Undergraduate Dance Faculty

BA, Barnard College. MFA, Bennington College. Dancer and choreographer; participated in the development and performance of Twyla Tharp’s modern dance repertory; founded and directed the Sara Rudner Performance Ensemble. Recent choreographic projects include Dancing-on-View, one of a series of dance marathons, and Heartbeat, a fusion of technology and dance. Currently a member of Ersaloly Mameraem, a dancers’ consortium. Past collaborations have included Mikhail Baryshnikov, Dana Reitz, and Christopher Janney. Choreographer for theatre and opera productions at the Public Theater, the Salzburg Festival, the Santa Fe Opera, and the Paris Opera. Awards include a Bessie, a John Simon Guggenheim Memorial fellowship, a Dance Magazine award, and support from the National Endowment for the Arts and the New York State Council on the Arts. SLC, 1999–

BM, University of Massachusetts. Certified yoga union instructor and Kinetic Awareness instructor. Has taught at the New School, Fundação Calouste Gulbenkian; workshops at New York University, The Kitchen, hospitals, and various schools and studios in New York and Greece. Dancer, choreographer, and maker of puppet theatre. Work shown at St Ann’s Warehouse in 2005 and 2006. SLC, 2000–

Composer and multi-instrumentalist; recognition and funding from NEA, The Samuel S. Fels Fund, New York State Council on the Arts, Harkness Foundation, NYU Humanities Council, NYU Service/Learning Fund; commissions include choreographers Anna Sokolow, Steve Paxton, Viola Farber, Milton Myers; work presented nationally and internationally with the New Danish Dance Theatre, TanzFabrik Berlin, Amsterdam Theatreschool, Cyprus Festival, Teatro San Martin, The Alvin Ailey School, Philadanco, Player’s Project, Dallas Black Theatre, Jacob’s Pillow, DTW, and others. Former accompanist and teacher of music for dancers at The Juilliard School, Marymount Manhattan College, José Limón School, Martha Graham School, New York University; current faculty at The Alvin Ailey School and Steps on Broadway; music director for the Young Dancemakers Company. SLC, 2003–

MFA, Sarah Lawrence College. Choreographer, director, performer, and teacher. Works in opera, theatre, and university settings where her love of history and dance informs her creative and teaching practices. Member of the New York Baroque Dance Company and has performed with the troupe across the United States and Europe, most notably at the Drottningholm Palace Theatre, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theatre, the Guggenheim Museum, and Potsdam Sanssouci. Director of Touchstone, a project of the New York Business Development Corporation, which brings innovative programming to historical sites across New York. As a solo performer, she has collaborated with many early music groups, including The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, and the New York Consort of Viols. Since 2000, she has appeared as a guest artist and choreographer with the Boston Early Music Festival. Her choreography has been presented at the historic Federal Hall, The Metropolitan Museum of Art, The Public Theatre, and the Philipszaal in the Hague. Currently teaches ballet at Hofstra University. SLC, 2014–

BA, Sarah Lawrence College. Designed lighting for Broadway, Off Broadway, regional theatre, dance, and opera in the United States and abroad. Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Stephen Sondheim’s Passion, and The Elephant Man. Her lighting of Amadeus won a Tony award. She has worked at the John F. Kennedy Center, the Guthrie, Arena Stage, and the Children’s Theatre of Minneapolis. Off Broadway, she lit Vagina Monologues and worked for Joseph Chaikin and Meredith Monk; for Robert Wilson, Einstein on the Beach and The Civil Wars, Part V. Her designs for dance include works by Martha Graham, Trisha Brown, Alvin Ailey, and Merce Cunningham. She has been awarded seven Tony nominations, the 1976 Lumen award, 1984 and 1986 Bessies, a 1980 Obie for Distinguished Lighting, and several Maharam/American Theatre Wing design awards. SLC, 2011–

