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__label__cc	0.532034	0.467966	War Diaries 839115 Pte. William John Sharp, known throughout his life as "Jack", was born October 24th, 1893, on the family farm in Flesherton, Ontario, Canada, to parents William Sharp and Alice Bellamy. Grandparents, John Sharp and Ann Gilchrist, emigrated to Canada from County Fermanagh, Northern Ireland, around 1845 and Alice Bellamy's ancestors came to Ontario in 1793 from Connecticut, USA and settled in Cramahe Township, Ontario. Jack's attestation papers, dated May 15th, 1916, were signed at Owen Sound, Ontario. Jack was a member of the 147th (Grey) Battalion, and was later transferred to the 4th Canadian Mounted Rifles. Jack's regimental number was 839115 and at the time of enlistment, Jack worked as a clerk in a Markdale, Ontario, bank. Embarking for England, aboard the S.S. Olympic on November 13th, 1916, Jack arrived on November 20th, 1916. He was transferred to the 4th CMR, at Shoreham, England, on February 14th, 1917, and was shipped to France, arriving there on February 24th, 1917. Three days later, on February 27th, Jack was listed as being in the field in France. After a short period of action with the 4th CMR, Jack was killed on March 14th, 1918, by a "trench mortar shell", near Petit Vimy, close to the Lens - Arras Road. On March 17th Jack was buried at Thelus Military Cemetary. Also killed by the same trench mortar shell on the 14th were Ptes. Kerr, Rennie & Sgt MacKenzie. Major Sneath, of the 5th CMRs, was also killed on March 14th in a separate incident and all 5 were buried in a military ceremony attended by platoons of the 4th and 5th CMRs. Jack left behind his parents, a brother and sisters in Flesherton, Ontario. His brother, Robert Sharp, was my grandfather, and I remember as a child that he always remembered and would say on March 14th, that this was the day that Jack was killed in France. This image and biography are courtesy of Debbie Bennett-Toms, with sincere thanks. As at July 2019, would any direct member of William Sharp's family please contact website manager, Ian, via: email 4cmr.com	cc/2020-05/en_head_0014.json.gz/line0
__label__cc	0.601233	0.398767	Ivelina Manova – Google Tools for Startups Study and/or Startup? Dr. Tendayi Viki – The Startup Psycologist Meet Lucie Montel – the International Techies Connection Maker StartUP Partners with Start Trek (Eleven) If the impressive line-up of speakers that are taking part of this year’s StartUP Conference NEXT 2014 wasn’t motivation enough to attend, we can now confirm that there will also be an informal EDU for start-ups discussion panel with some of the distinguished speakers. Escaping from the formality of the lecture format, the discussion will be structured as an informal and friendly talk. The panel will be moderated by Prof. Veneta Slavova, a Business Strategy professor from the American University in Bulgaria as part of a collaborating project between the university and StartUP Foundation, putting forward entrepreneurship as a career option for young graduates. Here is the line-up of the speakers to take place in the EDU forum: Bob Dorf Bob Dorf is likely the second most knowledgeable Customer Development expert on the planet, second only to Steve Blank, who developed the method and spent a decade extending and refining it. Together, they authored The Startup Owner’s Manual: The Step-by-Step Guide for Building a Great Company, after two years of near-fulltime development. Bob travels the world, helping startups, incubators, governments, and established corporations learn how to effectively deploy Customer Development process through speaking, workshops, and in intensive 8-10 week hands-on Startup Boot Camps.A serial entrepreneur, whose passionate task is to help start-ups see the light and guide them towards success. Milena Stoycheva Milena Stoycheva is the CEO of Junior Achievement Bulgaria, an organization dedicated in helping young talents find their inner strength for success in their respected fields. Entrepreneur and educator, she is passionate about the importance for education and the opportunity for young people to develop their own talent and discover their future as entrepreneurs. She can easily be described as the person behind the growth of the brightest local minds of the new generation. Alice Bentinck Alice Bentinck is the co-founder of EF, London, an early stage seed investment programme that invests in Europe’s most talented technical graduates. Over the last two years, EF has built 20 startups, now valued at more than $80m, with investors including Y Combinator, Index Ventures and Notion Capital. Unlike accelerators, EF doesn’t require you to have a team or an idea before you join – they are experts in the very earliest days of a startup, the days when you’re going from a lone individual to 200 days later having a team, a product and some early traction. Alice also set up Code First: Girls, a free coding course for young women at university. Alice is a powerful female presence in the dominantly male high-tech European environment. Kevin Aspegren Prior to entering academia Kevin Aspegren had success as an entrepreneur selling two companies and taking a third public on the Nasdaq in 1998. As an academic entrepreneur he has started several University Centre for Entrepreneurship¹s around the world typically in underserved areas while holding faculty and administrative positions. Additionally, he is the founder and General Partner in Chastain Holdings LLC, a US based Private Equity for Franchising firm with over $350M under management. Currently he is the President of the American University in Bulgaria where he is using his past experiences to create a new model for University led entrepreneurship that will be transformational for Eastern Europe, the young people of Bulgaria and extend to neighbours throughout the Balkans. Kevin is the embodiment of the entrepreneurial force that has slowly started sweeping university students and graduates and a testimony to the important relation between education and entrepreneurship. Don’t miss the opportunity to join this inspirational discussion about growth-hacking and what it truly takes to build your start-up from the ground up. Tickets available at 2014.startup.bg We will see you all on Friday the 10th of October in Sofia Event Center. Posted October 08, 2014 in: speakers by Chris Georgiev EmailRSSTwitterFacebook	cc/2020-05/en_head_0014.json.gz/line3
__label__wiki	0.946883	0.946883	Home > News > 10/23 Press Conference featuring “My Original Dream” from Competition Section 2016.04.01 [Updates] The 29th Tokyo International Film Festival official website is now OPEN! Tadanobu ASANO wins Best Supporting Actor Award and Kirin KIKI receives Lifetime Achievement Award at the 10th Asian Film Awards Main Cast and Details of Omnibus Film Production Asian Three-Fold Mirror 2016 Revealed Website Maintenance Finished Announcement of Website Maintenance 10th Asian Film Awards Hong Kong action choreographer-director YUEN Wo-ping and Venerable Japanese Actress KIKI Kirin To Receive Lifetime Achievement Award Film submissions for the 29th Tokyo International Film Festival will start on this official site from the end of April, 2016. Japanese Films and Talents Receive 18 Nominations For the 10th Asian Film Awards 10th Asian Film Awards Nominations to be Live Streamed　February 3, 16:30-18:00 (JST) Dates set for 29th Tokyo International Film Festival:October 25 – November 3, 2016 2015.11.13 [Interviews] Director Bryan Singer says of unanimous Grand Prix winner “Nise -The Heart of Madness” ‘the perfect film’ Director General Yasushi Shiina harbors ambition- “further development to a linchpin for delivering Japanese films to the rest of the world” 2015.11.12 [Event Reports] Tokyo Grand Prix director R. Berliner happy: “got the feeling that I was dealing with something special” Brazilian film “Nise” crowned at the 28th Tokyo International Film Festival! Suzu Hirose, Kiki Kirin and others express joy for receiving TIFF “ARIGATO” award 28th Tokyo International Film Festival Audience Award goes to Italian comedy “God Willing” ‘Roukli’ director and staff- unravel project from intent to interpretation “Cold of Kalandar” director, cast and producer tell inside story about the film “The Girl’s House” director strikes out on new ground and away from comedy Yoshikazu Yasuhiko chose voice actor for young Char on a “hunch”- “The young Shuichi Ikeda was Mayumi Tanaka” [Event Reports] 10/23 Press Conference featuring “My Original Dream” from Competition Section ©2015 TIFF Given the fact that many of the works in the Competition section are by new or relatively unknown directors, it’s understandable that a good number of them over the years have been coming-of-age films. My Original Dream is Chinese director Hao Jie’s third movie, though it is so fresh that feels like his debut, and during the post-screening press conference he readily admitted that “85 percent of the story was based on my own experience.” That experience, specifically, is one that everyone can identify with: first love. Set against the academic environment of China during the late 80s and early 90s, the movie charts the sentimental education of Zhao Shanshan (Bao Beier), the only son of a rural couple who aspire to something more than their difficult hand-to-mouth existence through the success of their offspring. Shanshan manages to get into the local middle school, where he immediately forms a crush on the demure Li Chunxia (Sun Yi), who is in charge of the flag during school functions and is the apple of pretty much every adolescent male’s eye. Obviously, Shanshan has competition, mainly from the corps of townie ruffians who extort money from the students as they commute to school on foot, but Shanshan makes friends with the Four Kings, a quartet of fellow students who stand up to the gang and protect him; that is, until he makes clear his feelings for Li Chunxia, thus becoming a double outcast, since it is not only against school policy to “date” but his classmates think he is longing for something above his station. Nevertheless, he and Li carry on a forbidden, clandestine love affair, until his parents, the school, and the ruffians find out. My Original Dream is blunt in its depiction of adolescent sexual desire (lots of stuff about sex dreams and male fixation on menstruation) but non-explicit in its presentation of sex itself. As such, it often comes across as a light comic, but in the long run, Shanshan’s obsession with Li leads to his decision to become a director, a development that is addressed perhaps a bit too abruptly – the desire to film his story seems to be enough to gain him entry to the Beijing Film Academy – but in any case gives the movie its structure. The assembled press was surprised by Bao’s shaved dome, since he sports a full head of hair in the movie and thick-framed glasses. He explained that, “like my father,” he has always shaved his head. “I wore a wig during the shooting,” he admitted. “Still, I hope you will refer to me as a good-looking actor.” His previous two films have been shown in Japan, this was his first time at TIFF. He explained the film that it depicts his adolescent period and it overlaps with the historical steps of China as a country, so the film has two perspectives- from his own and the country itself. Most of the questions had to do with specific plot points in the movie that seemed to require some firsthand knowledge of China’s social and educational systems in order to be fully appreciated. Hao said that it was relatively easy to make such a movie in China now because youth films were popular, even if they were set in an era that most young people today don’t know about. In fact, all three of his films are about young people and set in the past. In that regard, one reporter’s question was particularly relevant. Remarking on the fact that while Shanshan was portrayed by two different actors, Sun Yi played Li in all her incarnations, including the one in middle school. She said portraying a girl that young wasn’t so difficult, but sometimes she had problems with her counterpart, who was barely out of elementary school. “He was so short,” she said with a laugh. [Philip Brasor]	cc/2020-05/en_head_0014.json.gz/line4
__label__cc	0.652887	0.347113	To make sure all our members have a voice in the union, UNISON members have set up ‘self-organised groups’ to provide a voice for people who are traditionally under represented. UNISON has groups at national, regional and local level for women, lesbian, gay, bisexual and transgender members, black members and disabled members. These groups are designed to be self-organising but also integral to the union’s structures. The branch has run a Pathways Course to support women to become more active in the branch and in UNISON as a whole. UNISON also has a young members and a retired members section to ensure that the interests of these particular groups of members also have a voice within the organisation. For more information on equalities and self organisation at Scottish and UK level, click on the links below. UNISON UK equalities pages UNISON Scotland equalities pages	cc/2020-05/en_head_0014.json.gz/line5
__label__cc	0.627974	0.372026	Title XL REAL AND PERSONAL PROPERTY Chapter 719 COOPERATIVES View Entire Chapter 719.103 Definitions.