Founder/Producing Artistic Director Resident Choreographer Sshort@ddtdc.com
Tel: (202) 540-8338 www.ddtdc.com Mailing Address: P.O. Box 2377 Washington, DC 20013
Dissonance Dance Theatre’s Watch Me Bounce Production Packet
For Bookings Contact: Shawn Short
Dear Promising Presenter, Experience the beauty and heartfelt energy of Dissonance Dance Theatre 2013-2014 season production of Watch Me Bounce! Watch Me Bounce is dance celebrating “America’s indigenous art form” Jazz music through a blend of classical ballet and contemporary dance. Watch Me Bounce demonstrates the “artistic alloy” that manifests when classical ballet intersects with contemporary dance themes and vernacular. This program refines the high art aesthetic of classical ballet through a multicultural cast, raw-and-real humanistic stories and music rooted in the African-American experience. More than merely a dance company performing dance, Dissonance is an experience. Now in its 7th season, Dissonance challenges what audiences assume about the human experience, cultivates future audiences, and develops progressive contemporary and classically trained artists. Founded in 2007, Dissonance Dance Theatre is dedicated to preserving and creating contemporary dances that maintain the strength and integrity of classical forms while expressing universal themes with broad appeal in Washington, DC and beyond. Through a variety of performance units and programs, our cutting-edge works highlight present-day ideas and concepts. In many cases, Dissonance is able to custom-design performances to meet your specifications. Moreover, Dissonance Dance Theatre is available for residencies at high schools and institutions of higher learning. I invite you to learn more about our company and our work. It is my hope that you will include Dissonance Dance Theatre as part of an upcoming performing arts series. Thank you kindly for your time and consideration. I look forward to hearing from you soon. Yours in Dance,
Shawn Short Founder/Producing Artistic Director sshort@ddtdc.com 202-540-8338 office www.ddtdc.com
Dissonance Dance Theatre is a Washington,
Table of Content Watch Me Bounce Presentation........................... 1. Press/Company Reviews/Testimonials................ 3. Artists................................................................... 6. Production Team................................................... 11. Educational Presentation...................................... 13. Technical Rider..................................................... 14.
DC-based professional dance company. Founded in 2007 by Artistic Director Shawn Short, the company consists of 15 dancers. Known for our theatrical presence and exceptional artistry, Dissonance evokes emotional experiences in the audiences we touch. Our cutting-edge repertoire features works that are socially and visually appealing to audiences while remaining true to our mission; challenging audience’s assumptions about the human experience through dance. Now in its seventh year of operation, Dissonance Dance Theatre has achieved many milestones, some of which are highlighted below: • Debut in New York City at the Brooklyn Arts Exchange in 2009 • Recognition as one of “Top 5 Performances to Watch” by the Capital Fringe Festival in 2007 • Formerly Fiscally sponsorship under New York Foundation for the Arts 2009 -2012 • Nomination for four 2009 Dance Metro DC Dance Awards • Presenter at jury paneled showcases throughout the DC area Dissonance is committed to achieving our goals of providing quality dance entertainment built on the classics of ballet, jazz, and modern, and to creating a new dance language that reflects concert dance in the 21st Century. As a result of our diverse repertoire, Dissonance is able to tackle most choreographic challenges and looks forward to new and exciting collaborations regionally, nationally and internationally. Dissonance Dance Theatre’s past productions include: Human (2007, Capital Fringe Festival), Mother’s Blood (2008, Commission Catholic University), Episodic Traces (2009, Artists’ Bloc/Atlas Performing Arts Center), What the Eye Sees (2010, NYC Brooklyn Art Exchange), Hybrid (2011 Intersections New America Arts Festival (sold out), Cinema (2012 Intersections New America Arts Festival (sold out), U.NDR.STND (2012 VelocityDC Festival). In October 2012, was featured on Fox 5 News as a part of VelocityDC.