BA summa cum laude, Barnard College. MA, Columbia University. PhD candidate, Bard Graduate Center, New York City. Member and principal performer with Mark Morris Dance Group (1996-2007), Martha Clarke’s Garden of Earthly Delights (Off Broadway, 2008-2009); member of Merce Cunningham’s Repertory Understudy Group under the direction of Chris Komar; dancer and performer for Richard Colton/Amy Spencer, Neta Pulvermacher, Kraig Patterson, Sally Hess, and Sara Rudner. Recent choreographic projects have included productions for Boston Baroque (Pigmalion and Les Indes Galantes), L’Opéra Français de New York (Faust), Bard SummerScape (Der Ferne Klang and Le Roi Malgré Lui), and collaborations with new music ensemble Contemporaneous. Teaching artist, Lincoln Center Institute; guest artist/instructor, Phillips Academy Andover, George Mason University, Richard Stockton College, North Carolina School of the Arts, Mount Holyoke, and Smith College. Visiting assistant professor in Dance, Language & Thinking and First-Year Seminar, Bard College. SLC, 2013–

Royal Academy of Dancing, London. Institute of Choreology, London. Imperial Society of Teachers of Dancing, Cecchetti Method. Previously on faculty of National Ballet School of Canada, Alvin Ailey School, New York University, and Finis Jhung Studio. Ballet mistress and teacher, Joffrey Ballet, New Orleans Ballet, and Chamber Ballet USA. Currently Feldenkrais practitioner at Feldenkrais Learning Center, New York City. SLC, 2000–

Newark Ballet Academy, formal dance training under Fred Danieli and Horton training under Joyce Trisler. Began dancing with the Garden State Ballet company at age 13 and with the Joyce Trisler Dance Company at age 14. Performed with the Sophie Maslow Dance Company, as well as her own company. Began teaching the Lester Horton technique in the 1960s and has devoted more than 20 years to documenting the Horton technique. An internationally-recognized master teacher of Horton technique, she has been invited to teach in more than a dozen countries. Co-authored The Dance Technique of Lester Horton and artistic director of three Horton videos documenting this important modern dance technique. Former director of the Ailey/Fordham BFA program at The Ailey School, where she has taught since 1973 and has been the chair of the Horton department since 1979. Conducts an annual Horton Pedagogy Workshop at The Ailey School each summer. SLC, 2014–

BFA, MFA, New York University, Tisch School of the Arts. Certified teacher of Alexander Technique; assistant to Irene Dowd; private movement education practice in New York City. Other teaching affiliations: Smith College, The Ailey School/Fordham University, Dance Ireland/IMDT, 92nd St. Y/Harkness Dance Center, SUNY Purchase (summer), Jacob’s Pillow. Performances in works by Patricia Hoffbauer and George Emilio Sanchez, Sara Rudner, Joyce S. Lim, David Gordon, Ann Carlson, Charles Moulton, Neo Labos, T.W.E.E.D., Tony Kushner, Paula Josa-Jones. Choreography presented by Dixon Place, The Field, PS 122, BACA Downtown (New York City); Big Range Dance Festival (Houston); Phantom Theater (Warren, Vermont); Proctor’s Theatre (Schenectady, 2008/09 Dangerous Music Commission). Grants: Meet the Composer, Lower Manhattan Cultural Council, Harkness Dance Center. SLC, 1999–

BA, Sarah Lawrence College. Performances in New York at Dance Theater Workshop, PS 122, La MaMa E.T.C., Danspace, The Kitchen, St. Ann’s Warehouse, and at alternative presenters throughout the United States and the United Kingdom. Recipient of a Village Voice OBIE Award in 1990 for solo adaptation of Nathanael West’s A Cool Million and the 2000 New York Dance and Performance (“Bessie”) Award for Everyday Uses for Sight, Nos. 3 & 7; recipient of fellowships from the National Endowment for the Arts, the New Hampshire State Council on the Arts, and a 2002-2003 Guggenheim fellowship and of grants from Creative Capital, the Rockefeller Foundation, the New York State Council on the Arts, the Mary Cary Flagler Charitable Trust, and the New England Foundation for the Arts. Recipient of the Alpert Award in the Arts for Theatre, 2004. Former teacher at Bowdoin, Bennington, Barnard, and Princeton. SLC, 1997–

BA, Kenyon College. MFA, University of Washington. Dancer, choreographer, teacher, filmmaker, and artistic director of Peter Kyle Dance; choreographic commissions across the United States and internationally in Scotland, Norway, Germany, Cyprus, and China. Peter Kyle Dance has performed in New York City at One Arm Red, Abrons Arts Center, Chez Bushwick, Joyce SoHo, Symphony Space, DNA, 3LD, and the 92nd Street Y, among other venues. Previously a soloist with Nikolais and Murray Louis Dance and performed in the companies of Mark Morris, Erick Hawkins, Gina Gibney, Laura Glenn, and P3/east, among others. Also teaches at Marymount Manhattan College, HC Studio, and Nikolais/Louis Summer Dance Intensive and conducts residencies and workshops internationally. His Tiny Dance Film Series has been installed internationally since 2006. SLC, 2009–

