Dance honors Take A Seat! Campaign Donors Take A Seat! (TAS) was a two-year campaign for the Full House Project which was created in 1996 to sell commemorative seats in the Nancy Smith Fichter Dance Theatre.

Approximately one third of the seats were sold prior to TAS. In celebration of the 30th Anniversary of Friends of Dance in 2018, Debra Lachter and Joyce Fausone initiated the Take A Seat! campaign to sell the remaining seats in the house.

To celebrate donors of the campaign, Friends of Dance held a Champagne Toast in their honor. Donors watched An Evening of Dance concert and sat in their purchased seat after a special presentation. The School of Dance is really thankful for such a supportive community.

The two-year campaign has come to an end, but the Full House Project is ongoing.

There are 120 seats remaining to actually create a Full House. All proceeds from this campaign go directly to benefit School of Dance students through scholarships and support of School of Dance programs.

These seats make great gifts for graduating students, alumni, or as commemorative tokens. To purchase a seat on-line or download the brochure, visit dance.fsu.edu and click on the “Giving� tab. If you have any questions, please contact La Toya Davis-Craig at ldavis3@fsu.edu.

You can become a lasting part of the theatre through the Full House Project.

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TAKE A SEAT CAMPAIGN DONORS Nancy Carroll Abbey & Stuart Abbey Mary McHaney Bebout* James Harold and Dorothy Bell Heather Boni* Maureen Briede Starr Burlingame* Mary Elizabeth Casteel Linda Chiaverini* Dorothy Clifford (Donors: Gavalas Family) Jimmy C. Cole Gloria Hunt Deison Sandra S. Delapp* Sonia Ann Deville* & Cody James Fusilier Kathryn Eggert* Rick & Joyce Fausone* Cindy Levin Folger* Lisa M. Frantz* James A. Frazier* Carol Lewis Griffin* Kathy Dunn Hamrick* Rachel S. Hunter* Howard Kessler & Anne Van Meter Jonathan E. Klepper Patricia Knowles* Debra & David Lachter Caroline Drummond Loupe* Meredith McKinney Elsa McKinney Gianna Mercandetti* Laurie & Santiago Molina Clara Isabel Molina* Adele Myers*

Debra Arch Myers* Karla T. Owen* Jeannie Pierce Ms. Mary Roberts* Kaitlyn Christensen Sacco* Sharyn Heilland Shields Karen J. Silver* Michelle M. Sterchi* Sharon Vasquez* Robert L. Ward Andrew Welch Letitia Jones-West* Cathay Hess Wright* Paige Melvin Zink* Jawole Willa Jo Zollar* Katherine White Austin* Robin Stuyverson* Mazelynn Sabine Valde-Hansen Teri L. Coker* & Gaines Taylor Paisley Grace Shepherd Rebecca “Becky” Shepherd James “Nick” Shepherd PURCHASED IN MEMORY OF Rodger L. Belman (Patty Phillip) Essie A. Head (Anjali Austin) Herbert “Loch” Austin (Anjali Austin) Jolie Long* (Jean Graham Hunt) Evelyn Allison (School of Dance) Jon Nalon (Friends of Jon Nalon) Delano & Ed Fenn (Jennifer Fenn*) Elinor Klapp Phipps (Colin & Ann Phipps)

*ALUMNI

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FLORIDA STATE UNIVERISTY SCHOOL OF DANCE MFA AND MA GRADUATE DANCE PROGRAMS Accepting Online Applications Deadline: January 13, 2021

Graduate Assistantships and Tuition Waivers Available World Class Faculty Individualized Curriculum Options Daily Technique Classes Dance Conditioning Studio Dance Technology Lab and Courses Home of the Maggie Allesee National Center for Choreography (MANCC)

SCHOOL OF DANCE COLLEGE OF FINE ARTS

dance.fsu.edu Photo by Evelyn Washburn Dancer: Francisco Graciano