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Summer International Faculty

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Jennifer Howard – Director of Summer Programs

Jennifer Howard began her training at Boston Ballet, completed her Royal Academy of Dance exams under the direction of Mimi Ferrell and received her BFA from The Juilliard School.  

Jennifer spent her extensive professional dance career between New York City and Europe, touring and performing as a member of Mikhail Baryshnikov’s White Oak Dance Project, Twyla Tharp Dance, Eliot Feld Ballet, Liz Gerring Dance, and Unterwegs TanzTheater, and as a freelance artist with acclaimed choreographers Lucinda Childs, Douglas Dunn, Lar Lubovitch, and Sarah Michelson.

Jennifer has been a guest teacher for NextGeneration Ballet, Burklyn Ballet Theater, Dartmouth College, Wesleyan University, Denver School of the Arts and taught for Jacques D’Amboise’s National Dance Institute in New York City and the Colorado affiliate Celebrate the Beat.  Before joining the faculty at CCD, Jennifer was the Director of Dance and Artistic Director of the St. Paul’s School Ballet Company in Concord, NH for six years. In 2020, Jennifer was appointed CCD Director of Summer Programs. 

Dominic Walsh

Dominic Walsh – Director of Compass Coaching Project and Movement Lab

Dominic Walsh was born in Elgin, Illinois and started his training with Lisa Boehm, Frank Boehm, Warren Conover, and Larry Long in Chicago. He joined Houston Ballet in 1989, and was promoted to Principal Dancer by 1996. Walsh danced throughout Asia, Europe, and North America and performed all the major classics including Swan Lake, Giselle, Don Quixote, Romeo & Juliet, and Manon with international stars such as Nina Ananiashvili and Alessandra Ferri. Walsh danced Houston Ballet’s entire contemporary repertoire, and Ben Stevenson created numerous roles for him including Marc Antony in Cleopatra.

In 1998, Walsh created Flames of Eros on Houston Ballet. This work won the Choo-San Goh Award for Choreography. He created three more works for Houston Ballet. In 2002, while still a Principal Dancer and Choreographer with the Company, he founded Dominic Walsh Dance Theater. After the company’s debut in February 2003, Dance Magazine declared, “At last Houston has a contemporary dance company on par with its symphony, opera and ballet companies.” The company’s roster included works by Walsh, Mats Ek, Jiří Kylián, Mauro Bigonzetti, and Matthew Bourne.

In 2004, Walsh left to pursue Dominic Walsh Dance Theater full-time. He won a second Choo-San Goh Award in 2007 and received a 2008 Princess Grace Award, both for The Trilogy and Wolfgang Amadeaus Mozart. In 2012, he was inducted into the Fox Valley Hall of Fame.

Walsh continues to receive commissions to set and create works nationally and internationally. He served as the Resident Choreographer for Sarasota Ballet of Florida, creating/staging Wolfgang for Webb (2008), The Trilogy (2009), Time out of Line (2011), and Claire de Lune(2011). In addition to his travels throughout the U.S. and abroad, he is a guest teacher and coach for both companies and academies and stages the works of his longtime mentor, Ben Stevenson. The Carl Jung Center has shown interest in Walsh’s creative process and he has given lectures at Houston’s Jung Center. He has written for various publications on dance, and was a regular columnist for Origin Magazine. Walsh made his film debut as a co-director at the Brussels Short Film Festival in Spring 2015 with Malta Kano, TX.  That same year, he became a proud father and closed DWDT after 12 seasons. Last month, Walsh made his debut as Costume Designer for Stevenson’s Cinderella with the National Ballet of China.

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Julia Wilkinson Manley – Artistic Director of Colorado Conservatory of Dance

Julia Wilkinson Manley began her training with Cristina Munro (London Festival Ballet, Eliot Feld) in Corpus Christi, Texas. Julia attended the Boston Ballet Centre for Dance Education and the Houston Ballet Academy. At the University of Oklahoma, she earned a BFA in ballet pedagogy and danced soloist roles in Balanchine’s Serenade, Miguel Terekhov’s Four Moons, Sleeping Beauty, and The Nutcracker as Sugar Plum Fairy, as well as numerous solo roles choreographed for her by Mary Margaret Holt (Houston Ballet, San Francisco Ballet). She toured with Ballet Ireland under the direction of Günther Falüsy, and performed

with David Taylor Dance Theatre and Ballet Nouveau Colorado. Her choreographic work has been performed by numerous companies, including Corpus Christi Ballet, David Taylor Dance Theatre and Ballet Nouveau Colorado.