BA, Empire State College (SUNY). Dancer with Doug Varone and Dancers, Pepatian, Elisa Monte Dance Company, Ballet Hispanico, and independent choreographers such as Sara Rudner and Joyce S. Lim. Recipient of the Outstanding Student Artist Award from the University of the Philippines Presidents’ Committee on Culture and the Arts. Taught at Alvin Ailey School; guest faculty member, 92nd Street Y, Marymount Manhattan College, Metropolitan Opera Ballet, New York University Tisch School of the Arts, Rutgers University Mason Gross School of the Performing Arts. Participant/teacher, 2004 Bates Festival-Young Dancers Workshop; solo works: Free Range Arts, Dixon Place, Brooklyn Arts Exchange, and Danspace Project/St. Mark’s Church. SLC, 2002–

BFA, University of California-Santa Barbara. New York State licensed massage therapist. Trained in a variety of touch techniques including craniosacral therapy and visceral manipulation. Pilates trainer/movement educator in private practice in New York City and on staff of Bodywork in Westport, CT. Apprentice of Irene Dowd, assisting in anatomy, visual assessment, and dancers’ clinic classes. Adjunct professor of anatomy and kinesiology at Manhattanville College. Taught movement classes at Mary Anthony Dance Studio, New York City, and Dowd’s “Spirals” at Movement Research. Performed with Beverly Blossom, Mimi Garrard, Mary Anthony, Bertram Rose, and Sophie Maslow. SLC, 2007–

Born in Manila, Roxas became the youngest member of Ballet Philippines. Recipient of scholarships to Joffrey, Graham, and The Ailey School. Danced with the Metropolitan Opera Ballet, Ohad Naharin, and Joyce Trisler Dance Company before joining Alvin Ailey American Dance Theater, where she was a principal dancer from 1984-1997 and the first Filipina to dance with that company; described as “a cool, still, lyrical center of the Ailey storm” by The New York Times. Worked with significant choreographers, including Alvin Ailey, Katherine Dunham, Jerome Robbins, Talley Beatty, Lar Lubavitch, John Butler, Ulysses Dove, and Judith Jamison. Performed in the Emmy Award-winning PBS special, Two by Dove, and Judith Jamison’s A Hymn for Alvin Ailey, among others; featured in a 1997 Dance Magazine cover article and named by Avenue Magazine as one of the 500 most influential Asian-Americans. Performed on Broadway as Eliza in The King and I, returned to concert dancing, and made several guest appearances in the United States and abroad, as well as at the Alvin Ailey American Dance Theater. Worked with Anna Deveare Smith at the Graduate School of New York University and was Movement Coordinator for her last show, Let Me Down Easy; choreographed in regional theatres and Off Broadway. Taught at Tisch School of the Arts through CAP21 and was a guest faculty member at Harvard University in 2010. Involved on an ongoing basis in restaging ballets of Alvin Ailey works and is an integral part of the Ailey legacy. At the Ailey School, as part of the faculty, she has taught the Actor’s Studio Class and regularly teaches the Horton Technique. SLC, 2014–

BFA, Temple University. MFA, Sarah Lawrence College. Dancer, educator, and performer. Honed her talent as a member of Moving With the Spirit, her parent’s African diasporic dance company for children; continued her formal training at Brooklyn’s Phillipa Schuyler School. Recipient of a full scholarship to the Charles Moore Dance Theatre under the direction of Ella Thompson Moore and apprenticeships with Ronald K. Brown/Evidence and Urban Bush Women. Work presented as a part of Harlem Stage’s E-Moves. Served as a teaching artist for various arts education programs, including Casita Maria Center for Arts Education and DreamYard. Currently a member of many performance nation/families, where she is immersed in her study and performance of Afro-Haitian, Afro-Cuban, Yoruba, and various West African and contemporary modern dance and music forms. They include Ase Dance Theatre Collective, Movement for the Urban Village, Charles Moore Dance Theatre, and The Ring Shout Music Ensemble. SLC, 2014–