Watch Me Bounce Performance Presentaton: 75 mins. ( Start to Finish) Watch Me Bounce is an evening length concert built for proscenium stage. Big Band Suite [9 mins] Choreography by Shawn Short Music: Webb Mvmt I: I Got Rhythm (3mins) Mvmt II: Azure (3mins) Mvmt III: Harlem Congo (3mins) - Sing, Sing, Sing! A vibrant ballet celebrating the big band sound of the 1920’s, Big Band Suite combines classical ballet steps with ballroom pizzazz. A dance work inspired by big band conductor Chick Webb and his music that inspired Caucasian and African-Americans; entertaining a decade segregated by their skin color but not by social traditions. Funky D [(3 mins] Choreography by Shawn Short Music: Cannonball Adderley and his Orchestra - A “get down but point your toes” comedic dance around one woman and three gentlemen who are all fighting for her affection. Laced with the sounds of Cannonball Adderley and His Orchestra’s suite African Waltz, Funky D is a up tempo spectacle, blending the ballet lexicon with juke and jive! The Game [9 mins] Choreography by Shawn Short Music: Vivaldi Mvmt I: Chase (3mins) Mvmt: II Search (6mins) - A work inspired by the yo-yo effect of the dating games. Guy meets girl, girl meets guys, guys accidently meets new best friend? The Game examines the ritual of dating through contemporary dance styles exploring how we as human beings perceive it. Performed to selections from Vivaldi’s colorful and powerful Four Season. Feeling Orange [8 mins] Choreography by Shawn Short Music: Ledisi - Syncopated rhythms with a spicy Afro-Latin flavor sway and dip dancers in a celebration of Black and Hispanic social dance combined with allegro brilliance of classical ballet! Composed to a driving conga infused score, Feeling Orange taps into that “feel good” energy that gets us to move when we are feeling blue. Page 1
F.A.M. [9 mins] Choreography by Shawn Short Music: Alex Iles, Bob Curnow’s L.A. Big Band, Bobby Shew & Wayne Bergeron -Feeling Absolutely Marvelous also known as F.A.M., joins conventions of cabaret arts with contemporary ballet that brings to life passionate enthusiasm for the good things in life; friends, loved ones and family. “Human beings are designed as communal creatures, we need each other in order to enjoy our time on earth.” - Shawn Short, choreographer Amazon [4 mins] Choreography by Shawn Short Music: Kodo (4 mins) -Amazon is an observation of the dynamic strength of women. Perceived as the “weaker” species, women have endured many hardships in society. Amazon speaks to their discipline and pioneering strength. This dance piece is a dedication to their beauty. Lo [7 mins] Choreography by Prentice Whitlow Music: Various Artists -Lo Urban rhythms combine and views dance as it discusses current attitudes and interpretations of blackness in America, particularly our interpretations of so called “ignorant”, “ghetto” or “ratchet” blackness. it blends popular “ignorant”, “ghetto” or “ratchet” music as a means to call those interpretations to the surface for engagement. Pairing this kind of music with a classical ballet movement vocabulary presents a curious juxtaposition, through which we can further explore preconceptions about power, race and class.
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Press
Maggi’s composition “The Ballet Master’s Dream” danced by Nicolette Jenkins and Dedrick Makle and for Simpson’s “The Luny Musician” danced by Tisa D. Herbert and Prentice Whitlow. The Dresser felt the choreographer had a charming sense of the absurd and made good use of the limited time to show the prowess of his dancers.”- Karren LaLonde Alenier, In the Realm of Silent Film and Dreams--Snark Ensemble, Terry Riley Scene4 Magazine (March 31, 2009)
The Washington Post
describes Dissonance Dance Theatre as “Ambitious and Evoking” (2007)
You name it, his dancers did it: Ballet! Hip-hop! Traditional African! Melodramatic modern solos! There was no telling what was coming onstage each time the lights came up, but by golly, the dancers Short has working for him are good.” Rebecca Ritzel, Washington Post (March 2013)
“We were thrilled to have Dissonance participate in Ve“Incredibly connected emotional/ locity DC 2012! We hope you had a positive experience physical choreography with stun- and we look forward to working with you in the future ning and engaging performers” – seasons! - Samantha Pollack, Direcotr of Programming Artists’ Bloc (Washington Performing Arts Society) Page 3