—As used in this chapter: (1) “Assessment” means a share of the funds required for the payment of common expenses, which from time to time is assessed against the unit owner. (2) “Association” means the corporation for profit or not for profit that owns the record interest in the cooperative property or a leasehold of the property of a cooperative and that is responsible for the operation of the cooperative. (3) “Board of administration” means the board of directors or other representative body responsible for administration of the association. (4) “Buyer” means a person who purchases a cooperative. The term “purchaser” may be used interchangeably with the term “buyer.” (5) “Bylaws” means the bylaws of the association existing from time to time. (6) “Committee” means a group of board members, unit owners, or board members and unit owners appointed by the board or a member of the board to make recommendations to the board regarding the association budget or take action on behalf of the board. (7) “Common areas” means the portions of the cooperative property not included in the units. (8) “Common areas” includes within its meaning the following: (a) The cooperative property which is not included within the units. (b) Easements through units for conduits, ducts, plumbing, wiring, and other facilities for the furnishing of utility services to units and the common areas. (c) An easement of support in every portion of a unit which contributes to the support of a building. (d) The property and installations required for the furnishing of utilities and other services to more than one unit or to the common areas. (e) Any other part of the cooperative property designated in the cooperative documents as common areas. (9) “Common expenses” means all expenses and assessments properly incurred by the association for the cooperative. (10) “Common surplus” means the excess of all receipts of the association—including, but not limited to, assessments, rents, profits, and revenues on account of the common areas—over the amount of common expenses. (11) “Conspicuous type” means type in capital letters no smaller than the largest type on the page on which it appears. (12) “Cooperative” means that form of ownership of real property wherein legal title is vested in a corporation or other entity and the beneficial use is evidenced by an ownership interest in the association and a lease or other muniment of title or possession granted by the association as the owner of all the cooperative property. (13) “Cooperative documents” means: (a) The documents that create a cooperative, including, but not limited to, articles of incorporation of the association, bylaws, and the ground lease or other underlying lease, if any. (b) The document evidencing a unit owner’s membership or share in the association. (c) The document recognizing a unit owner’s title or right of possession to his or her unit. (14) “Cooperative parcel” means the shares or other evidence of ownership in a cooperative representing an undivided share in the assets of the association, together with the lease or other muniment of title or possession. (15) “Cooperative property” means the lands, leaseholds, and personal property owned by a cooperative association. (16) “Developer” means a person who creates a cooperative or who offers cooperative parcels for sale or lease in the ordinary course of business, but does not include the owner or lessee of a unit who has acquired or leased the unit for his or her own occupancy, nor does it include a condominium association which creates a cooperative by conversion of an existing residential condominium after control of the association has been transferred to the unit owners if, following the conversion, the unit owners will be the same persons. (17) “Division” means the Division of Florida Condominiums, Timeshares, and Mobile Homes of the Department of Business and Professional Regulation. (18) “Equity facilities club” means a club comprised of recreational facilities in which proprietary membership interests are sold to individuals, which membership interests entitle the individuals to use certain physical facilities owned by the equity club. Such physical facilities do not include a residential unit or accommodation. For purposes of this definition, the term “accommodation” shall include, but is not limited to, any apartment, residential cooperative unit, residential condominium unit, cabin, lodge, hotel or motel room, or other accommodation designed for overnight occupancy for one or more individuals. (19) “Limited common areas” means those common areas which are reserved for the use of a certain cooperative unit or units to the exclusion of other units, as specified in the cooperative documents. (20) “Operation” or “operation of the cooperative” includes the administration and management of the cooperative property. (21) “Rental agreement” means any written agreement, or oral agreement if for less duration than 1 year, providing for use and occupancy of premises. (22) “Residential cooperative” means a cooperative consisting of cooperative units, any of which are intended for use as a private residence. A cooperative is not a residential cooperative if the use of the units is intended as primarily commercial or industrial and not more than three units are intended to be used for private residence, domicile, or homestead, or if the units are intended to be used as housing for maintenance, managerial, janitorial, or other operational staff of the cooperative. If a cooperative is a residential cooperative under this definition, but has units intended to be commercial or industrial, then the cooperative is a residential cooperative with respect to those units intended for use as a private residence, domicile, or homestead, but not a residential cooperative with respect to those units intended for use commercially or industrially. With respect to a timeshare cooperative, the timeshare instrument as defined in s. 721.05 shall govern the intended use of each unit in the cooperative. (23) “Special assessment” means any assessment levied against unit owners other than the assessment required by a budget adopted annually. (24) “Timeshare estate” means any interest in a unit under which the exclusive right of use, possession, or occupancy of the unit circulates among the various purchasers of a timeshare plan pursuant to chapter 721 on a recurring basis for a period of time. (25) “Unit” means a part of the cooperative property which is subject to exclusive use and possession. A unit may be improvements, land, or land and improvements together, as specified in the cooperative documents. (26) “Unit owner” or “owner of a unit” means the person holding a share in the cooperative association and a lease or other muniment of title or possession of a unit that is granted by the association as the owner of the cooperative property. (27) “Voting certificate” means a document which designates one of the record title owners, or the corporate, partnership, or entity representative who is authorized to vote on behalf of a cooperative unit that is owned by more than one owner or by any entity. (28) “Voting interests” means the voting rights distributed to the association members as provided for in the articles of incorporation. History.—s. 2, ch. 76-222; s. 1, ch. 77-174; s. 8, ch. 80-3; s. 10, ch. 86-175; s. 17, ch. 92-49; s. 874, ch. 97-102; s. 8, ch. 98-322; s. 5, ch. 99-382; s. 1, ch. 2000-302; s. 6, ch. 2007-173; s. 55, ch. 2008-240.	cc/2020-05/en_head_0014.json.gz/line9
__label__wiki	0.551993	0.551993	The K-12 system didn’t fail the American Indians. On March 22, 2016 May 9, 2016 By joe-hobot The K-12 system didn’t fail the American Indians. Its methods have followed its own design to the letter… Formalized education in the United States was not designed to empower us. It was designed to pacify us, while it extinguished our culture. Credit: Otis Historical Archives National Museum of Health and Medicine, Indian Training School, Carlisle, Pennsylvania. School room building. The relationship between the American Indian people and formalized education within this nation is one of contention, controversy, and trauma. The school system of the United States was not designed to give our people an opportunity at having a stable, thriving life whereby our culture could flourish. For that reason, when evaluating it today, the educational system of the United States has in fact been a success. From the earliest days, the federal government’s plan for “educating” American Indians was to forcibly relocate and assimilate our elders within the dominant American culture. The chosen vehicle to accomplish this task, after warfare, were the schools. The targets of these assimilative practices were the most impressionable and vulnerable population to be found – our youth. After years of rolling warfare throughout the American frontier (what the United States would refer to as the “Indian Wars” but what we refer to as our fight for survival) a deep desire to pacify the indigenous people once and for all permeated the halls of Washington D.C. Yet even before the bloody conflicts of the 18th century came to their malicious conclusion with the massacre at Wounded Knee, the dominant culture had already philosophically justified their subjugation of indigenous people through their own legal opinions. Courtesy of the Marshall Trilogy of Supreme Court rulings during the 1820’s, our ancestors were deemed as nothing more than “wards of the state” – wayward orphans in need of the continual guidance and protection as rendered by the federal government. It was believed by elected officials of the day that the United States possessed an obligation to incorporate American Indians into the greater American diaspora. More importantly, the federal government sought to prevent us from disrupting the successful westward expansion of the nation through our ongoing resistance to white settlement as effected through force of arms. A GROUP OF 15 HAVASUPAI INDIAN SCHOOL CHILDREN POSING OUTSIDE OF THE SCHOOL. 