BA, McGill University. Labanotator and reconstructor; writer, critic for Dance Magazine, Collier’s Encyclopedia, and Society of Dance History Scholars; oral historian for the Dance Collection at the New York Public Library for the Performing Arts and the School of American Ballet; consultant, New York State Council on the Arts Dance Program; guest faculty, Princeton University, 2003; former teacher at State University of New York-Purchase, Southern Methodist University, American Ballet Theatre School. SLC, 1975–

BS, Juilliard School. Danced regularly on television in Paris, France; performed in Brussels and at the Summer Olympics in Mexico City. Joined Alvin Ailey American Dance Theater in 1968 and toured with the company until she was personally selected by Alvin Ailey in 1974 as artistic director of Ailey II; she led that company for 38 years. Served as a panelist for the National Endowment for the Arts and the New York State Council on the Arts. Recipient of the Legacy Award as part of the 20th Annual IABD Festival, Syracuse University’s Women of Distinction Award, a Dance Magazine Award, and a “Bessie” Award. Received an honorary doctorate from the State University of New York-Oswego in 1997. Currently leads The Ailey Legacy Residency, a lecture, technique, and repertory program for college-level students that looks definitively into the history and creative heritage of Alvin Ailey. SLC, 2014–

BA, MA, Bennington College. Dancer, choreographer, and videographer based in New York City; producer/director of Weisacres, a meeting/performing space where anything can happen. Danced with the Louisville Ballet, tap-danced on the streets of San Francisco, and did a stint as a disco queen. Documented the downtown (New York City) performance scene over a 20-year period, creating a library of hundreds of hours of footage capturing the spirit on the City’s streets and stages. Developed a signature blend of live performance and video, with which she has toured both nationally and internationally; taught “When Technology and the Human Body Become Partners, Who Leads?” at universities in the United States and abroad; performs with Circus Amok. Recipient of a “Bessie” award in 1996 and a Guggenheim fellowship in 2002. SLC, 2013–

BA, Pennsylvania State University. MFA, Bennington College. Dancer and choreographer. Recipient of a “Bessie” for Sustained Achievement in Dancing with Doug Varone and Dancers; served as rehearsal director of the Trisha Brown Dance Company, overseeing Brown’s extensive repertory, the revival of seminal early works, and Brown's choreography for opera; recipient of a New York Foundation for the Arts fellowship in choreography; original work presented on the stage and in gallery settings, including New York Live Arts, Museum of Arts and Design, Nasher Museum, Center for Performance Research, Dance Theater Workshop, 92nd Street Y Harkness Dance Festival, and Movement Research at Judson Church. Teaches at venues as varied as the American Dance Festival, P.A.R.T.S. (BE), Movement Research, and the Experimental Theatre Wing, Tisch School of the Arts, New York University; participates as a choreographic and teaching mentor through the Bessie Schonberg Laboratory for Composition, CLASSCLASSCLASS, TTT, the Joyce Soho Editing Advisor Program, and Bennington College’s Fieldwork Term; previously on the faculty of New York University Tisch School of the Arts (1995-2000, 2009-2011) and guest faculty at Bennington College (2012, 2013). SLC, 2011–

BA, College of William and Mary. MFA, Sarah Lawrence College. Choreographer and dancer; choreography presented at Dance Theater Workshop, Brooklyn Museum of Art, and PS 122, among other venues, and archived in the Franklin Furnace Archive and the Walker Arts Center Mediatheque Archive. Recipient of awards from New York Foundation for the Arts and Djerassi Resident Artists Program and of commissions from Dance Theater Workshop, Danspace Project at St. Mark’s Church, and Summer Stage’s Dance Festival. Previously a guest teacher at Bennington College, 92nd Street Y, and Trisha Brown Studio. Published writings include “Technology and the Body,” an interview with Merce Cunningham in the Movement Research Journal Millennial Issue, which she guest edited. SLC, 2001–

BPh, Thomas Jefferson College, University of Michigan. MFA, Sarah Lawrence College. Composer, innovator in the fields of electronic music and music for theatre and dance, composer of traditional and experimental works for all media, specialist in improvisational techniques, and director of the Sarah Lawrence Improvisational Ensemble. Toured nationally with the United Stage theatre company and conceived of and introduced the use of electronic music for the productions. Freelance record producer and engineer; music published by Soundspell Productions. SLC, 1984–