WASHINGTON, DC, October 10, 20111—Meet Shawn Short - the Don Quixote of dance. A classically Trained ballet dancer, Short is the founder of Dissonance Dance Theatre in DC, celebrating its fifth year this mo nth. Shawn is a chivalric knight. Like Don Quixote, knight-errant in Cervantes’ novel, some may say that Shawn’s name is synonymous with battling windmills. Like those who still see Cervantes’ hero that way, they would be wrong. Shawn Short battles for dance and he does so against all odds. To be a dancer in a company, the odds go like this: At a Manhattan audition, the choreographer told Shawn, “There are 350 women and 90 males here. We need one dancer.”He danced, camped out that night on the floor of someone’s flat and then came home to try the traditional route of office work at The Administrative Offices of the Judiciary Court in DC. But the dancer couldn’t hide. The knight in all of us calls out. We, like Shawn, are after the Dulcinea of our dreams, the love of our life. Let us not stop until we find her. Shawn’s story rings of Quixote’s trials and the journey into madness that is anything but. In the men’s room one day at the sensible office job, Shawn leaned to check his “line,” the dancer’s angle, the arabesque, that 90-degree angle we see on stage. “Could I still do it?” he asked himself. With leg outstretched in front of the mirrors above a sink, he moved into the more difficult arabesque penchée. “I raised my leg first to 90 degrees, then leaned deeper to 140 and tried for 180.” Someone saw him, made a call to report that Shawn was doing something to mutilate himself in the men’s room. Like Quixote, he was thought to be mad. Like Quixote, Shawn knew he was undergoing the torture of the strappado, bondage where the hands and feet are tied. Like Quixote in that literal state, Shawn stretched to be released.Called to Human Resources, he performed the arabesque penchée. The good soul who saw the feat that day said, “Shawn, you’re a dancer. You can’t do that here.” She covered for him so he could go to university, study dance during the day, return to the office in late afternoon, do all his work and stretch for love. That’s how I choreograph, how I direct.” He’s a founding teacher for Washington Ballet’s outreach campus at THEARC in Southeast DC, the ballet school’s outreach site. Shawn is the only teacher from THEARC who has taught at both sites. He’s now a dance professor at Catholic University. Dissonance Dance Theatre premiered at Capital Fringe in 2007. Shawn placed an ad for a composer on Craig’s List for Human, his first choreography. Michael Mollo, a soundtrack composer in Los Angeles answered the ad, agreed to compose for free. With no money and big dreams, Shawn was launched. He rehearses his dancers nights and weekends. But he still goes into battle for the disadvantaged. Kee Juan Hun, the Washington Ballet School’s director, advised, “You need to teach with one eye open and one eye closed. You can’t save them all.” Page 4
The chivalric Shawn still tries. Afternoons at Flashpoint in DC’s Penn Quarter, he teaches young dancers who can’t pay to learn. They learn and dance with his company before formal rehearsal begins. He raises the bar and all stretch.He raised the curtain for me on rehearsal: Caitlin Granville danced her solo for Shawn’s new ballet Caught. She spun, she leapt, she wept. She jumped into Shawn’s arms when the music stopped and he lifted her in the embrace of the chivalric knight. Don Quixote tells Dulcinea he is the knight-errant whom love has wholly disabled. Shawn Short teaches that to dream the impossible dream is not madness. It is love. It is the all too human. Dissonance Dance Theatre will perform in DC on November 20 at The Greenberg Theatre, American University and March 3 and 4 at The Atlas Theatre, 1333 H Street, NE. Mary L. Tabor is the author of the memoir: (Re)Making Love: a sex after sixty story and The Woman Who Never Cooked. She says, “I ferret out the detail, love the footnote, am never bored and believe it all leads to story. Best advice I ever got? ‘Only connect …’ E.M. Forster” Find out more at http://maryltabor.com Read more: http://communities.washingtontimes.com/neighborhood/not-what-you-expect-mary-l-tabor/2011/ oct/10/shaw-short-founder-choreographer-dissonance-dance-/#ixzz2JYCVBstu Follow us: @wtcommunities on Twitter That’s how he earned his B.F.A. in dance at Howard University. But first he auditioned for a week to get in. He danced for Virginia Johnson, director of the Dance Theatre of Harlem, Kevin Jeff, who choreographed for Alvin Ailey, Walter Knicks, a Katherine Dunham dancer and master teacher. Shawn is the first in his family to receive a college degree. Once he graduated he wanted to get on his Rozinante, Quixote’s horse, and go into battle. He wanted his own company. He wanted to choreograph. Advice he got: Michael Malone, DC native and choreographer, friends with George Faison, choreographer of The Wiz, told him “Having a company is like having a child who is disabled. You have to give more care when you don’t think you can give more. If you want a company, just know, It’s your life, 24/7.” He knew what he wanted but also knew he didn’t know enough. Like all great teachers, he taught to learn. He says, “Thank God for my teaching years. I understand the non-verbals that go on in a human being.