16 NOV 1938. Credit: Grand Canyon National Park Museum Collection. Sixty years later, as our warriors and spiritual leaders were killed, assassinated, and imprisoned, federal concern then turned towards the next generation. As described in the works by David Wallace Adams, John Reyner and Jeanne Eder, and Jacqueline Fear-Segal (Education for Extinction, American Indian Education: A History, and White Man’s Club – respectively) thus began a systemic conscription of American Indian children – often times taken forcibly against the will of their parents – on into a rigid educational structure situated far away from their families and ancestral lands. It was here at these remote locations, behind the high brick walls that bordered the stone barracks where our children were warehoused – that the public educational system set to work to purposefully exterminate our cultural identities. Today this period is referred to by American Indian scholars as the “Boarding School Era.” Yet within those institutions, despite the inhumane brutality imposed upon them on a daily basis, our ancestors heroically managed to keep our culture alive. In the face of corporal punishment, sexual and mental abuse, and isolation, the culture was somehow preserved by those that were there. This continuance of our language and of our ways – often times pursued in secret and at great risk to the individuals who dared – will serve as a supreme act of resistance from which our currently reality is derived. By the 1920’s, when it became apparent that the forced assimilative practices of the boarding schools were failing to engender the desired results sought by government officials (i.e.: the complete extinction of indigenous cultures in North America), mainstream public schools in surrounding municipalities were then turned to as the principle means for acculturating American Indian youth. Here, as before, there were no considerations whatsoever regarding our unique cultural status, and our desire to preserve it. As a result, no allowance was made for any type of educational offering to support our indigenous identities. Instead, our youth at that time were enrolled into a public education system that had been modeled upon the estimable tenets valued by an industrialized society. Along with their non-Native peers and recent European immigrants, students were force-fed into an academic machine that provided assembly-line educational practices designed to produce “citizen widgets” – capable of little more than holding down menial, low-skill jobs upon graduation. Our boys were taught rudimentary skills within the industrial arts, and our girls were schooled only in the ways of home economics and child rearing. Such a narrow focus reflected the limited nature to which educators viewed the prospective futures for American Indian youth. These methods would continue on without disruption for the next forty years. Credit: Canada Biblio Archives It was not until the political upheavals of the late 1960’s, where the civil rights movement and identity politics surged to the forefront of American consciousness, when the American Indian community began to galvanize for change. For our people, the work of Vine Delora, Jr., Richard Oakes, John Trudell, and the American Indian Movement brought forth a new awakening that called upon the need to practice and teach our culture in more overt ways – particularly if it were to survive for future generations. As detailed within Judy Davis’ 2013 work, Survival Schools, by the early 1970’s the American Indian people began to take community control over the education of their children. Parents and elders began placing emphasis on the practices and traditions of our people over the insistence of an industrialized educational system that had thus far failed to provide a stable future for our people. As a result, within these new, small, community-controlled schools the American Indian culture became the fulcrum upon which the development of our youth would hinge. Yet despite these modest successes occurring in rather isolated pockets, the majority of our children were still ensnared within the machinery of American public schools, with their academic achievements wilting under the continual denial of the life-giving traditions and customs that were such familiar nutrients within their homes and amongst their families. For so many of our students, academic success was a near impossible realization as they found themselves being ground up between the gears of a system that continued to refuse to acknowledge cultural distinctions among their students. Now with the 21st Century underway, many new and progressive educational approaches have begun to surface in several different locations, and have been applied towards American Indian education (many of which were pioneered right here in the Twin Cities). The work of the Minneapolis Public Schools District’s Indian Education Department, as well as schools such as Takoda Prep of American Indian OIC, stand as powerful testimony to the efficacy of this new vanguard of pedagogy – whereby a strong hybrid of American Indian culture and traditional academic pursuits are offered in tandem for our students. Yet funding remains at a premium, rationed out among a myriad of other enterprises deemed of equal import by civic leaders. There is so much more to do, particularly when considering what is occurring beyond the city limits of Minneapolis and St. Paul. The massive brick building of St. Michaels Indian Residential School at Alert Bay, British Columbia, Canada Credit: David Stanley. In this respect, the public school system continues to fail the majority of American Indian students, but when considering what it was designed to do by its original architects, it also could be argued that it has performed exactly as intended. As current academic data in the state of Minnesota indicates, the youth of our people continue to struggle mightily to achieve in this current educational system. In the end, as they reach adulthood, many cannot help but to emerge and live lives within the modern economy that resemble the very “wards of the state” designation bestowed upon us by John Marshall nearly 200 years ago. Yet despite these recorded failings, the current system remains incredibly rigid – still slavishly adhering to its own industrialized design and sense of self-import. Despite the successes demonstrated in certain arenas as mentioned above, the system continues to addictively reinvest staggering amounts of money back into its own failing enterprises without much in the way of incorporating new and innovative models that have proven successful. Why? A century ago, the provision of a proper education for our people that included our culture, and that was supported with a full complement of resources was believed to be a dangerous enterprise – empowering designated enemy combatants of the United States. It was believed by government leaders that such measures would invariably reconstitute an indigenous resistance, that once reformed would have to yet again be contended with by the United States military – only now perhaps on more equal footing. This was simply never in the plans for this republic during its infancy, whose citizens found themselves squatting on foreign land and feigning ownership of a continent that was not theirs. Here now, in 2016, evidence continues to pour in yearly demonstrating that the educational system simply does not work for all students – in particular for American Indian youth. Instead of diversifying their approaches, and further supporting differentiated delivery models that offer culturally contextualized programming (such as what is offered at Takoda Prep of American Indian OIC, or through Minneapolis Public School’s Department of Indian Education), the system powers forward insisting upon the preeminence of its own authority and efficacy – despite the data. For our community, such insistence by the system in favor of itself makes us wonder what its true motivations are. From our perspective, it is hard to see much difference from what has come before and what is in effect today. As we tend to our children and grandchildren, we are no longer interested in feeding them into a machine that merely produces wards of the state. We demand something different . . . Posted in Education, From the President's Desk PREVIOUS POST Previous post: « The Struggle for a Place in the MN Economic Disparities Conversation NEXT POST Next post: AIOIC’s Takoda Institute plays a key role in bolstering minority IT workers »	cc/2020-05/en_head_0014.json.gz/line12
__label__cc	0.647072	0.352928	Spencer John Bent VC, MM Cemetery, London Memorials, Memorials elsewhere, Military, Outside RSA, United Kingdom, Victoria Cross, World War 1 Spencer John Bent (18/03/1891 – 03/05/1977) was awarded the Victoria Cross for his actions during the First World War. The Citation, recorded in the London Gazette of 8 December 1914, Supplement: 29001, Page: 10533, reads: “No. 8581, Drummer Spencer Jonn Bent, 1st Battalion, The East Lancashire Regiment. For conspicuous gallantry near Le Gheer on the night of the lst-2nd November, when, after his Officer, Platoon Sergeant, and Section Commander had been struck down, he took command, and, with great presence of mind and coolness, succeeded in holding the position. Drummer Bent had previously distinguished himself on two occasions, 22nd and 24th October, by bringing up ammunition under a heavy shell and rifle fire, and again, on the 3rd November, when he brought into cover some wounded men who were lying exposed in the open.” He was cremated at West Norwood Crematorium in London. DRW © 2016 – 2020. Created 20/09/2016. Edited 25/05/2017. Gallaher cigarette card reproduction by Card Promotions © 2001, first issued 1915. Tags: First World War, MM, Spencer John Bent VC, VC, Victoria Cross, West Norwood Crematorium	cc/2020-05/en_head_0014.json.gz/line13
__label__cc	0.741358	0.258642	Austin Miles Popular Music of 1912 by alookthrutime \| posted in: 1912, Music, Titanic \| 0 We took a look at the Music on the Titanic, but what about the other music from 1912. There were songs that were written and published after the Titanic sank in April. So let’s take a look at some of … Continued 1912, 1912 Broadway shows, A Jolson, And the Green Grass Grew All Around, Arnold Shoenberg's Pierrot Lunaire, Austin Miles, Be My Little Bumble Bee, Bob Roberts, Bruno Walter, By the Light of the Silvery Moon, Carrie Jacobs-Bond, Charles William Glover, Cowboy Joe's Radio Ranch, Deslys, Doris Day, Edward Madden, Ernie Burnett, first woman to sell a million copies of music, Forty-Five Minutes From Broadway, Fred Mertz, George A Norton, George Bennard, George M. Cohan, George M. Cohan Theatre, Gordon MacRae, Gospel of John 20, Grant Clarke, Gustav Mahler's Symphony No. 9, Gypsy Love, Harry MacDonough, Harry Von Tilzer, Henry I Marshall, Henry James Williams, I Love Lucy, I Love You Truly, In the Garden, Ireland, Irish Ballad, Irving Berlin, It’s a Long Way to Tipperary, Jack Judge, Keep Away from the Fellow Who Owns An Automobile, Lewis F. Muir, Lucy-Desi Comedi Hour, Mary Magdalene sees Jesus after he's risen, Maurice Abrahams, Mordaunt Spencer, music in 1912, musical The Isle O'Dreams, My Melancholy Baby, New Rag, Nora Bayes, On Moonlight Bay, On Moonlight Bay the Musical, parlor songs, Percy Wenrich, Popular singers of 1912, popular wedding song, Ragtime Cowboy Joe, Roamin’ in the Gloamin, Scott Joplin, Sir Edward Elgar, Sir Harry Lauder, Stanley Murphy, The Old Rugged Cross, The Rose of Tralee, The Ziegfeld Follies of 1912, Titanic, Titanic music, Titanic sinking, Under Many Flags The Wall Street Girl, Waiting for the Robert E. Lee, When I was Twenty-one & You Were Sweet Sixteen, When Irish Eyes Are Smiling, William Frawley, William Jerome, Wolfe Gilbert	cc/2020-05/en_head_0014.json.gz/line15
__label__cc	0.526047	0.473953	Home Blog Expecting Guests? We are! Expecting Guests? We are! AnnapolisFilmFestival March 16, 2017 Blog, Films, News & Updates We are very excited to let you know that these distinguished guests are expected to attend on Opening Night: Director Rob Reiner Rob Reiner, director of LBJ, and his wife, Michele Singer Reiner plan to attend Opening Night along with several prominent politicos. Robert “Rob” Reiner is an American actor, writer, director, producer, and activist. As an actor, Reiner first came to national prominence with the role of Michael Stivic on All in the Family. That role earned him two Emmy Awards during the 70s. As a director, Reiner was recognized by the Directors Guild of America with nominations for the coming of age comedy-drama film Stand by Me, the romantic comedy When Harry Met Sally…, and the military courtroom drama A Few Good Men. He also directed the psychological horror thriller Misery, An American President and the