The Dancers Connect program is hosting a final Dancers Connect KIDS CREATE performance on Sunday, April 13 at the Studio Theater located in the Health and Human Performance (HHP) Building at 1408 Walker Avenue Greensboro, NC 27402. Shows at 2:00 pm and 4:00 pm – Tickets are $7 per person.
UNCG Dancers Connect a free creative dance class for students age 7 to 18. The Dancers Connect dance classes focus on creativity, self-expression, and imagination, and promote critical thinking and creative problem solving skills and celebrate dance as a unique medium for expression and communication of ideas. This spring 75 young dance students have had the opportunity to learn from master dance educators be mentored by a dynamic group of twelve undergraduate dance education students and to collaborate with other Guilford County elementary, middle and high school students.
The KIDS CREATE performance is $7 and open to the public and will be held at the University of North Carolina at Greensboro located at 1408 Walker Avenue, Greensboro.
The performance starts at 2:00pm and 4:00pm; tickets: $7.00
Tickets can be purchased from the dance department box office on the day of the show. Box office doors open at 12:00. Seating is limited.
For more information about the program email Dr. Mila Parrish – Dancers Connect Director firstname.lastname@example.org or call Jeff Aguiar – Administrative Associate Department of Dance (336.334.5570) or visit the Dancers Connect web page at https://vpa.uncg.edu/dancers-connect/
The School of Music, Theatre and Dance is pleased to welcome Ana Paula Höfling to the Department of Dance.
Ana Paula is an interdisciplinary scholar, dancer, and capoeirista. Her research bridges the disciplines of dance studies, Latin American studies, cultural studies, and critical tourism studies. She holds an MA in Dance and a PhD in Culture and Performance from the University of California at Los Angeles, an MFA in Dance from the University of Hawai`i, and a BA in Linguistics from the University of California at Berkeley. She is currently an Andrew W. Mellon Postdoctoral Fellow in Latin American Studies at the Center for the Americas at Wesleyan University (2012-2014). She has taught at Wesleyan University, the University of Wyoming, and at the Academia Superior de Artes de Bogotá in Colombia as a Fulbright scholar. Her book Staging Capoeira/Dancing Brazil (Wesleyan University Press, forthcoming), analyzes the role of capoeira and capoeiristas in the process of staging Brazilian “national culture” between the 1920s and the 1970s, focusing on issues of race, class, and authorship. Her new research interests include representations of mestiçagem in early twentieth-century ballet in Rio de Janeiro, and the choreographic production of Eros Volúsia, Mercedes Baptista, and Felicitas Barreto. She is thrilled to be joining the Dance faculty at UNCG as Assistant Professor in the Fall of 2014.
For over 50 years now, UNCG’s The North Carolina Theatre for Young People has been instrumental in facilitating theatrical productions and educational programming for the youth community statewide. As it is in many cases, such experiences often serve as an introduction to the theatre for local children with limited artistic exposure. Therefore, the productions are always highly entertaining, and handled with creative thoughtfulness. Currently, The Ugly Duckling is no exception to the program’s long lineage of performance achievements…[t]he modest cast of three, consisting of Rebecca Joan Woodrum as the young girl, and the two puppeteers, Sophie Larin and Liam Yates, all used the human body along with one-dimensional translucent cutouts projected onto a screen to propel the story without the use of any dialogue, only instrumental underscoring. The meticulous execution of the images aligning and interacting convincingly with one another, as well as with the silhouetted actress, is a testament to Campbell’s innovative eye for theatrical direction, and the diligence of her three cast members.
Excerpt from Brandon C. Jones‘s review (CVNC)
GREENSBORO, NC – Percussionist Eric Willie has joined the UNCG School of Music, Theatre and Dance as Director of Percussion Studies & Assistant Professor of Percussion. Described as a “true musical talent and professional” (Ivan Trevino, Composer), Eric Willie has a varied career as a solo performer, chamber musician, orchestral player, arranger, and teacher. He has performed in Carnegie Hall, at several Percussive Arts Society International Conventions, and on regional live broadcasts, such as Nashville’s NPR Station “Live in Studio C.”
Dr. Willie regularly performs with the Nief-Norf Project and the Eclectic Chamber
Players. He has performed at the Big Ears Music Festival, the Nashville Symphony’s OnStage Series, seven Percussive Arts Society International Conventions (PASIC), multiple Eastern Trombone Workshops, the Florida Electroacoustic Music Festival, the World Saxophone Congress, and the Music for All National Percussion Festival. As an orchestral musician, Dr. Willie has performed as a percussionist with the Nashville Symphony , Nashville Ballet Orchestra, Lexington Philharmonic, Murfreesboro Symphony, Bryan Symphony, and the Beloit/Janesville Symphony.