In 2009, she served on the committee to rewrite the Colorado Academic Standards for Dance for the Colorado Department of Education and is currently the Mountain Chapter Chair of the National Guild of Community Arts Education.

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Terrell Davis

Terrell Davis is the Artistic Director of the Denver School of the Arts Classical and Contemporary Pre-Professional Dance Program and the Founder/Artistic Director of the Davis Contemporary Dance Company. Born and raised in Chicago, Mr. Davis has a B.A. in Political Science and a minor in dance from Western Illinois University (WIU) where he trained with Candice Winters-March, Heidi Clemmons, and Denise Breakfield. He began his training at Lincoln Park High School in Chicago with Efe McWorter; and trained with Rodni Williams at the Joseph Holmes Chicago Dance Theatre.

 

Mr. Davis was a member of Dayton Contemporary Dance Company, Cleo Parker-Robinson Dance Ensemble (CPRD) and Moraporvida Contemporary Dance Company. In addition to being a principal dancer at CPRD, Mr. Davis served as Assistant Rehearsal Director and had the pleasure of working and training with Milton Myers, Donald Mckayle, Christopher Huggins, Marceline Freeman, Randy Brooks, and Susan Richardson.

Mr. Davis’ teaching credits include Cleo Parker Robinson Dance School, Academy of Colorado Ballet, the Academy of Classical Ballet, Manuel High School, Smoky Hill High School, Hannah Kahn’s Open Studio, Danza Dance Academy, Denver Dance Center and Dance Kaleidoscope.  

For more information visit  www.davisdanceco.com

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Sarah Hillmer

An Atlanta native, Sarah Hillmer has dedicated over 17 years to the professional dance world as a dancer, assistant to choreographers, ballet master, stager, educator and creator.

Her company credits include the Atlanta Ballet, glo-as a founding member, and staibdance. During Sarah’s tenure as Ballet Master at the Atlanta Ballet, she worked alongside world-renowned figures in the ballet world, and coached dancers in seminal works by Ohad Naharin, Jiří Kylián, Wayne McGregor, Gustavo Ramírez Sansano, John McFall, Helgi Tomasson, Gemma Bond, Craig Davidson, Ricardo Amarante and Yuri Possokhov.

It was during her time at the Atlanta Ballet that ongoing artistic relationships with Twyla Tharp and Helen Pickett were forged. She was instrumental in the building of their full-length ballets and continues to stage their work globally. Sarah’s work as a stager and assistant have taken her to Royal Winnipeg Ballet, Kansas City Ballet, Oklahoma City Ballet, Smuin Ballet, New York Theatre Ballet, UNCSA, UArts, Pennsylvania Ballet, Scottish Ballet, Alberta Ballet and Boston Ballet.

In 2017 Sarah formed ImmerseATL, a contemporary dance training platform designed to serve as a bridge between the pre-professional and professional world of dance. ImmerseATL provides classes, mentorships, performance opportunities, and professional connections for its Artists.

Sarah is an active member of the Atlanta dance scene, serving as a guest teacher and choreographer for Universities and dance schools. Sarah creates original works for ImmerseATL and has been commissioned to create work for Atlanta Ballet’s Wabi Sabi, Backside of the Tent Productions and Emory Dance Company. In 2019 Sarah collaborated with George Staib on his newest work for staibdance titled fence, which was funded by a grant from the New England Foundation for the Arts National Dance Project.

Since August 2019 Sarah has been the Managing Director for staibdance and is thrilled to be part of leading this extraordinary organization forward.

sarahjhillmer.com

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Roger C. Jeffrey

Roger C. Jeffrey was born and raised in New York City where he began his training at Bernice Johnson Cultural Arts Center in Jamaica, Queens. A graduate of Fiorello H. LaGuardia High School of Music & Art and the Performing Arts, he received his B.F.A. from The Juilliard School under the direction of Benjamin Harkarvy. Mr. Jeffrey has performed in the companies of Bernice Johnson, Kevin Iega Jeff, Obediah Wright, Earl Mosley, Zvi Gotheiner, Twyla Tharp, Lar Lubovitch, Metropolitan Opera Ballet and with Mikhail Baryshnikov’s White Oak Dance Project. He has also worked with Dudley Williams, Eleo Pomare, Otis Sallid, Debbie Allen, Danny Tidwell, Ayodele Casel, D’bi. Young, Rasta Thomas, Sean Curran, Doug Varone, Richard Move and Mark Dendy. Mr. Jeffrey is a New York based freelance choreographer/director. 