romantic comedy fantasy adventure The Princess Bride and the heavy-metal mockumentary,This Is Spinal Tap, among others. His latest film LBJ will be released in the Fall of 2017. The post-screening discussion with several special guests in attendance will be moderated by Joe Neumaier, former Chief Film Critic and Film Editor for the New York Daily News. Expected guests include: Matthew George, the Australian director, screenwriter, and producer. LBJ screenwriter, Joey Hartstone, will be on hand along with Annapolis brothers Tim and Trevor White who also produced the film. Making a special appearance for Opening Night will be the actor, Jeffrey Donovan (Burn Notice, Fargo), who plays John F. Kennedy in LBJ. Once passes are sold-out, some additional tickets ($40 each) will be released and made available online, others who wish to attend should plan to stand in the RUSH line for any last remaining seats at Maryland Hall for the Creative Arts on March 30th – 6:30 pm.	cc/2020-05/en_head_0014.json.gz/line18
__label__cc	0.666435	0.333565	My favourite reads of 2019 At this time of year I love to look back on the books I’ve enjoyed reading, those that made a lasting impression on me. I keep a log of my reading and of the 45 books I read in 2019, these are (some of) my highlights: The Cemetery at Barnes by Gabriel Josipovici (Carcanet Press, 2018) A short novel that obliges the reader to make guesses. I felt I’d tuned into a radio play having missed the first five minutes. It denies completion for the reader and emphasises the unfinished nature of most experiences. Cold Earth by Sarah Moss (Granta, 2010) Another novel that had me searching for answers. It’s a compelling story about a remote archaeological dig. Are the archaeologists truly stranded? Is everyone in the outside world dead? Will the plane arrive on the agreed date? Are members of the team hiding the true gravity of outside events. Are other team members colluding? And there’s an undertone of humour—all these characters with PhDs but minimal survival skills. After Kathy Acker by Chris Kraus (Penguin, 2017) I love writer biographies and this is a fine example. Acker made her mark as an experimental writer in 60s New York. She flitted between New York, San Diego, San Francisco, Seattle and London. Her connection with the art world figures—Vito Acconci, Carolee Schneemann, Martha Rosler, Dan Graham, Robert Mapplethorpe, Richard Serra, Lucy Lippard, Sol LeWitt—offers fascinating asides. A biography that gets into the detail of Acker’s writing methodology. Milkman by Anna Burns (Faber and Faber, 2018) Although some readers found this book challenging, I found myself sucked in straightaway. I learned a great deal about daily life during The Troubles. I felt extremely grateful for this insight, and I’ve recommended Milkman to all my friends. How Should A Person Be by Shiela Heti (Vintage, 2013) This is a novel—part memoir, part fiction—which explores how to navigate the world as a creative person. At the core lies a simple question about the main character, Sheila: Will she or won’t she finish writing her play? But the over-arching question posed by Heti is whether art is a narcissistic endeavour. An authentic story about a playwright who is a hairdresser by day. The Overstory by Richard Powers (William Heinemann, 2018) At the outset, I felt slightly daunted by the length of this novel, but I found myself zipping along thanks to the four-part structure and a fascinating range of point of view characters. For me, the highlight is found in the wonderful character of Patricia Westerford, a tree specialist, who I’ve thought about many times since I finished reading the novel. Her academic reputation is trashed by male peers when she suggests that trees can communicate. A fascinating and redemptive storyline, within an ambitious novel. Desperate Characters by Paula Fox (Macmillan,1970. Flamingo, 2010) Sophie Bentwood lives in Brooklyn and is bitten by a stray cat, leading to her uncharacteristic decision to go for a middle-of-the-night drink with her husband’s business partner. And in these strange circumstances, she rashly reveals to him that she has had an affair. She reflects on that affair through this short novel, and on her husband’s disinclination or inability to explore his feelings, or other people’s motivations. The novel’s theme—that chaos might overwhelm polite society at any turn—is brilliantly set up in the opening pages in its descriptions of a part-gentrified but still seedy Brooklyn neighbourhood. Gun Island by Amitav Ghosh (John Murray, 2019) I was intrigued to read how Amitav Ghosh addressed climate change in this novel, coming in the wake of his non-fiction work The Great Derangement—his reflection on realist fiction’s limited ability to handle environmental and climate catastrophe. I enjoyed this novel partly for its setting in the mangroves of the Sundarbans, the delta of the Bengal River. It deals with the human impact of flooding. And one of his main characters is Priya, a marine biologist who investigates the beaching of freshwater dolphins. This novel feels one step removed from realism as it delves into local myth and doesn’t shy away from unrealistic coincidences in its plot. Outline Trilogy and Coventry by Rachel Cusk (Faber and Faber, 2014-2019) Cusk’s Outline trilogy and her collection of essays, Coventry, provided the high point of my reading year. I read the first two parts of the trilogy—Outline and Transit—in quick succession. Later in the year I read Coventry and, finally, the third part of the trilogy, Kudos. Cusk is one of the most audacious writers around at the moment, experimenting with form, specifically with the visibility or invisibility of her narrator. I’m glad I read these four books in the order I did, because her essays informed how I read Kudos. The trilogy is a brilliant and I can’t wait to read more of Cusk. The Wall by John Lanchester (Faber and Faber, 2019) Unlike some readers, I feel the most successful part of this climate-change novel is that set on The Wall. I felt drawn into the life of Kavanagh who patrols this massive coastal defence, aimed at repelling climate migrants. Lanchester slows down time as he describes, in pared back prose, the detail of being on shift, with the monotony and the ever-present fear of attack. There is sufficient backstory. Minimal info-dumping. And for me the elements of concrete poetry worked well. The later sections seem a little rushed but the ending is satisfying. The Body Lies by Jo Baker (Doubleday, 2019) This is a compelling, fragmentary, multiple point-of-view novel that deals with violence against women. More specifically, it examines how a violent event has shaped the psyche of a creative writing tutor. Smart and very readable. A true literary thriller. Always North by Vicki Jarrett (Unsung Stories, 2019) A novel of two halves. The first is set on a seismic survey vessel operating illegally in the Arctic and is totally convincing in its detail of seismic operations. Jarrett successfully creates an eco-thriller vibe with strong characters. The second is set some years in the future revisiting some of the original crew members who are now surviving as best they can in an environmentally ravaged world. Stillicide by Cynan Jones (Granta, 2019) This is a poetic and beautifully structured novel set in a world that is suffering water shortages as a result of climate change. The story is told in the form of vignettes, which are linked by the various characters’ sometimes tenuous relationships. I do recall, back in the late 70s, some serious discussion about the feasibility of towing icebergs from the Arctic to the Middle East. In Stillicide, icebergs are towed to the UK! Convenience Store Woman by Sayaka Murata (Granta, 2018) Another short read and my last of 2019. I’ve been meaning to read this since its release and following multiple recommendations by friends. It didn’t disappoint. I enjoy the detail of other people’s working lives and I truly warmed to this convenience store woman whose personal motto seems to be, If you are going to do a job, you might as well do it well. A good note to end my year on! I was fortunate to read ahead of publication, M. T. Hill’s novel The Breach, which will be published in March 2020 (Titan), following his well-received 2019 novel, Zero Bomb. The Breach is a crossover of psychological thriller, horror and hard SF. Hill displays his signature gritty style, and The Breach is the most visceral of his novels to date. Hill brings together the worlds of journalists, climbers, steeplejacks and urban explorers among a cast of totally authentic characters. Happy reading, everyone! BBC Radio 4: Babies In Bags	cc/2020-05/en_head_0014.json.gz/line19
__label__wiki	0.819311	0.819311	BALLET ACADEMY EAST 1651 Third Avenue, 3rd floor info@baenyc.com {{brochure.title.rendered}} Located in the heart of New York, BAE has five spacious, air-conditioned studios with sprung floors, mirrors, sound systems, and pianos, which are available for rental. The versatile spaces at BAE are ideal for your next reception, fundraiser, corporate event, meeting, private party, photo shoot, or rehearsal. BAE Stories Pre-Professional Division Young Dancer Division Primary & Enrichment Division Adult Division August Intensive Junior Summer Course Summerdance Camp Young Dancer Program Primary & Enrichment Program Support BAE An Interview with Lia Cirio by BAE Student Anthony Hoyos Lia Cirio, principal dancer with Boston Ballet, was recently in residence at BAE, choreographing a new work on the advanced, Pre-Professional Division students. BAE student, Anthony<span class="excerpt-hellip"> […]</span> The Angel Shine Foundation Awards Two New Scholarships to BAE Students We are very happy to announce that The Angel Shine Foundation has chosen Ballet Academy East students, Claire Smith and Jenny Ku as their newest scholarship<span class="excerpt-hellip"> […]</span> Interview with Maina Gielgud and BAE International Student Bianca Carnovale May 14, 2019 Maina Gielgud is currently in residence at BAE staging Sleeping Beauty, Aurora’s Wedding for the BAE Spring Performance. Maina was a principal<span class="excerpt-hellip"> […]</span> 2018-2019 David Howard Foundation Scholarship Recipient, Kurtis Grimaldi November 5, 2018 We are so excited to announce the recipient of the third annual David Howard Foundation Scholarship. The award, generously underwritten by The<span class="excerpt-hellip"> […]</span> Madison Buchholtz, 2018-19 Long Island Scholar Artist October 17, 2018 Ballet Academy East is proud to announce that Madison Buchholtz, Level 9 student in our Pre-Professional Division, has been named a 2018-19 Long<span class="excerpt-hellip"> […]</span> Jenny Ku, 2018-2019 Angel Shine Scholarship Recipient October 15, 2018 We are very happy to announce that the Angel Shine Foundation has chosen Ballet Academy East student Jenny Ku as their newest<span class="excerpt-hellip"> […]</span> Shining a Light on BAE Student Isabel Borges, Thanks to the Angel Shine Foundation February 1, 2018 We are very happy to announce that the Angel Shine Foundation has chosen Ballet Academy East student Isabel Borges as their newest scholarship<span class="excerpt-hellip"> […]</span> Lauren and William Wolfram: Performing as a Family January 15, 2018 Lauren Wolfram, BAE graduate and current Carolina Ballet dancer, had the opportunity to perform with her father, renowned pianist William Wolfram. Lauren<span class="excerpt-hellip"> […]</span> Ballet Academy East Announces the 2017-18 David Howard Foundation Scholarship Recipient December 14, 2017 Ballet Academy East is thrilled to announce the recipient of the second annual David Howard Foundation Scholarship. The award, generously underwritten by<span class="excerpt-hellip"> […]</span> International Boys of BAE The International Boys of Ballet Academy East October 10, 2017 The Ballet Academy East Pre-Professional Division is home to hundreds of aspiring dancers, but for<span class="excerpt-hellip"> […]</span> BAE March 2017 Alumni News BAE March 2017 Alumni News May 17, 2017 Thank you