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Dance artists from the top (left to right ): 1, Rachel Bade, 2. Amy Scaringe, 3. Kelly Trevlyn, 4. Erin Allegretti, 5. Dominique Atwood, 6. Ashley Blondell, 7. Kelsey Hutchinson, 8. Lara Michelle Friedman, 9. Damon Foster, 10. Taurean Barber, 11. Reginald “Reggie” Starling, 12. Moyston “Randy” Henry, 13. Daniel Artis, 14. Thomas Moore Jr.
Artists Page 6
Rachel Bade, Company Member Bade joined Dissonance Dance Theatre in 2011. Agile, quick, and a technician of the classic ballet lexicon, Rachael landed her first solo role in 2012 in Ryan Tuerk's Scars On My Memory. In 2013, she was originally cast Short’s works of Amazon, Burn, Gestures, and Four Divided By Four. She is a Dayton, Ohio-native trained under Barbara Pontecorvo for 10 years and performed lead roles with the Gem City Ballet, including solos in George Balanchine’s Concerto Barocco, Serenade, Who Cares? and Valse-Fantaisie, and full-length ballets such as Swan Lake, Coppelia, Paquita and A Midsummer Night’s Dream. Rachael studied at Pacific Northwest Ballet, American Ballet Theatre, Ballet Austin and Cincinnati Ballet summer programs. She trained with National Ballet of Cuba’s Laura Alonzo, Ballet Chicago’s Dan Duell and widely praised choreographer Jon Rodriguez. With an undergraduate degree in journalism and political science, Rachael covers Congress for Congressional Quarterly. Amy Scaringe, Company Member Scaringe joined Dissonance Dance Theatre as an apprentice in 2009, and a company member in 2010. She is one of the original female dancers in Short's work Flirt, and original female dancer for his work Pulse in 2011. In 2013, she performed in Short’s Burn, Gestures, Four Divided By Four, and Ryan Tuerk’s Scars On My Memory. Amy graduated from Towson University in 2009 with a BFA in dance performance. While there she studied under Linda-Denise Fisher-Harrell, Catherine Horta-Hayden, Jaye Knutson, Susan Mann, Dana Martin, and Vincent Thomas. At Towson, she was also able to work with, and perform works by Chris Elam from Misnomer Dance Theatre, and Donald Shorter from Bill T Jones Dance Company. This past year, Amy has had the opportunity to perform throughout the DC metro area, as well as in New York. Amy is a former apprentice with Dissonance Dance Theatre. She is also a guest artist with Jane Franklin Dance Company, and Misako Ballet Company. Kelly Trevlyn, Company Member Kelly joined Dissonance Dance Theatre in 2013. She is a recent BA Dance graduate from Point Park University. While at Point Park, Kelly has had the opportunity to perform works by Christopher Huggins, Sidra Bell, Garfield Lemonius, Ron Tassone, and Patrick Franz. She has taught for various studios along the way including several in the greater Philadelphia area. Erin Allegretti, Apprentice Erin joined Dissonance Dance Theatre in 2012 as a Company II, and promoted to Apprecntice in 2013. Last season, she performed in Shawn Short’s works: Burn, Gestures, Amazon, with a feature solo in Four Divided by Four and in the duet On The Road. From St. Charles, Illinois, Erin trained with the Underground Arts Connection/Fox Ballet Company where she completed her studies under the direction of Artistic Director Terry Fox. She has performed in several productions with Fox Ballet Company, the Ajkun Ballet Theatre, Rocky Mountain Ballet
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Company, Inaside – Dance For the Cause, Le Corsaire with the American Ballet Theatre, and The Nutcracker with the Joffrey Ballet. Erin has also studied with Benoit-Swan Pouffer, Troy Powell, Myrna Kamara, Guy de Brock, and Ming Davis, as well as with Interlochen, Joffrey Ballet, Tanzolymp Ballet International in Germany, and Dance in Motion in Italy. Erin studied acting at Management by Morgan under the direction of Lisa Morgan. Dominique Atwood, Apprentice Dominique is in her second season as an apprentice at Dissonance Dance Theatre. In 2013 she was featured in Shawn Short’s duet On the Road, along with ensemble works: Burn, Amazon, Breeze and Four Divided by Four. She also performed in Ryan Tuerk’s Scars On My Memory. Dominique is from Dayton, Ohio where she trained at Dayton Contemporary Dance Company’s Jeraldyne’s School of Dance under the tutelage of Dawn Carter, Debbie Blunden-Diggs, Crystal Perkins, Alice Craig, Queala Clancy, and Kevin Ward. Dominique continued her dance studies at Howard University, receiving her BA degree in Political Science with a focus in pre-law. She is the co-founder of the first Contemporary Dance Company on Howard University’s campus, I.AM.WE; working with notable artist Marvin Sapp, Shirley Caesar, Marsha Ambrosius, J.Cole, Raheem Davaughn and Terrence Lee Jones in A Mask For All People. Dominique is a devout Christian and gives God all the