Mr. Jeffrey has choreographed and or directed various theatrical productions including Death of the Diva featuring Amanda Seales, The Emancipation of Ms. Lovely featuring Ngozi Paul, Blood Claatfeaturing D’bi. Young, Gemini Rising and Da Kink in my Hair featuring Angie Stone, Melanie Fiona and Terri Vaughn to name a few. He is also the artistic consultant for Rasta Thomas and associate artistic director of Dawn Branch Works.  In 1997, Mr. Jeffrey founded Subtle Changes, Inc., a nonprofit artist collective committed to the presentation, development, and exposure of the arts. The company has presented work for Lincoln Center Out-of-Doors, Central Park SummerStage Harlem, E- Moves/Aaron Davis Hall, Judson Church, P.S. 122, DanceNow Festival, Theatre of the Riverside Church, JoyceSoho, Back Yard Dance Project, Bric and Jacob’s Pillow Inside/Out among others.

For more information visit  www.bouncecompetition.com/our-founders.

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Alex Ketley

Alex Ketley is a choreographer, filmmaker, educator, and the director of The Foundry. In his 20 years making work, he has developed work from many different creative entry points. Examples of these are: Syntax, an hour long duet that systemically used the mechanics of language as an organizing mechanism; Lost Line researched how the application of environment affects the generation of movement; Please Love Me jettisoned the structure of performing in a theater context and researched how people connect and experience artwork; and the No Hero Trilogy was a multi-year project that explored what dance and performance means to the lives of people living throughout rural America.

 

He has received acknowledgement from the Hubbard Street National Choreographic Competition, the Choo-San Goh Award, the Princess Grace Award for Choreography, four MANCC Residencies, the Eben Demarest Award, the National Choreographic Initiative Residency, the Artistry Award from the Superfest International Disability Film Festival, and his work was featured on the show So You Think You Can Dance. His pieces have also been awarded Isadora Duncan Awards for outstanding achievement in the categories of Choreography, Company, & Ensemble. He is currently a Lecturer at Stanford University’s Theater and Performance Studies Department, and in 2020 he became a Fellow of the John Simon Guggenheim Memorial Foundation, one of the most prestigious honors in the United States recognizing individuals “who have demonstrated exceptional creative ability in the arts.”

For more information visit www.alexketley.com/alex-ketley-1

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Maria A. Konrad

Maria A. Konrad graduated from the Dreyfoos High School of the Arts in West Palm Beach and then earned her BFA in Performing Arts at The University of the Arts in Philadelphia, Pennsylvania. As a teacher in Philadelphia, she created the early-dance-education curriculum for the school of the Koresh Dance Company, which has been featured in Dance Magazine. Ms. Konrad’s choreography has been presented nationally at the Spoleto Festival in South Carolina, Colorado Ballet Academy, University of Pennsylvanition, University of the Arts, The Harid Conservatory, Florida Dance Festival, Miami Dade Cultural Center, Florida Atlantic University, The Kravis Center and Next Generation Ballet.

 

Her work has been picked up by choreographic workshops in NYC by the STEPS Beyond Foundation at STEPS on Broadway and Uptown Rising Series at The Bridge. Most recently, Pennsylvania Ballet II commissioned a new work “Dear Charlie” about the music, style and innovations of Charlie Chaplin which premiered in 2020.

Ms. Konrad has been recognized by organizations such as Young Arts and Youth America Grand Prix for “Outstanding Choreography” (2015, 2017) and has been a guest teacher for The Joffrey Ballet School – Chicago, Tulsa Ballet, Colorado Ballet Academy, University of the Arts, Florida’s Young Dancers Workshop, The Art of Classical Ballet (dir. Magaly Suarez), Next Generation Ballet, St. Paul’s School-Concord, NH, Florida Dance Festival and Youth America Grand Prix.  In  2018, Ms. Konrad was on faculty at The International Ballet Competition in Jackson, Mississippi. She is currently resident choreographer with The Next Generation Ballet (Dir. Philip Neal) and the director of the contemporary program at Florida School for Dance Education. Ms. Konrad is also host and creator of So Danca’s web series “Barre Talk”

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Rosalynde LeBlanc

Rosalynde LeBlanc has spent over twenty-years in dance as a performer, choreographer and educator. She holds a BFA from the State University of New York at Purchase and an MFA from Hollins University. She was a member of the Bill T. Jones/Arnie Zane Dance Company (1993-1999), Mikhail Baryshnikov’s White Oak Dance Project (1999-2002), and the Liz Gerring Dance Company (2003-2006). In addition to performing the work of various independent choreographers, LeBlanc Loo has also danced with New York City’s Metropolitan Opera and for the 250th Mozart Celebration in Salzburg, Austria. July 19-23

 

She has had her writing published in the leading international dance periodicals, Dance Magazine and Ballettanz, and her choreography presented in venues around the country. 