to to all of our alumni who have sent us photos and stories about their post-BAE<span class="excerpt-hellip"> […]</span> Nurturing Young Dancers – Part 2 Nurturing Young Dancers – Part 2 May 17, 2017 As the summer is coming to a close, the students and teachers at Ballet Academy East are<span class="excerpt-hellip"> […]</span> © Ballet Academy East. © 2017 Ballet Academy East. All Rights Reserved. lorna-zawacki-adult Lorna Zawacki Adult Division Faculty Lorna received her training at the School of American Ballet and the American Ballet Theater School. She performed with many companies, including NYC Opera, Philadelphia Lyric Opera, New Haven Ballet, Bridgeport Ballet, Wolfe Trap Theater, Radio City Music Hall Ballet, The Liberace Show, and with her own company, Zawacki Ballet. She worked with illustrious choreographers, including Genia Melikova, Gemze De Lapp, Hector Zeraspe, Peter Gennaro, Tommy Andrews, and Jordan Fife Hunt. Lorna participated in The Bolshoi Project, directed by Jeff Calhoun at Tisch School of the Arts. In addition to her classes at BAE, Lorna coaches ballet dancers, ice skaters, and ballroom dancers on Long Island. Lorna’s classes focus on strong use of the core muscles, meticulous attention to footwork, and the ability to combine strength and fluidity. ariel-rose-guestfaculty Ariel Rose Junior Summer Course Guest Faculty Ariel Rose began his training at Ballet Academy East in New York City. He also studied at the LaGuardia High School for Music and Art and the Performing Arts, and at the Jacqueline Kennedy Onassis School at American Ballet Theatre. As a young dancer, Rose received an honorable mention in the National YoungArts program. Upon graduating, Rose went on to Boston where he performed extensively with Boston Ballet II as well as with the main company. While there, he originated a role in Jorma Elo’s One Concerto. He then spent three years dancing with the Richmond Ballet where he performed works by many contemporary choreographers such as Ma Cong, Val Caniparoli, William Soleau, Salvatore Aiello and Jessica Lang. He joined Miami City Ballet’s corps de ballet in 2013. In 2010, Rose performed as a guest principal with Ballet Municipal in Lima, Peru, dancing the role of Franz in Alicia Alonso’s Coppélia. In 2015, Rose was selected to participate in the Resident Fellows choreographic program with the Center for Ballet and the Arts at New York University, an international institute for scholars and artists of ballet and its related arts and sciences. In the summer of 2017 some of his choreography was performed at the Joyce Theater in NYC and at Jacobs Pillow in Becket Massachusetts. Rose has choreographed two ballets for Ballet Academy East. cassidy-mcandrew-guestfaculty Cassidy McAndrew Cassidy McAndrew began her training at age five in Stamford, CT. She was first cast in George Balanchine’s The Nutcracker® in 2003 and danced the role of Marie in 2006 and 2007. In 2009, Cassidy performed in American Ballet Theatre’s production of Le Corsaire, and, at age 11, began training at Ballet Academy East in New York City under the direction of Darla Hoover. While there, Cassidy had the opportunity to perform principal roles in ballets choreographed by Margo Sappington, Alan Hineline, Matthew Neenan, and Jenna Lavin. Cassidy joined PBII for our 2016/2017 season and has performed with the company in Ben Stevenson’s Cinderella, George Balanchine’s The Nutcracker®, and Angel Corella’s Le Corsaire. Prior to Pennsylvania Ballet, she was an apprentice with Charlotte Ballet, where Patricia McBride mentored her for the principal role in George Balanchine’s Tarantella. She also performed George Balanchine’s Valse Fantaisie, along with original works by David Morse and Mark Diamond, and the roles of Snow and Flowers in Jean-Pierre Bonnefoux’s Nutcracker. amanda-edge-guestfaculty Amanda Edge Amanda Edge was born in Texas and began her dance studies at Ballet Austin. Her training continued in Brazil, at the North Carolina School of the Arts, and at The School of American Ballet. In 1991, she joined the New York City Ballet, where she danced for 15 years. Amanda was an original cast member in Phantom: The Las Vegas Spectacular, and she performed with Phantom of the Opera on Broadway for 7 years. She was in the original Broadway cast of Twyla Tharp’s Come Fly Away, and when the show moved to Las Vegas, she served as the production’s dance captain. Amanda has a B.A. in Arts Administration from Fordham University, and she was on faculty at Central Pennsylvania Youth Ballet from 2015-2018. She thanks Julia and Darla for the opportunity to teach and choreograph at Ballet Academy East. christopher-mcdaniel-guestfaculty Christopher Charles McDaniel Christopher Charles McDaniel is originally from East Harlem, New York, and is a Dancer, Teacher, and Choreographer. He began his ballet training at the Dance Theatre of Harlem, and went on to train at Ballet Academy East and Boston Ballet. He is also a graduate of the famed Fiorello H. LaGuardia High School. Upon graduating at age 17, Christopher signed his first professional contract with the Dance Theatre of Harlem Ensemble, and toured nationally with them for 3 seasons. In 2010 Christopher accepted a contract to join the Los Angeles Ballet where he danced for 5 seasons. During his time with LA Ballet he helped create multiple outreach programs, and became a teacher for a host of dance institutions including Lula Washington Dance Theatre, Debbie Allen Dance Academy, and Los Angeles Ballet School. He also served as a regular company class teacher at LA Ballet and Lula Washington Dance Theatre. Christopher choreographed his first professional ballet on the dancers of Los Angeles Ballet, and found a true passion for making ballets that are both challenging and fun for the dancers. After moving to San Antonio and becoming a soloist for Ballet San Antonio, Christopher choreographed small works for students at the Connally’s Dance workshop, and the Ballet Conservatory of South Texas. In the spring of 2016 he made a ballet, “Grazie Amelle,” for The dancers of Ballet San Antonio, which got a standing ovation and wonderful reception from the company’s directorship. In the fall of 2017 Christopher returned to NYC to join the Dance Theatre of Harlem company, and is currently in his second season. While dancing for DTH he simultaneously serves on the faculty of Ballet Academy East, and appears as a regular guest artist with Dances Patrelle, and Long Beach Ballet petra-love-guestfaculty Petra Love Petra Love was born in New York, N.Y. and began dancing at age three. She received her training at Ballet Academy East, The School of American Ballet and Miami City Ballet. She spent summers training at Central Pennsylvania Youth Ballet, San Francisco Ballet and Boston Ballet. In 2017, she spent her final summer at the Miami City Ballet School before moving to join Miami City Ballet School’s Pre-Professional Division and was also hired as a company apprentice. amos-machanic-adult Amos Machanic Amos Machanic, Jr. (Miami, FL) is currently a Teaching Artist with Ailey Arts In Education & Community Programs. Mr. Machanic also teaches at The Ailey Extension, Ballet Academy East, and for the American Ballet Theater Kids Summer Intensive Program. Mr. Machanic studied dance at The New World School of the Arts and continued his training at The Ailey School where he was a fellowship recipient. Machanic was a member of Ailey II and Joined The Alvin Ailey American Dance Theater in 1996. During his 15 years with the company, Amos had the pleasure of traveling and performing across the globe. In 2010, he performed at the White House tribute to Judith Jamison and now enjoys being a freelance artist and teacher. emma-pajewski-primary Emma Pajewski Primary Division Faculty Emma Pajewski of Pittsburgh, Pennsylvania, started her dance training with Beth A. Walter before joining Pittsburgh Ballet Theatre School under the direction of Marjorie Grundvig and Dennis Marshall. After attending The Ailey School on scholarship for one year, she began her studies at NYU’s Tisch School of the Arts, where she earned a BFA in Dance. Emma has had the pleasure of performing the works of Selina Chau, Carlos Dos Santos, Lydia Johnson, José Limón, Jeremy McQueen, Erick Montes, Earl Mosley, Kyle Mullins, Jamie Erin Murphy, Alan Obuzor, Vita Osojnik, Pedro Ruiz, and Christian von Howard. In 2015, she performed in Karole Armitage’s On the Nature of Things at the American Museum of Natural History. Emma is a former company member of the Lori Belilove’s Isadora Duncan Dance Company and a current company member of Cherylyn Lavagnino Dance. Emma is a Power Pilates certified Pilates instructor and is thrilled to be a part of the BAE community at the front desk and in the class room. mark-jelks-musician Mark Jelks Mark trained as a classical dancer with Dame Sonia Arova at the Alabama School of Fine Arts and pursued a dual major of music and dance at Birmingham Southern College. Mark performed on the Edinburgh Fringe Festival as a Principal Dancer with the Scottish Ballet. Upon his return to the United States he conducted or was production pianist for Broadway, off Broadway, National Tours “Phantom of the Opera” “Les Miserables”, “Gypsy” (with Tyne Daly), “The Fantasticks”, “Little Shop of Horrors”, “Evita”, “A Chorus Line”, “Sweeney Todd”, Best Little Whorehouse in Texas”. In 1994 Mark was casting assistant for the Tony Award winning revival of “Carousel” (directed by Nicholas Hytner). as well as the highly acclamed Broadway PRoduction of Mathew Bourne’s “Swan Lake”. Before leaving New York Mark was production pianist for Columbia Pictures movie “CENTERSTAGE”. He also worked as pricipal pianist for American Ballet Theater with Mikhail Baryshnikov and the New York City Ballet. In Florida Mark has been Musical Director for Francis Wilson Playhouse for the past 6 years. Shows include Dirty Rotten Scoundrels, No, No Nanette, Annie Get Your Gun (revival), Forum, Sideshow, Bells Are Ringing, Man of LaMancha, Monky Business and Oliver! (Lary Winner). Other shows include, Joseph…Dreamcoat, Carousel, Oklahoma, And the World Goes Round, Footloose, You’re a Good Man Charlie Brown (revival). In 1997 Mark was inducted into the national registry of “Who’s Who” for excellence in the field of Dance.In Florida, Mark was the Artistic Director of the Bay City Ballet, a pre-professional dance academy that provides the highest form of training in Ballet, Pointe, Tap, Theater Dance. Back in New York, Mark is on staff at Hunter College, Marymount Manhattan College, American Ballet Theater, Manhattan Youth Ballet. julie-voshell-primary Julie Voshell Julie has trained at North Carolina School of the Arts, Pennsylvania Ballet School, and Joffrey Ballet School, among others. She teaches a ballet class based on alignment, strength, and fluidity. Her performing credits include National tours of both Movin’ Out and SWING!. Companies include Dances Patrelle, Donald Byrd/The Group, Jennifer Muller/The Works, Manhattan Ballet, Connecticut Ballet, and North Carolina Dance Theatre. She has been teaching at BAE since 2009. sarah-jannsen-primary Sarah Jannsen Sarah Jannsen grew up in Boulder, Colorado where she began her training and teaching at the Colorado Conservatory of Dance. She then moved to New York to attend Marymount Manhattan College. In 2018, she earned a BFA in Dance, with a Ballet concentration, and a BA in Business, with a Leadership concentration. Sarah began at Ballet Academy East through assisting the Summerdance program in 2016. She has enjoyed watching her students grow up and loves working in the Young Dancer, Primary and Enrichment divisions. Outside of Ballet Academy East, Sarah is a Fitting Specialist at Gaynor Minden and she dances in various freelance projects. sarah-jannsen-YDD Young Dancer Division Faculty kaileigh-underwood-primary Kaileigh Underwood Kaileigh began her dance training in her hometown of Acton Massachusetts when she was 3. In 2017, she graduated Muhlenberg College with a B.A. in Dance and a B.S. in Biology. While studying at Muhlenberg, she