praise for her successes. Ashley Blondell, Apprentice Ashley is in first season with Dissonance Dance Theatre as an apprentice. In 2010, she earned her BFA in Jazz Performance from The University of the Arts, where she studied with Molly Missgalla, Wayne St. David, Roni Koresh, Scott Jovovich, Ginger Cox, Zane Booker, Micheal Sheridan, and Christine Cox. Ashley graduated from the Baltimore School for the Arts (2006) and has been a dancer/choreographer for the Ms. Maryland Pageant. Kelsey Hutchison, Apprentice Kelsey joined Dissonance Dance Theatre in 2013 as an apprentice. She recently graduated from Muhlenberg College with a Bachelors of Arts Degree in Dance and English. While at Muhlenberg, Kelsey studied ballet and modern with Karen Dearborn, Heidi Cruz-Austin, Marisa Cerveris, Helanius J. Wilkins, Charles O. Anderson, and David Parsons and Company. She has also performed with The Pittsburgh Ballet Theatre and The Moscow Ballet Company. Lara Michelle Friedman, Trainee Lara joined Dissonance Dance Theatre in 2013 as a trainee. She recently graduated from Towson University with her BFA in Dance Performance with a K-12 dance certification. While at Towson, Lara performed in works by Linda-Denise Fisher-Harrell, Runqiao Du, and Troy Powell. She has trained at the Amy Marshall Summer Intensive, Parsons Dance Summer Intensive and Master Choreographer Workhop as well as with Deep Vision Dance Company and Carolyn Dorfman Dance Company. In Spring 2013, Lara received the Outstanding Achievement in Dance Education Award, Deparment of Dance.
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Damon Foster, Rehearsal Manager/Company Member Damon joined the company in January 2013. In his first season, he has performed in 10 works, including Dissonance’s world premiere of Asadata Dafora’s solo classic The Ostrich Dance and Shawn Short’s My Intimate Friend. Damon was originally cast Short’s premiere duets, First Time and Zero. Along with Torens Johnson’s all-male ensemble work, Lockdown. Raised in Arlington, TX, Damon studied dance at the University of Arkansas-Fayetteville where he majored in journalism with dance as a minor. His dance studies continued at University of Texas-Arlington. In Dallas, Foster performed as a principle artist with Mahogany Dance Theatre of Texas, directed by Vann J. Gilbert, and with HappyNia Dance Theatre, directed by Ailey veteran Dereque Whiturs. In addition, Damon was also a two year Friends of Tyme Dancer (’11, ’12) for the Mary Kay Cosmetics Seminar. He continues to share his passion for movement, music, and literacy, teaching in local afterschool programs and studios. He is a member of Phi Beta Sigma Fraternity, Inc. Damon is thankful for the continuous encouragement and support from his family, fellow artists, and friends. Taurean Barber, Company Member Taurean joined Dissonance Dance Theatre in 2012 as an apprentice, and has been newly promoted to company member. He was featured in Shawn Short’s 2013 duet world premiere of Zero and cast in Ryan Tuerk’s Scars On My Memory and Torens Johnson’s Lockdown. Taurean began his performance career in gymnastics and cheerleading. A native of Jackson, Georgia, he trained at the Robison School of Dance, and later on at the Alvin Ailey School of Dance, Broadway Dance Center, and the Washington Ballet. While in high school, Taurean toured along the East Coast as a featured jazz dancer in a performing arts troupe and later was awarded the opportunity to perform in London, England; his musical theater debut in CATS and has proven to be a talented dancer, singer and actor in shows such as Dreamgirls, Chicago, and The Best Little Whorehouse in Texas. Reginald “Reggie” Starling, Jr., Company Member Starling joined Dissonance Dance Theatre in 2013. Reginald began his dance training at Duke Ellington School of the Arts in Washington, DC under the direction of Charles Augins. Reginald attended a variety of institutions on scholarship including The Washington Ballet, Dance Institute of Washington and Joffrey School of Ballet. He is the recipient of the 2008 Cappies award: Best Male dance for his soloist role as the “Eye of the Tornado” featured in The Wiz. In 2009 Reginald performed with the Washington Redskins Cheerleaders for their annual Winter Celebration. He has performed works by Christopher Huggins, Andre Fuentes, Julie Bour, Charles Augins, Katherine Smith, Treanna Alexander, Nicki- Mac Sutton, Ralph Glenmore, Eric Bean Jr, Stephanie Jojokian and Douglas Becker. He has performed with Eleone Dance Theater and DanceSpora located in Philadelphia. In 2013 Reginald performed at The Kennedy Center for IABD as a soloist performing a work by Iquail Johnson. In 2013 Reginald received his Bacherlors of Fine Arts with a focus in Ballet Performance from the University of the Arts.