She continues her work with Bill T. Jones in the preservation of his legacy and pedagogy, most notably, directing the LMU Dance-Bill T. Jones/Arnie Zane Educational Partnership. She is also producing and co-directing, with acclaimed cinematographer, Tom Hurwitz, the documentary film, Can You Bring It: Bill T. Jones and D-Man in the Waters. The film was awarded an Arts and Cultural Heritage grant from the Andrew W. Mellon Foundation and the Graves Award in the Humanities, as well as funding from the Andrew W. Mellon Foundation and the Ford Foundation. In 2020, Rosalynde was inducted as an honorary member into the Jesuit Honor Society, Alpha Sigma Nu.

For more information visit  www.d-mandocumentary.com/about-rosalynde

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Doug Letheren

Doug Letheren is from New Hampshire USA, and is a graduate of The Juilliard School.  He danced with Mikhail Baryshnikov’s Hell’s Kitchen Dance before joining the Batsheva Dance Company, where he worked with Ohad Naharin and Sharon Eyal from 2007 – 2012.  Doug was then a founding member of Sharon’s company, L-E-V, until 2015, and danced with the Tanztheater Wuppertal Pina Bausch from 2016- 2019. He is currently a member of Crystal Pite’s Kidd Pivot (for the creation and touring of her work, Revisor) and Alan Lucien Øyen’s Winterguests (for his work, Rivers, commissioned by the Kennedy Center and the National Theater of Taiwan). July 12-16

Doug will join Adam Linder for his new creation, Descending The Throne, premiering at Kampnagel in Hamburg in October 2020. He has also danced with Bobbi Smith, Aszure Barton, and the GoteborgsOperans Danskompani, and has been a guest teacher for companies such as Netherlands Dans Theater, Royal Swedish Opera, GoteborgsOperans Danskompani, Tanztheater Wuppertal Pina Bausch, Body Detour Taiwan, and Corpus/Royal Danish Theater. He is a recipient of the 2007 Movado Future Legends Award, nominated by Mikhail Baryshnikov, and a 2019 “Der Faust” German Theater Prize nominee. 

Doug is also a practitioner of Shambhala Buddhism, a student of Pema Chodron, and, in 2016, spent 9 months as a temporary monastic at Gampo Abbey. His class addresses meditation and the body, and the myth that working with our bodies can be any different than working with our minds and hearts.

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John McFall

Having committed my interest and passion to a Life as an Artist with an emphasis on dance, choreography, and Artistic Direction; my calling is now teaching, coaching, and mentoring. For me it all began with Ms. Tatiana Dokoudovska.  She instilled within me an insatiable curiosity and passion to commit to what you love.  The first Ballet she choreographed for me was “The Pied Piper from Hamlin,” and the moment that curtain went up my career was launched.  My first professional job at sixteen was Starlight Theater, a Summer Stock venue.  Then San Francisco Ballet where I enjoyed a career for twenty years becoming a Principal, and where I began choreographing also.

I went on to Direct BalletMet, and Atlanta Ballet building Dance Education Centre’s along the way.  My absolutely favorite thing to do is bringing the experience of dance and the arts into everyones lives.

The process of becoming a dancer is not so intellectual.  Very little academics is involved and an essential ingredient is the spirit of collaboration which begins within yourself.  Knowing yourself and relying on your intuitive capacity which you are gifted with is the wind in the sails of learning to dance.  Although I was born and raised in Kansas City when I was in my early teens I spent my summers at Ballet Arts, a renowned studio at Carnegie Hall in NYC.  I was dancing and learning from the most inspiring dancers from all the Companies in NY, and attended countless Dance performances at City Center Theater and Lincoln Center to fill the evenings.   Many Contemporary Companies as well as Ballet captured my interest. At the time NY was the crossroads of Dance, but needless to say I learned a lot about life and living in the Big Apple. This sort of stew is the experience you bring along with you when you perform on stage.  It’s a lot more than just steps.

I look forward to getting acquainted with the students at the CCD.  This is a place where you can thrive in the process.  As you may know excellent technique provides virtuosity, but poetry, romanticism, exhilaration and joy are the combination of factors that make you an artist on stage.  You can become that at Colorado Conservatory of Dance.

