Choreography Grants and Fellowships
Looking for funding for your choreography? Start your search here. If you know of additional opportunities for choreographers, please email information to Lauren Wingenroth at email@example.com.
The Pina Bausch Fellowship enables dancers and choreographers to extend their own repertoire of movements and to find new and individual means of expression – in order to spur the personal, artistic development. The grant holders will present the experiences made during this process and its results in a final public presentation in Wuppertal. Up to four fellowships are granted each year, and there is no age limit for applicants. The fellowship is promoted internationally. The application period starts on June 1st, 2016 and ends on September 15th, 2016. Just as in 2015, the grant holders are selected by a judging panel that is prominently staffed with Ana Laguna, Yorgos Loukos and Christophe Slagmuylder. Detailed informationen on fellowship.pinabausch.org Online-Application from June 1st, 2016
Women's Choreography Project
Avant Chamber Ballet presents the second year of Women's Choreography Project with an open application to emerging female choreographers. The performances will be May 7-8, 2016 at the Eisemann Center, Richardson, TX. You will receive a $1,500.00 commission that includes licensing of the work for ACB for 2 years.
Applications need to be postmarked and due no later than November 7, 2015. Late applications will not be accepted.
Please email required documents and information to: firstname.lastname@example.org
Performing Arts JAPAN Grant
The Japan Foundation - New York and Toronto
212-489-0299 (New York)/416-966-1600 (Toronto)
Arkansas Arts Council
Little Rock, AR
BalletX Choreographic Fellowship
Space Grant and Artist in Residency Programs
BAX/Brooklyn Arts Exchange
The Virginia B. Toulmin Fellowship for Women Choreographers
Center for Ballet and the Arts at NYU
New York, NY
Choo-San Goh Awards for Choreography
Choo-San Goh and H. Robert Magee Foundation
Long Beach, CA
Janek Schergen: 562.621.1757
The Joffrey’s Choreographers of Color Awards
The Joffrey Academy of Dance
Millennium Stage Local Dance Commissioning Project
CHIME: Choreographers in Mentorship Exchange
Margaret Jenkins Dance Lab
San Francisco, CA
New York Choreographic Institute Fellowship Initiative
New York City Ballet
New York, NY
NYFA Artists’ Fellowship
New York Foundation for the Arts
New York, NY
McKnight Artist Fellowship for Choreographers
Princess Grace Choreography Fellowship
Princess Grace Foundation-USA
New York, NY
Summer Stages Choreographers’ Project Fellowship
Summer Stages Dance at Concord Academy
Tanya Liedtke Fellowship
Tanya Liedtke Foundation
Contact: Shane Carroll, email@example.com
Vilcek Prize for Creative Promise in the Arts
The Vilcek Foundation
New York, NY
Vitacca Community Project Choreographic Fellowship
Vitacca Productions & Company
"So why did you quit?"
It's a question I've been asked hundreds of times since I stopped dancing over a decade ago. My answer has changed over the years as my own understanding of what lead me to walk away from greatest love of my life has become clearer.
"I had some injures," I would mutter nervously for the first few years. This seemed like the answer people understood most. Then it became, "I was just not very happy." Finally, as I passed into my 30s, I began telling the uncomfortable truth: "I quit dancing because of untreated depression."
Improvisation, in its many forms, can be a door to the body's imagination. One of the few festivals to delve into it is the Seattle Festival of Dance Improvisation, July 30 to Aug. 6. This year the intensives are led by risk-taking teacher/performers including Hilary Clark, Anya Cloud, Joe Goode, Angie Hauser, Andrew Marcus and Taisha Paggett. Some of them (it's an improv festival, so last-minute decisions are the name of the game) will participate in the full-day "Dance Innovators in Performance" event on Aug. 4. velocitydancecenter.org.
The best day of the year is finally upon us—National Dance Day is tomorrow!
In case you've been living under a rock and haven't celebrated NDD before, it's an annual event established by Nigel Lythgoe and the Dizzy Feet Foundation where dancers and non-dancers across the country are encouraged to get movin'.
To be honest, we never tire of watching non-dancers tackle a day in the life of the pros. From athletes to average Joes, these videos always give us a good laugh, and they remind the rest of the world that a whole lot of work goes into every dance performance you see. But often times, these dancer-for-a-day videos don't fully understand the importance of training (i.e., you can't just throw on a pair of pointe shoes and give it a go).
That's why we're especially loving this video by Refinery29 that actually gets it. Lucie Fink, host of the R29 YouTube series Lucie For Hire , got a private lesson from American Ballet Theatre principal Isabella Boylston, and it was endlessly entertaining.
We'd love to know what it is that has Pina Bausch, Rudolf Nureyev and Gerard Violette so amused, or what Toer van Schayk (far right) is thinking here, but one thing's for certain: We're terribly envious of the journalist (second from right) who got to be there when this shot was taken in 1986.
It's the end of a long rehearsal day for the dancers of Abraham.In.Motion. They're reviewing phrases of a new work, Dearest Home. It's a pretty typical rehearsal scene. Some dancers cluster around a laptop trying to piece together steps learned long ago. Others review choreography together, working to figure out who remembered which arms correctly.
What isn't typical: The company's director and choreographer, Kyle Abraham, is nowhere to be seen.
That's because while the company is based in New York City full-time, Abraham spends most of his year teaching at the University of California, Los Angeles, where he joined the faculty last September. It's an unconventional model for a single-choreographer–led troupe, almost functioning like a repertory company in which choreographers drop in for a week to set a piece, leaving it up to the rehearsal directors and dancers to keep the momentum going.