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Moyston “Randy” Henry, Apprentice Moyston Henry is the Washington, DC area. Henry began his dance training at Happy Feet Dance Studio in Rockville, Maryland. He has studied dance with Pat Thomas, Kim Bears-Bailey, Assane Konte, Tarwah Merchant, Torens Johnson, Sandra Atkinson, Miya Hisaka, Ryan Tuerk, Maurice Johnson and Shawn Short. In addition, Randy has performed with The Finest Youth performance troupe. Henry has performed nationally and internationally sharing his love of dance and theatre. In 2011, Randy accepted his current apprenticeship with Dissonance Dance Theatre, a contemporary ballet company, in Washington, DC. Henry has landed original cast roles in Ryan Tuerk’s Scars On My Memory, and Shawn Short’s Burn, Four Divided by Four, Reflect, First Time, Zero, Breeze, and Turbulence; soloist in Torens Johnson’s male ensemble work Lockdown. Moyston holds an AA degree from Montgomery Community College and wishes to finish his degree in communication. Thomas Moore, Jr., Trainee Thomas Moore Jr. joined Dissonance Dance Theatre as a trainee in 2013. A senior at Towson University, Thomas began his dance training at 19 under the instruction of Catherine Horta- Hayden, Linda-Denise Fisher-Harrell, Vincent Thomas, Runqiao Du and Nicole Martinell. He has trained at the American Dance Festival 2011 and worked with Jeffrey Bullock, Michelle Gibson and Helen Pickett of William Forsythe Ballet and Boston Ballet. He received a scholarship to train again for summer 2013. An aspiring choreographer, Thomas’s collaborative works Praedum Lux and Unforgettable Seeds were adjudicated at the American College Dance Festival. Thomas has danced with Baltimore-based companies VTDance Company and Campbell Dance Experience and has performed with the Towson University Dance Company for two consecutive seasons. Graduating Fall 2013, Thomas will have a BFA in Dance Performance and BA in Mass Communications/ Journalism. Daniel Artis, Trainee Hailing from the Washington D.C. area, Daniels joined Dissonance Dance Theatre in 2013. A graduate of the Ngoma Center for Dance’s Dawn: A Black Men’s Initiative Program in 2012, Daniel has received scholarship to Dance Theatre of Harlem’s summer Intensive in 2012 and 2013. He has trained with faculty from CityDance Center at Strathmore and Dance Institute of Washington. He is a 2013 graduate of Fairmont Heights High School in Prince George’s County, MD.