For more information visit http://john-mcfall.com/

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Tilman O’Donnell

Tilman O’Donnell (German/USA) received his training at the National Ballet School in Toronto, Canada. He joined The Göteborg Ballet in 2001 Staatstheater Saarbrücken (2002) Cullberg Ballet (2003-2007) The Forsythe Company (2007-2012, guest artist 2012- 2015).

Tilman made his debut as a choreographer in 2002 with Del A, receiving first prize in two major international choreographic competitions. In 2005 he was nominated both ”Dancer To Watch” and ”Choreographer To Watch” by the magazine Ballet Tanz, and as “Hoffnungsträger” in 2015 by the same publication.

In 2017 he was once again named “Dancer to Watch” for Whatever Singularity #453.

He has made works for Cullberg Baletten, SPIRA Jönköping/Cullberg To Come, Staatstheater Graz, The Göteborgs Operans Danskompani, University of Dance Stockholm, Corpus/Royal Danish Ballet, and The Danish University of Dance as well as producing his own works. These include: This Is (2010), August did not have what is commonly considered good taste as far as furniture is concerned.. (2012)The Disambiguation Project (2013), Whatever Singularity #453: Solo For Maxime / Dancing With Alain (2014), In Life & Love & So On (2015), These & Those & Upon Us (with Cyril Baldy, 2016) In Some Sense (2016/2017 with Mikkel Ploug) and History Was Written By The Losers: Hoedown / Showdown (2019). His new work OnBach (working title), will premiere in early 2021. His work has toured extensively in the Scandinavian and international context. 

In addition, he teaches dance and facilitates workshops with a focus on the intersection of contemplative practice and contemporary dance. 

For more information visit www.tilmanodonnell.com/about-1

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Caili Quan

Caili Quan was raised on Guam, trained in New York, and was a dancer with BalletX from 2013-2020. Caili has choreographed for BalletX, konverjdans, Columbia Ballet Collaborative, DanceWorks Chicago’s ChoreoLab, CelloPointe, and St. Paul’s School. While with BalletX, she performed new works by Matthew Neenan, Nicolo Fonte, Gabrielle Lamb, Penny Saunders, and Trey McIntyre and danced at Jacob’s Pillow Dance Festival, Vail Dance Festival, Central Park SummerStage, Belgrade Dance Festival, the Joyce Theater, and the Kennedy Center during DEMO by Damian Woetzel. July 26-30

 

Her duet Fancy Me was performed at the Vail Dance Festival in 2018, and in the summer of 2019, Caili served as an Artistic Partnership Initiative Fellow at The Center for Ballet and the Arts at NYU.  She subsequently choreographed and edited a short dance film 100 Days, a virtual commission for The Guggenheim’s Works & Process. Before retiring from BalletX in Summer 2020, she virtually choreographed Love letter, a dance film inspired by Guam’s culture for BalletX’s virtual platform, BalletX Beyond. Caili is currently an Adjunct Instructor of Ballet at DeSales University.

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Rachel Oliver Young

Rachel Oliver Young is the Education Director of the Classical and Contemporary Pre-Professional Dance Program at Denver School of the Arts, and a certified teacher through the Colorado Department of Education.  Rachel holds an MFA in Dance, as an Arts and Sciences Fellow at CU-Boulder, and a BS in Dance and Biochemistry from Beloit College, having graduated Magna Cum Laude and Phi Beta Kappa. Rachel is an American Ballet Theatre® Certified Teacher, who has successfully completed the ABT® Teacher Training Intensive in Primary through Level 3 of the ABT® National Training Curriculum.

Rachel has performed professionally across the country as a freelance dancer and a company member.   Her choreographic work has been commissioned by Bare Bait Dance Company, Centennial State Ballet, and West Virginia Dance Company, sponsored by the Atlas Black Box Experimental Studio in Boulder, CO and selected for performance at WestFest Dance in New York and Performática in México, and presented at the University of Iowa, WV Wesleyan University, the Philly Live Arts & Fringe (PA), Dixon Place (NY) and Triskelion Arts (NY), as well as other locations across the country.

Rachel’s teaching credits include public schools, dance studios, women’s prisons, community centers and universities across the country including University of Colorado-Boulder, Metro State University, for the Colorado Ballet, Cleo Parker Robinson Dance, Longmont Dance Theatre, Presidio Dance Academy, Radford University, Performática, and Pikes Peak Community College.  

Learn more at racheloliveryoung.com

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