An avid promoter of new music for percussion, Dr. Willie recently commissioned and performed the world premiere of “Flow,” by Ivan Trevino at the 2013 Percussive Arts Society’s International Convention. Prior, Dr. Willie performed the world premiere of John Mackey’s “Drum Music” (2011), a concerto for solo percussion and wind ensemble. In addition, Eric has commissioned and/or premiered works by Christopher Adler, Doug Bristol, Greg Danner, Christopher Deane, Paul Lansky, Marc Mellits, Leroy Osmon, John Psathas, D.J. Sparr, Blake Tyson, Alejandro Viñao, Matt Walker, and James Wood.
Active within the Percussive Arts Society (PAS), Eric currently serves as Chair of the International Percussion Ensemble Committee. In addition, he has served as President and Vice-President for the Tennessee Chapter of PAS, and as a New Literature and Recordings Reviewer for Percussive Notes journal.
In addition to his talents as a classical percussionist, Dr. Willie is known for his marching percussion arranging and teaching experience. He has served as a Percussion Consultant with the Phantom Regiment Drum and Bugle Corps, and instructor and/or arranger for the Spirit, Southwind, Carolina Crown, and the Madison Scouts drum and bugle corps. The University of North Texas, University of Kentucky, and the Murray State University Drum Lines have performed his marching percussion arrangements. He has also instructed for the University of North Texas “A” Line, Music City Mystique, and as Faculty for the Music for All World Percussion Symposium.
As a clinician, Dr. Willie has appeared at the Midwest Band and Orchestra Clinic in Chicago, IL, several “Days of Percussion,” as well as several state music educators
conventions throughout the midwest and southeastern United States. His educational articles have appeared in The Instrumentalist and Percussive Notes, and he has
contributed educational resources to Innovative Percussion, Inc., Sabian Cymbals, Evans Drumheads, and Black Swamp Percussion. His music has been published by Innovative Percussion and TapSpace publications.
Prior to his appointment at UNCG, Dr. Willie served for nine years as Director of Percussion Studies at Tennessee Tech University (TTU) in Cookeville, TN. In this time, his ensembles performed at the Percussive Arts Society’s International Convention, the National Association for Future Music Educators In-Service Conference, regional & community events, and at several Tennessee days of percussion. His percussion students were named winners in the American Protégé International Concerto Competition; multiple PASIC Solo Competitions; the Nashville Philharmonic Orchestra Competition; the TTU Derryberry Concerto Competition; as well as the Tennessee PAS Soloist Competition. On campus, the TTU Percussion Ensemble was recognized as a leading student organization, and a TTU percussionist was named the TTU Department of Music Outstanding Music Major for four consecutive years.
Eric holds the Doctor of Musical Arts degree from the University of North Texas, a Master of Music from the University of Kentucky, and a Bachelor of Science in Music Education from Austin Peay State University. Eric and his wife, Rebecca (a violinist with the Nashville Symphony), will be moving to Greensboro, NC prior to the start of the fall semester with their son and daughter.
They’ve been called “an exceptionally refined young ensemble with a translucent sound” by The New Yorker, with playing of “such security, technical finish, interpretive unity and sheer gusto it sounded as if these young string players had somehow been performing these works together for a good 50 or 60 years.” (The Washington Post)
Don’t miss your opportunity to hear the Daedalus Quartet perform a free concert on Monday, April 7th at 7:30 PM at Christ United Methodist Church. (410 N. Holden Road)
Over the course of their thirteen years together, the Daedalus Quartet has established themselves as a leader among the new generation of string ensembles. They have received praise from praise from critics and listeners alike for the security, technical finish, interpretive unity, and sheer gusto of their performances.
Though steeped in the traditional literature of Haydn, Beethoven, and Mendelssohn, they have also won acclaim for their adventurous exploration of contemporary music, the Daedalus Quartet has performed works by notable composers such as Elliott Carter, George Perle, György Kurtág and György Ligeti.
On April 7, the Daedalus Quartet will present a program of challenging, modernist works from three centuries. The quartet will open the program with three of Henry Purcell’s elusive, introspective “Fantasias”. Presumably written for viol consorts by the young Purcell, these pieces defy the stereotypical whimsy and gaiety of Restoration England with their rhythmic and contrapuntal experimentation, interweaving melancholy fugal themes with quicker dance melodies and solemn chorales.
Joan Tower’s fifth quartet, “White Water,” serves as the centerpiece of the program. Written for the Daedalus Quartet in 2011, the piece develops from its spare but beautiful beginnings into a relentless, kinetic frenzy, employing swooping glissandi and other extended techniques to draw the audience on to the thrilling conclusion.
The program concludes with Beethoven’s most monumental and ground-breaking quartet, the Bb major Opus 130. The Daedalus Quartet will present the piece with its original finale, the Grand Fugue, a piece which Stravinsky later called “an absolutely contemporary piece of music that will be contemporary forever.” The scope and grandeur of this quartet, in which Beethoven swings wildly between moods of mystery, exuberance, satire, and, in the penultimate movement (the ethereal Cavatina), otherworldly beauty, set the stage for the “new music” that would emerge in the twentieth century.
This performance is sponsored by the UNCG School of Music, Theatre and Dance and is made possible through generous support from the Anglo-American Composers Performance Grants of the Christopher C. and Laura B. Tew Legacy Fund.