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Production Team Shawn Short, Founder/Director/Resident Choreographer/ Ballet Master Shawn has studied with nationally and internationally acclaimed artists including faculty and dancers from Alvin Ailey American Dance Center, Lines Ballet, Washington Ballet, Dance Theatre of Harlem, Dance Institute of Washington, Dance Alloy, Philadanco, Towson University, Baltimore and Duke Ellington School of Performing Arts. As a student of ballet pedagogy, Shawn studied with John White, Margarita De Saa and the Washington School of Ballet Director Kee Juan Han. Shawn holds a BFA in Musical Theatre with a minor in Theatre Management from Howard University and a MFA in Dance at University Of Wisconsin-Milwaukee. Presently, he is Professor of Ballet at Catholic University of America. Shawn his a former fiscally sponsored artist through the New York Foundation for the Arts. In addition. he is a Pointe Magazine’s Video of the Month Editors’ Choice award recipient for his contemporary ballet work “Caught” in 2013. Shawn has choreographed for The Dance Institute of Washington and The Washington Ballet School of Ballet at THEARC. His has presented his works at the Capital Fringe Festival, Greater Washington Urban League National Conference, Southeastern University, Artists’ Bloc 12X6 Series, Harke Theatre, Jack Guidone Theatre Space, Lang Theatre, Atlas Theatre Complex Lab II Theatre, THEARC Theatre, Joe’s Movement Emporium, DC Parks and Recreation, Sidney Harman Hall, Kennedy Center for the Performing Arts, PBS Broadcasting, VelocityDC, and Brooklyn Arts Exchange. Shawn was the Resident Choreographer for the Kelsey Collie Children’s Theatre for six years. In education, Shawn has developed and implemented dance curiculum and programs for: Catholic University of America’s Musical Theatre program, Adventure Theatre-MTS, Imagination Stage Dance Division, Kelsey Collie Children’s Theatre Experience, PG County Schools, Dance Institute of Washington, Washington Ballet @ THEARC. His performance credits include work with K2 Dance, Adrian Bolton Dance, El Tearto de Danza Contemporeanea El Salvador, and Bolton/Smith. He has also served as a guest artist with Dance Alloy in Pennsylvania. He has been commissioned by Catholic University of America’s Benjamin T. Rome School of Music to choreograph “Mother’s Blood”(2008), VF Dance Theater for their Kennedy Center of the Performing Arts to choreograph “ Genotype Called Love” for their Terrace Theatre production of “Futurology” (2012).
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Chris Holland, Lighting Designer/Technical Director Originally from Pittsburgh, PA, moved to DC two years ago, and is very excited to be working with Dissonance Dance Theatre. He currently is the lighting designer for Matter of Reaction Movement Project in Chicago, IL, and has worked locally with Taffety Punk Theatre, Journeymen Theatre Ensemble, and Life Rhythm Move Project. Chris has also worked with the Houston Ballet, Paragon Music Theatre, Purdue Repertory Dance Company, Artists Collaborative Theatre, Bluegrass Youth Ballet, School for the Creative and Performing Arts, and toured with the Kentucky Ballet Theatre. Chris has earned his Bachelor’s degree in Theatre Design & Technology from the University of Kentucky and his MFA from Purdue University.
Prentice Whitlow , Guest Choreographer Received subsequent training at the Richmond Ballet before graduating in 2009 from George Mason University with a BFA in Dance, coupled with the distinguished Excellence in Performance Award. He has performed with The Mark Morris Dance Group, Alwin Nikolais Dance Theater and Ririe-Woodbury Dance Company where he performed and originated roles in the works of Charlotte Boye-Christensen, Karole Armitage, John Jasperse and Carolyn Carlson. He has also performed with Dissonance Dance Theater, Karen Reedy Dance and Dance Iquail, as well as internationally with Signe Fabricius. He is excited and grateful to perform with EMD for a third season.