performed with many artists such as the Shapiro and Smith Dance Company, Cristina Perrera, Shelly Oliver, Susan Creitz, and Jeffery Peterson. Kaileigh moved to New York and began teaching the Pre-Ballet classes at Ballet Academy East in 2018. You can also find her behind the front desk as one of our Front Desk Administrators. kaileigh-underwood-YDD rachel-hamrick-adult Rachel Hamrick Flexistretcher Former professional ballerina and entrepreneur Rachel Hamrick, is originally from Williamsburg Virginia, where she began her classical ballet training with Sandra Balestracci. At 12 years old she was accepted as a scholarship student to the Kirov Academy of Ballet where she trained with Adrienne Dellas, Nickolai Morozov and Alla Sisova. Upon graduation, she danced professionally all over the world for companies such as the Dutch National Ballet, Hungarian National Ballet, Universal Ballet in Seoul Korea, Orlando Ballet, and Les Grands Ballets Canadiens de Montreal. Her career was disrupted due to injury and she became certified in Pilates and yoga and began working with clients of all ages and flexibility levels to help increase their range of motion, strength, and anatomical awareness. She has taught ballet to all ages for over a decade and works with private students, coaches for YAGP and has taught for schools and events such as Dance Teacher Summit, Danza In Fiera, STEPS on Broadway, Academy Of Dance Arts, Greenwich Ballet Academy to name a few. Rachel is the inventor and former CEO of the Flexistretcher®, which she created out of a personal need to help her own flexibility and strength while dancing professionally. She spent over 10 years building the Flexistretcher brand and now is focusing all of her time on expanding her training programs. Through her extensive experience, she has created the Hamrick Method which utilizes active flexibility techniques for optimal results in mobility and functional strength. This program combines ballet, stretch, and pilates into a full-body lengthening and strengthening class. While the Hamrick Method is tailored for improvements in classical ballet technique and focusing on injury prevention, Rachel has developed many levels and sculpted different classes to be beneficial for all ages and ability levels. She works with dance schools, conducts master classes, trains private clients and leads teacher courses with over 100 teachers certified in her method. anya-burak-adult Anya Burak Born in Brest, Belarus, Anya began her ballet training a the age of 8 at the Brest State Choreography School. After graduation, she performed professionally for 10 years before coming to New York. Inspired by Susan Moran, Anya studied the Pilates Method in great depth and in 2011 was certified through Power Pilates NYC, where she taught and studied with master teachers. Anya has been teaching at the Jazz Summer Program at the Joffrey Ballet School since 2011. In 2014, Anya continued her movement education and graduated from Pure Yoga with a certification in Vinyasa yoga. In 2018, she joined the faculty of Ballet Academy East, where she is teaching Yoga and Pilates. Anya is as passsionate about Pilates and Yoga as she is about ballet; her immense training enables her to understand the body and encourage her clients to progress. She approaches each client as an individual and is able to help people of all ages improve in stregth and flexibility. Anya likes to nourish and challenge her students, and most importantly, guide them to access their full potential. She believes that everybody, from an athlete to an artist, can practive Pilates or Yoga. Movement not only helps connect mind and body, but also brings the benefits of mindfulness to different aspects of our life. stephen-hanna-adult Stephen Hanna Broadway:Hello, Dolly! starring Bette Midler, An American In Paris, On The Town (2014 Revival OBC), Billy Elliot The Musical (Older Billy/Scottish Dancer OBC). Off-Broadway: Silence! The Musical (Dream Lecter), I Married An Angel. National Tour: Come Fly Away (Sid), The Phantom Of The Opera 25th Anniversary Tour. Regional: Chicago Lyric Opera: Oklahoma! (Dream Curly), TUTS Houston: Jerome Robbins’ Broadway(Monotoney Soloist). Stephen started dancing at Shade Sisters Dance Studio, a neighborhood dance studio at the age of 3 in Pittsburgh, Pennsylvania. He went on to The Center for Theatre Arts where he enjoyed taking classes in Tap, Jazz, Ballet, and Musical Theatre. He then went on to study ballet under Roberto Munoz at The Point Park College Conservatory. While studying with Munoz he refined his ballet technique and was accepted into The School of American Ballet in New York City. At The School of American Ballet Mr. Hanna trained with Stanley Williams, Andre Kramerevsky, and Richard Rapp. He performed in various ballets in the school’s annual Workshop performances. A Midsummer Night’s Dream, The Four Temperaments, Rubies, Valse Fantasie, Divertimento No.15, and Symphony in Three Movements by Balanchine. Pas de Six from Napoli choreographed by Bournonville staged by Stanley Williams and Christopher Wheeldon’s Danse Bohemien. In 1997 he received the Mae. L. Wein award for outstanding promise and became a member of New York City Ballet. While at New York City Ballet he was promoted to the rank of soloist in 2004 and in 2005 was promoted to the rank of principal dancer. He danced principal roles in Balanchine’s A Midsummer Night’s Dream, Agon, Brahms Schoenberg Quartet, Chaconne, Concerto Barocco, Cortège Hongrois, Diamonds, Divertimento No. 15, Emeralds, The Four Temperaments, La Valse, Liebeslieder Walzer, The Nutcracker(Cavalier), Robert Schumann’s Davidsbundlertanze, Serenade, Stars and Stripes, Symphony in C(2nd movement), Tschaikovsky Pas de Deux, Tchaikovsky Piano Concerto No. 2,Tchaikovsky Suite No. 3(Elegie), and Western Symphony. In Robbin’s 2 and 3 Part Inventions, Dances at a Gathering, Fanfare, The Four Seasons, Glass Pieces, The Goldberg Variations, I’m Old Fashioned, Interplay, Les Noces, and Piano Pieces. In Martin’s Fearful Symmetries, Les Gentilshommes ,Octet, Swan Lake(Prince Siegfried, Benno), and The Sleeping Beauty(Gold, Blue Bird, Wolf). Richard Tanner’s Ancient Airs and Dances and Soirée. In Albert Evans’s Haiku and in Boris Eifman’s Musagete. Mr. Hanna also appeared in the film Centerstage during his time with City Ballet. In 2008 he made his Broadway Debut in Billy Elliot The Musical as Older Billy/Scottish Dancer. The 10 time Tony winning production was directed by Stephen Daldry and choreographed by Peter Darling. In 2009 he returned to New York City Ballet where he was a guest artist for the 2009/10 winter season. In the spring of 2010 Stephen returned to Billy Elliot The Musical and stayed with the show until it closed in Jan of 2012. The following week Mr. Hanna joined the national tour cast of Twyla Tharp’s Come Fly Away in the role of Sid. After eight months he returned to New York and joined the cast of Silence! The Musical where he played the role of Dream Lecter. Playing Dream Curly in Oklahoma! was next at The Chicago Lyric Opera. He had the opportunity to learn the original Agnes De Mille choreography from Gemze DeLappe who worked closely with DeMille and was a member of the first national tour of the show. He then went to perform in Spoleto, Italy where he partnered Alessandra Ferri in her return to the stage in The Piano Upstairs. Back in New York he went on to dance with Ballet Next and Intermezzo. With these companies Mr. Hanna danced ballets by Brian Reeder, Mauro Bigonzetti, and Claudia Schreier. In December of 2013 he took part in a Dance Lab for the show On The Town choreographed by Josh Bergasse. The summer of 2014 he reprised the roles he played on Broadway in Billy Elliot The Musical at Ogunquit Playhouse in Maine. In the fall of 2014, Mr. Hanna landed back on Broadway in the revival of On The Town directed by John Rando. Stephen had the pleasure of performing in The Macy’s Thanksgiving Day Parade and The Tony Awards with the cast of the show. When On The Town closed he joined the Broadway cast of An American In Paris until it closed in Oct of 2016. In 2017 l appeared again on Broadway in Hello, Dolly! Starring Bette Midler. After finishing his run at Hello, Dolly! he was lucky enough to work with Susan Stroman on a lab of The Beast in the Jungle written by Scott Thompson with music by John Kander. He made his Carnegie Hall debut in Candide directed by Gary Griffin and choreographed by Josh Bergasse. Recently he performed in I Married An Angel at City Center Encores. In 2010 Mr. Hanna started studying acting at The Barrow Group. He enjoys this new exploration of expression and has studied with Dani Super, Nick Demos, and Matt Newton. He has since appeared on television in Pose, Forever, Momsters: When Moms Go Bad, Boardwalk Empire, and All My Children. And the short film Fourth Position. linda-gelinas-adult Linda Gelinas Linda Gelinas was a principal dancer and Dance Captain with the Metropolitan Opera Ballet and has been recognized in the Metropolitan Opera archives, as having danced the most principal roles in the history of the Metropolitan Opera House at Lincoln Center. She performed with Edward Villella and Dancers, The Eglevsky Ballet, Alexander Godunov and Friends, The Pavlova Celebration Tour, The Nureyev-Joffrey Ballet Tribute to Nijinsky, The Boston Repertory Company, and more. Performing works by George Balanchine, Jerome Robbins, Agnes de Mille, Edward Villella, Jean-Pierre Bonnefoux, Christopher Wheeldon, Mark Morris, Doug Varone, Alvin Ailey, Carmen De Lavallade, Bob Fosse, Robert LaFosse, Sean Curran among others. Ms. Gelinas is the rehearsal director for the New York Dance Project. She teaches company class at the Metropolitan Opera, is on the faculty at the Juilliard School, Steps on Broadway, the Steps Youth Program and is a teacher and choreographer for the Hong Kong International Summer Program. She teaches company class for both Armitage Gone! Dance and Mordance. She also choreographed and taught for both the Miami City Ballet and the Joffrey Summer Intensives and was ballet mistress for the Festival Company at the Chautauqua Institution, under the direction of Jean-Pierre Bonnefoux. She has taught at New York University, Indiana University, the Blue Lake Fine Arts Camp, Manhattan Youth Ballet, Broadway Dance Center, Ballet Arts, and Columbia Performing Arts Center. Ms. Gelinas has been a guest teacher at multiple schools throughout the USA. She was the resident choreographer, and movement coach for the Marcello Giordani Young Artist Program and the Opera Children’s Chorus at the Crested Butte Music Festival. There, she choreographed Carmen, Magic Flute, L’Elisir d’Amore, Hansel and Gretel, Barber of Seville and Pirates of Penzance. Ms. Gelinas received her formal training at the Joffrey Ballet School and the Boston Ballet School. She is also a certified Pilates instructor and a graduate of the New York Film Academy. mackenzie-fey-primary Mackenzie Fey Mackenzie Fey began her ballet training at age four at the Performing Arts School of Central Pennsylvania and attended summer intensives at American Ballet Theatre in New York and Pittsburgh Ballet Theatre School. In 2012 she moved to New York City to attend Ballet Academy East. While at BAE, Mackenzie had the opportunity to perform in many new works by choreographers such as David Morse, Charles Askegard, and Emery LeCrone. Following graduation from BAE, Mackenzie was a member of the Colorado Ballet Studio Company for the 2014-15 season. From 2015-2017 Mackenzie was a part of the Graduate Program at Pittsburgh Ballet Theatre. She performed in George Balanchine’s Serenade, Harald Lander’s Etudes, and Michel Fokine’s Les Sylphides with Pittsburgh Ballet Theatre School, as well as Giselle and The Nutcracker with the main company. During her time at PBT, she was also a teacher in their Children’s and Student Division. From 2017-2019, Mackenzie was a company member with Avant Chamber Ballet in Dallas, Texas, where she performed new works by Michelle Thompson Ulrich, Katie Cooper, and Fernanda Oliveira, as well