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Educational Programming MASTER CLASSES, DANCE THEATRE, SPECIALTIY WORKSHOPS Dissonance Dance Theatre’s educational classes, workshops and lecture-demonstrations are designed mostly for participants ages 18-40. We provide: 1) A quality artistic experience to share with their friends and/or their children. 2) A high-quality performance experience that educates audiences about the art form in an engaging and enjoyable way. Educational Packages Include:
Master Class
Master classes run 90 minutes and can be tailored to any level of classically trained contemporary dancer – from beginner to professional. Master classes are led by Artistic Director Shawn Short or a company member. To ensure a professional level of instruction, the maximum number of participating students per master class is 25. Level: Varies/Maximum 25 participants
Dance Theatre
Dissonance believes in the marriage between theatre and dance. In today’s entertainment industry, artists who possess an understanding of their Internal Monologue can become theatrical catalysts in any production, and are in high demand. Choreographer and Artistic Director Shawn Short will lead dancers through a 90-minute class that combines acting techniques and contemporary choreography. Level: Intermediate/ Maximum 20 participants
Specialty Workshops (Please Inquire)
Specialty workshops are conducted through our Nuts & Bolts Series. Without the intricate details delivered by nuts & bolts, no building could maintain its structure. Dissonance presents dance essential workshops designed to improve today’s contemporary dance artist—from the novice to the professional. Our class offerings include, but are not limited to: Dance Conditioning Basic 101, Turns and Leaps, Men DANCE! Level: Varies/ Maximum 20 participants Page 13
TECHNICAL RIDER OVERVIEW
FOR ENSEMBLE PRESENTATIONS SUBJECT TO CHANGE (as of May 1, 2013) The following are space, technical and other production requirements for an engagement with Dissonance Dance Theatre (Dissonance). If production requirements are incompatible with the physical limitations of your venue, workable solutions may be possible by communicating well in advance of the performance. Full details are provided in a separate Tech Rider available upon request. The theatre(s) and other spaces provided by the Presenter for all performance and other activities during the engagement must conform to commonly accepted industry standards of safe and sanitary conditions. Personnel needed for the engagement will be determined by the nature of the theatre or other facility, Dissonance’s schedule, repertory for engagement, and commitments made by the Presenter. Company Availability Dissonance is available for performances during our production calendar, mid-August through May of the following year. Rehearsal Time Requirements The company needs a four-hour spacing rehearsal on stage in the performance space. In addition, the company needs a two-hour pre-performance warm-up on stage before each performance. For the rehearsals, the dance floor must be ready in the condition described below( “Stage Requirements) . Additional rehearsal and lighting time is necessary for performances in proscenium theatres. For details, refer to the separate tech rider and lighting plot available upon request. Facility Availability The theatre and stage (including rehearsal studio, off stage areas and dressing rooms) must be clear of other equipment, and made available for the sole use of Dissonance from four (4) hours prior the scheduled in-theatre service until two (2) hours after the service. All necessary house and/or rental equipment shall be installed and in working order before the start of load-in. “Pre-hang” prior to company arrival is ideal. Stage Requirements A proscenium stage is preferred, and stage surfaces meet one of the following options: • a sprung dance floor with marley covering that is smooth and free from buckles or ridges, and be a minimum of twenty-five (25) feet wide by twenty-five (25) feet deep (dimensions apply to both performances and classes) • a smooth, finished and unbroken wood surface, free of cracks, breaks, slivers, nails, and screws or other impediments that may disrupt safe work of dancers Under no circumstances will Dissonance perform on a floor laid directly over concrete, stone or tile.
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Temperature and Climate Control Air conditioned or heated areas must be kept at a constant temperature of 72 degrees Fahrenheit. Due to the increased risk of injury, dancers may not perform in spaces cooler than 72 degrees Fahrenheit. Dressing Rooms and Restrooms Dissonance requires at least two (2) dressing rooms for our exclusive use. These rooms must accommodate at least 12 dancers. They must be clean, well-heated/cooled (pending the climate) and ventilated, well lighted, equipped with mirrors, dressing tables, chairs and clothing racks. Restroom facilities must be easily accessible, clean, and sanitary with hot and cold running water, sinks, toilets, and separate shower facilities for men and women. Technical Rehearsal Scheduled technical rehearsal timeframe(s) is/are required prior to performances. Depending on the space, the length of time will vary. Full details are provided in a separate Tech Rider available upon request. Sound Dissonance performs to recorded music. Audio systems must be able to play CDs and I-Pods and operate under separate controls. Speakers projecting into front-of-house and monitors projecting onto the stage must have clear and audible sound. If the size of the venue requires greater amplification, suitable sound equipment along with technical support must be provided by the Presenter. Lighting The lighting equipment along with a technician must be provided by the Presenter. When performing in a hall or studio, the company uses white wash light. When performing in a proscenium or black box theatre, the company requires two (2) top washes, two (2) front washes, two (2) high side washes from each side, four (4) dance booms on each side of the stage, and six (6) focusable specials. Real plots are provided by technicians after the final tech rehearsal. Light board and operator space must be located where the operator will have an unobstructed view of the stage. Staff Presenter is responsible for providing the following staff: • One (1W) or two (2) front-of-house staff • Two (2) or three (3) ticketing agents • Four (4) adequate, able-bodied, and sober stagehands for load in, focus, tech, and load out
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Dissonance Dance Theatre’s Watch Me Bounce Production Packet
Photo Credits: Shawn Short Moyston Henry Jeremiah Jones Sergey Apasov Ngoma Center for Dance is a 501(c)3 and parent organization to Dissonance Dance Theatre