as George Balanchine’s Concerto Barocco. In Dallas, she also was also a teacher at Park Cities Dance and Hathaway Academy of Ballet. In 2019, Mackenzie returned to New York and is thrilled to be a faculty member at Ballet Academy East in the Young Dancer and Primary divisions. mackenzie-fey-YDD Lacey-Thomas-Adult Lacey Thomas Lacey Thomas, 28, born and raised in New York, began her dance training at the Dance Theatre of Harlem School under the direction of Artistic Director emeritus Arthur Mitchell at the age of three. Although Lacey trained primarily in ballet, she also studied modern, jazz, tap, and African. With the efforts of becoming as versatile as she could, Lacey joined the Lincoln Center Children’s Choir Division at the age of 10. Here is where she performed in major televised operas such as Porgy and Bess, Macbeth, Hansel and Gretel and others. While a full-time student at the City College of New York, Lacey received her graduate certificate from the Professional Training Program at the Dance Theatre of Harlem. Lacey continued her professional training with the Dance Theatre of Harlem Ensemble in 2009 to later join Charlotte Ballet II. There, she performed in major ballets such as Balanchine’s Western Symphony and Jean-Pierre Bounefoux’s Cinderella. She soon became one of the featured ballerinas in the Black Ballerina Documentary shown on WLNYH Network. Ms. Thomas has performed as a guest artist for various companies and events such as the Albano Ballet Company in Hartford, CT, Jacob’s Pillow Dance Festival, New York Philharmonic Orchestra’s “Dancing Across the Universe – The Waltz” and others. After starting her own open hip hop classes for all ages, Ms. Thomas was presented the opportunity to become the first Hip Hop instructor at the Dance Theatre of Harlem. Ms. Thomas always had a strong passion for choreographing Hip Hop. Among other accomplishments, Lacey has also become the first hip hop instructor of Central Pennsylvania Youth Ballet School. Lacey leads the dance department at Urban Academy Laboratory High School. With her efforts to branch out as a professional hip hop dancer/choreographer, Ms. Thomas formed her own Hip Hop-based dance company, LEGACY, in 2018. LEGACY has since gave young dancers a platform to train intensely and share their talents as versatile dancers. Lacey is thrilled to lead a LEGACY of her own. vanessa-martinez Vanessa Martínez de Baños Vanessa is a recognized dancer, teacher and choreographer who currently co-directs the company DoubleTake Dance in NYC (www.DoubleTakeDanceCo.com). Featured twice in Dance Informa Magazine DTD has recently received several commissions: Rock that Rolls choreographic commission for Dancing Wheels in Cleveland, OH; HTChen New Steps residency NYC; Next Step commission and performance for JPAC NYC. Honored with a professional development scholarship from the Spanish Ministry of Culture to study abroad, she later became the resident choreographer for the musical theatre production company Tela-Katola in Spain. Shows: “I Love You, You’re Perfect …Now Change” and “Tick Tick…BOOM!”. Currently she dances and choreographs for DoubleTake Dance (SummerStage; Battery Dance, NY Half Marathon, Ailey Theater; Carnival, Webster Hall; Gerald Lynch Theater, Dixon Place, Teatro la Tea, Jazz Choreographers Project, T. Madrid, Triángulo), Daniel Gwirtzman Dance Company. Other companies: De Funes Dance, BalaSole Dance, Noir Tribe Media, Burnt Sugar, Ikada, J.T Lotus Dance Co. She had the pleasure to work for choreographers such as Germaul Barnes, Ryan Beck, Derek Mitchell, Guillém Alonso, Gabrielle Lasner, Alan Onickel, Lynn Schwab (Tap City -Symphony Space) and Tony Waag (Career Transition for Dancers Gala at City Center). Featured dancer in “DIY Nutcracker” (NY), “Rabi Thakur: A ballet on the Life of Rabindranath Tagore” (NJPAC); Momentum Dance Theater: “The jazz Hip Hop Nutcracker” (Washington D.C ), “Steel City Rhythm” workshop by RSW & associates; “Where Dreams Become Reality” (NY). Other shows include The Little Opera Theater of NY ś “Mitridate” ; ABT’s “The Golden Cockerel” at the MET, “Arrival” at Theater 80; “LOVEartJAPAN” Benefit show for Japan. She has performed as a dancer, model or actress for international brands and commercials: L Ó REAL, Heineken, Ameriprise, Athleta, NYRoadRunners, Tag Heuer, Yahoo, Ursus Vodka, KDDance, Lush Cosmetics/Gorilla Perfumes, El Pais newspaper, channel Tele5, Fuse TV, XBox/Kinect (Times Square with NeYo and Lady Sovereign) Fashion Center Arts Festival, One Truth, Dru Cutler and the Rachel Ray Show. Film credits include “The Ryde of Tom & Valkyrie”, & “Friends With Benefits” with Justin Timberlake (IMDB 2011) Vanessa is passionate about her teaching career. Faculty at Steps, BAE, Joffrey Ballet School, Peridance and a Tap City Leader she’s been featured on CNN and NBC. Vanessa has also been a guest teacher in numerous studios around the world (Alonzo Lines in San Francisco; LeHigh Valley Alliance in Pennsylvania; Round Rock Repertory, and Tarrytown Dance in Austin; V. Ullate, Arte de Bailar, Luthier, Latelier, Ross in Spain; T- Stage in México…) and she also teaches and judges at conventions around the USA. stacey-calvert Stacey Calvert Pre-Professional Division Faculty Stacey Calvert was born and raised in Columbia, South Carolina and began her ballet training at the Calvert-Brodie School of Dance, studying with her Mother and Godmother. In 1980, Ms. Calvert entered the School of American Ballet, the official school of the New York City Ballet—and remained there for three years. She joined New York City Ballet’s corp de ballet in 1983. In 1992, Ms. Calvert joined William Forsythe’s Frankfurt Ballet. She returned to New York City Ballet in the winter of 1993. Ms. Calvert was promoted to the rank of Soloist in 1994, dancing with the New York City Ballet for 17 years. Stacey began teaching full time in the dance department at the University of South Carolina in 2003. She held the positions of Distinguished Artist in Residence, Associate Artistic Director for the USC Dance Company, and Director of Curriculum for the after school program at USC. Stacey is now on faculty at Ballet Academy East in New York City. She is also a répétiteur for the George Balanchine Trust as well as a master teacher. amos-machanic Modern (Horton Technique) elisabeth-halfpapp Elisabeth Halfpapp Young Dancer Division Faculty (Hamptons Location) At just five years old, Elisabeth enrolled in ballet school in New Jersey; this started her love affair with dance. She holds a degree in Dance Education and has performed and taught for the Hartford Ballet, Princeton Ballet, and Mercer Ballet. She continues to perform annually in Dances Patrelle’s The Yorkville Nutcracker as “the Dutch mom”. With a strong foundation in dance, Elisabeth was inspired to share her passion with others through teaching ballet, Barre Fitness, and yoga. Elisabeth is part of the exhale founding team, Miraval’s Senior Director of Mind Body Fitness/Yoga, and co-author of the Barre Fitness book. She oversees exhale’s and Miraval’s mind body fitness/yoga programs, teacher trainings, exhale Barre Certification program, exhale Yoga Teacher Training, and retreats while teaching a robust class schedule. As a member of exhale’s founding team, she leveraged 20+ years of teaching to co-create the company’s highly publicized exhale Core Fusion and exhale Barre Fitness program along with continually developing the exhale Barre Teacher Training program. ashten-banister Ashten Banister Ashten Banister is an actor, singer, dancer, choreographer and writer. She graduated from Rider University with a Bachelor of Fine Arts in Musical Theater and recently received a certificate of completion from The Bristol Old Vic Theatre School in England for an Acting for the Camera Short Course. She has worked professionally at Park Playhouse in Singin’ in the Rain, and at Arundel Barn Playhouse in A Chorus Line, Legally Blonde, My Fair Lady, and 8-Track Sounds of the 70’s. Her favorite roles in college were Cassie in A Chorus Line and Dorcas in Seven Brides for Seven Brothers. www.ashtenbanister.com ashley-carter Both internationally as well as in the U.S., Ashley is passionate about her work as a dancer, teacher and choreographer. Primarily trained in New York, she has studied and worked in many different styles from ballet to lyrical, modern, tap, hip-hop, contemporary, and musical theatre. She has had the opportunity to perform and/or choreograph at venues such as Jacob’s Pillow, Teatro Madrid, The Gerald Lynch Theater, The Barrow Street Theater, SummerStage, The Highline Ballroom, Webster Hall, BB Kings and the Ailey Theatre. Ashley is also on faculty at Ballet Academy East, and Joffrey in New York, various schools in Mexico and Spain; former faculty at Peridance, and has taught at Broadway Dance Center, Steps on Broadway, and Ballet Arts in New York City, Lines Dance Center in San Francisco, Tony Williams Dance Center and Green St Studios in Boston and Tarrytown Dance in Austin. She can be seen working alongside artists such as Ricky Martin, NeYo, Lady Sovereign, Nicki Minaj, Cam’ron and Mila Kunis, for companies like Pilobolus, Derek Mitchell, Daniel Gwirtzman, Hanna Q Dance, Germaul Barnes/Viewsic Expressions, Ruddur Dance, Momentum Dance Theater, Variations Theatre Group, the Little Opera Theatre of NY, Moochaloo and Balasole, and for brands such as Nike, Athleta, Nokia, Ursus Vodka, Microsoft, Heineken, Yahoo, Ameriprise, the Rachel Ray Show and Lush Cosmetics. She has been seen off-Broadway in shows like West Side Story and 3 to 1. She was invited to Madrid to teach at the Association of Dance Professionals and choreograph for Spanish recording artist Nuria Elosegui. Ashley performed in Sia’s music video “Soon We Will Be Found”, in Central Park Summerstage, in a Boost Mobile commercial, danced in a feature film with Justin Timberlake, and is credited with choreographing independent feature film “The Ride of Tom and Valkyrie”. She has performed with the European show “Compradores de Sueños”, premiered the Legendary Dance Project at the Museo del Barrio and has completed her fourth season of New York City’s Summerstage. Recently, Ashley was featured in the original dance film “Here We Go Again” (dir. Nathan Cohen), has performed two seasons as Fritz/Rat King/Russia in “DIY Nutcracker”, danced in “The Barber of Seville” with the Amore Opera, and worked on a production of “Peter Pan” for Broadway Asia. Ashley has choreographed several full-length shows for the company DoubleTake Dance (www.DoubleTakeDanceCo.com) that she co-directs with Vanessa Martínez de Baños, and is very proud of DoubleTake’s performance in the City Parks Summerstage festival, Battery Dance Festival, Carnival Choreographer’s Ball, etc. Additionally, with the company, she is credited with directing/choreographing a benefit for Japan and the latest commercial for Fuse TV and Dropps laundry detergent; and routinely traveling to the West Coast, Europe and Mexico to teach contemporary workshops. Recent credits include choreographic commissions for the world-renowned Dancing Wheels Company, HT Chen’s NewSteps, JPAC’s Next Stage Residency, and the Montclair Performing Arts program; choreography for the new musical “Dragula”, and was also a choreography grant recipient from Eryc Taylor Dance. katie-ross-adult Katie Ross Katie Ross grew up in Pittsburgh, Pennsylvania and moved to New York City to attend Marymount Manhattan College, where she received her B.A. in Dance with a Body, Science & Motion concentration and Neuroscience minor. Katie received her 200 hour yoga teaching certification at Inhale Pittsburgh and enjoys teaching yoga for the adult division at BAE. She also loves assisting children’s ballet classes and greeting all the teachers and students as a front desk administrator. katie-ross-YDD caitlin-maxwell-primary Caitlin Maxwell Caitlin trained in Ohio at Sharrons School of Dance and Cleveland City Dance Academy, and is a former Miss Dance of America (DEA). She received a BFA in dance from Marymount Manhattan College. Professionally she has danced with Eidolon Ballet and 277 Dance Project. Caitlin has taught at BAE since 2005. jenna-lavin-primary Jenna Lavin Jenna Rae Lavin is originally from Queens, New York. She began her ballet training with Mme. Gabriela Darvash and Jody Fugate. She later graduated from the School of American Ballet where she studied with such teachers as Alexandria Danilova, Antonia Tumkovsky, and Stanley Williams. Ms. Lavin began her professional career at 17 when she was invited to join the Chicago City Ballet, under the direction of Maria Tallchief. Ms. Lavin also danced with the Atlanta Ballet, directed by Robert Barnett, for seven years. Her principal and soloist roles with the Atlanta Ballet include: Balanchine’s Prodigal Son, The Four Temperaments, Serenade, Tarantella Pas de Deux, Minkus Pas de Trois as well as Le Corsaire Pas de Deux, A Midsummer Night’s Dream, Swan Lake, and The Nutcracker. Ms. Lavin was a principal dancer with the Nashville Ballet where she danced Odette/Odile in Swan Lake, the title role in Giselle, and principal roles in the company’s contemporary repertoire. Other professional affiliations include the Los Angeles Ballet, under the direction of John Clifford. Ms. Lavin spent eight summers as a member of the Chautauqua Ballet Company, under the direction of Jean-Pierre Bonnefoux, where she performed principal roles in ballets by Balanchine, Bonnefoux, and Clifford. She is a former soloist with Edward Villella’s Miami City Ballet, where she danced principal roles in many ballets including Divertimento #15, Jewels, Pas de Dix, Raymonda Variations, Valse Fantasies, Western Symphony, Glinka Pas de Trois, The Nutcracker, and Who Cares?. Ms. Lavin has worked with numerous choreographers, creating principal roles in ballets by Alonzo King, Lisa de Ribere, and Stanton Welch, to name a few. In the summer of 2003, Ms. Lavin performed in Casablanca, a collaboration between Warner Bros. and John Clifford’s Los Angeles Dance Theater. Ms. Lavin has been teaching ballet to young dancers throughout her career. She has been on faculty at BAE since 2003 teaching in the Pre Professional Division. Ms. Lavin has also choreographed over 20 ballets for BAE. She is married to Cornel Crabtree and they are the proud parents of three boys – Sky, Grayson and Cooper. anne-kelly-primary Anne Kelly’s experience in ballet includes performing, teaching, staging, and choreographing. She trained at the School of American Ballet for ﬁve years before attending Barnard College of Columbia University. While at Barnard, she studied with Francis Patrelle, Lourdes Lopez, Kate Glasner, and Allegra Kent. She performed works by George Balanchine, Lew Christiansen, Elisa Monte, Karla Wolfangle, Daniel Pelzig, and Lila York. She graduated magna cum laude with a B.A. in English and Dance. Ms. Kelly has danced with New York City Opera in their productions of Semele, Pirates of Penzance, and Candide, and she has performed with Dances Patrelle in Is That All There Is?, Murder at the Masque, Gilbert and Sullivan, The Ballet!, and The Yorkville Nutcracker, for which she also serves as Ballet Mistress. In 2012, Ms. Kelly founded her own company K/M•D/M, which is an elegantly modern ballet company that performs to live music. As Artistic Director and Choreographer, she has produced 5 Seasons for K/M•D/M in NYC. She has been on faculty at Ballet Academy East since 2005, teaching in the PreBallet, Primary, PreProfessional, and Adult Open Class Divisions. sarah-feliciano-primary Sarah Feliciano Sarah Feliciano trained at Eliot Feld’s Ballet Tech New York City Public School for Dance under the direction of Christine Sarry and Daniel Levans. While attending the school, she was given the opportunity to perform at The Joyce Theater. Sarah graduated from Dean College with her Bachelors Degree in Dance with a minor in Psychology in 2015. She graduated Summa Cum Laude, and was a member of the Golden Key and National Society of Leadership and Success. While at Dean, she trained with Boston Ballet’s Laura Young and performed ballets such as Don Quixote, Napoli, Tarantella, and Coppélia. Sarah has worked at Ballet Academy East’s Summerdance since 2011, and joined the Young Dancer Division faculty in 2015. cornel-crabtree-enrichment Cornel Crabtree Enrichment Division Faculty Cornel Crabtree was born in Tripoli, Libya. He began dancing at fourteen and trained under full scholarship at both the San Francisco Ballet School and the School of American Ballet. Former teachers include Anatole Vilzak, Stanley Williams, Alexandria Danilova, Andrei Kamarevsky, and Gabriella Darvash, with whom he trained extensively. Mr. Crabtree was a member of New York City Ballet for ten years, where he danced principal roles in a wide variety of ballets, such as Balanchine’s Serenade, A Midsummer Night’s Dream, Jewels, Vienna Waltzes, The Nutcracker, and Jerome Robbin’s Dances at a Gathering, In the Night, and Goldberg Variations, to name a few. Mr. Crabtree has performed on television in Bournonville Dances, which was telecast as part of PBS Dance in America series, and A Midsummer Night’s Dream Live from Lincoln Center broadcast. He was also invited to the Stars Shine for the Acropolis in Athens, where he danced Black Swan Pas de Deux. In 1989, he danced the title role of Oscar Wilde in the premiere of the Irish National Ballet’s production of “Oscar,” choreographed by Domy Reiter-Soffer. In 1990, he danced Swan Lake at the National Theater in Taiwan. From 1990-92 he was a principal with Miami City Ballet, where he performed in Balanchine’s Bugaku, Square Dance, Glinka Pas de Trois, Jewels, Scotch Symphony, Concerto Borrocco, Pas de Dix, and Stars and Stripes Pas de Deux, as well as Petipa’s Sleeping Beauty. Mr. Crabtree has appeared as a principal quest artist with Pacific Northwest Ballet, Festival Ballet Providence, Ballet Austin, and The Daring Project. With these companies he performed in Paquita, Romeo and Juliet, Carmen, Esmerelda, Flower Festival, and La Sylphide. From 2000-01 he was a principal with Joffrey Ballet of Chicago, where some of his repertoire included Flemming Flint’s The Lesson, Ashton’s Monotones, and Arpino’s Kettentanz. A few of the new ballets created on him were Lambros Lambrou’s Byzantium, Remembrances, The Rite of Spring, and Stanton Welch’s Orange. In 2004 he performed John Clifford’s Casablanca, which premiered in Beijing. Mr. Crabtree has performed the roles of Slavemaster/Solo Dancer for the Broadway and National tour productions of Phantom of the Opera. Mr. Crabtree has been on faculty at Marymount Manhattan College, Broadway Dance Center, Ballet Arts, and Fieldston School of Ethical Culture. valerie-cortier-primary Valerie Cortier Primary & Enrichment Division Faculty Valerie Cortier began her training in South Bend, Indiana, at Flint’s Dance Studio, and also trained at Joffrey Ballet Summer School. She received a BFA in dance from Webster University, and has performed with several companies including: Eidolon Ballet, Common Thread Contemporary Dance Company, The Puppeteers Cooperative at Lincoln Center’s “Out of Doors” Festival, and Webster Dance Theatre. She has also performed in the NYC Fringe Festival and several choreography showcases in NYC. She has been a member of the faculty at BAE since 2004. danielle-cortier-primary Danielle Cortier Danielle Cortier received a BA in Dance and Dance Education from Ball State University, where she was a member of Ball State Dance Theatre. Company credits include being rehearsal director and dance captain for Eidolon Ballet in Concert, and Mariana Bekerman Dance Company. She has done works by Jen Medina with Common Thread Contemporary Ballet, performed with The Puppeteers Cooperative at Lincoln Center “Out Of Doors,” and even danced behind Twenty One Pilots on “Late Night with Seth Meyers.” She has danced in the NYC Fringe Festival and several choreography showcases. Danielle is currently Assistant Choreographer and dancer for Keiko Fujii Dance Company based in Osaka, Japan. She has taught at BAE since 2008, and is also our Birthday Party Coordinator. courtney-conner-enrichment Courtney Conner Courtney Conner received a BFA from NYU Tisch School of the Arts. She has danced with Alvin Ailey Dance Theatre Workshop and performed in the national tour of Sesame Street Live!. Courtney is a member of Dances Patrelle and has been a faculty member at BAE since 1992. elizabeth-walker-primary Elizabeth Walker Elizabeth Walker’s ballet training began in South Carolina with Don and Patricia Cantwell in Charleston, S.C. and continued with Ann Brodie in Columbia, S.C. Following two summer courses at the School of American Ballet in New York, Elizabeth was invited to stay for full time study on scholarship at the age of 15. She received a Princess Grace Foundation-USA Award Dance Scholarship and Nancy Davis Reagan Award in 1988, and a scholarship in the name of Alexandra Danilova and the Mae L. Wien Award for Outstanding Promise in 1990. At the age of sixteen, Elizabeth was invited by Suki Schorer and Merrill Ashley to take part as a demonstrator in “Balanchine Essays,” a video series cataloguing Balanchine technique produced by the George Balanchine Trust. Elizabeth was offered an apprenticeship with the New York City Ballet in 1990 and joined the corps de ballet in 1991. Among the dozens of roles she danced, many were featured or principal roles in ballets by George Balanchine, Peter Martins, Jerome Robbins, Lynn Taylor Corbett, and David Parsons. In June 2009, Elizabeth retired from performing after 19 years with NYCB. Elizabeth taught on the faculty of the School of American Ballet, the official school of NYCB, from 2001-2007. Since 2009, Elizabeth has served as senior faculty at the New York State Summer School of the Arts (NYSSSA) School of Ballet. Elizabeth joined the faculty at Ballet Academy East in 2007, teaching for the Pre-Professional Division and adult open classes. elizabeth-portnoy Elizabeth Portnoy Elizabeth Portnoy trained at Ballet Academy East, LaGuardia High School for the Performing Arts, and Studio Maestro. Elizabeth has performed with Dances Patrelle, New York Theater Ballet, K.M/D.M, and Dramastics. She taught in the Young Dancer Division at BAE for 10 years. She graduated from Hunter College with a Masters in Dance Education. Elizabeth has been teaching barre fitness since 2015. She teaches at Equinox Gym and is CPR certified. Ayako Hirasawa Ayako began piano lessons at the age of three. She attended the Soai Conservatory of Music in Osaka, Japan and received her classical piano training from Motoko Nakata. Later she studied composition with a leading Japanese composer, Osamu Katsuki. Ayako has lived in Japan, Russia, and the U.K. and has collaborated with number of filmmakers, photographers, dancers, and theatre directors. International festivals have selected some short films in which her compositions were featured. Her passion for music and art brought her to New York City in 2016, and since then she has been accompanying ballet and vocal classes in Manhattan. As an avid dance enthusiast for many years, Ayako is literate in the technical aspects of ballet and is thoroughly familiar with the vast ballet repertoire. She enjoys dancing herself, and takes ballet classes and dances the Argentine tango. janice-kelly Janice Kelly Janice Kelly is a 200-hour RYT through Pure Yoga in NYC and has over 10 years of yoga training and experience. She first took a Bikram yoga class to supplement her ballet training, and soon realized her yoga practice was going to be much more. She found the meditation exercises that helped her into challenging poses were just as empowering and effective in conquering the challenges of everyday life. Janice honors the integrity of traditional yoga teachings while making them practical in today’s world. Her class is centered around the vinyasa technique of breath and fluidity between poses. She teaches yoga for inner peace, strength, joy, a quiet mind, and the highest self. Before teaching yoga, Janice worked as a technology investment analyst at a hedge fund, as well as a professional Broadway and ballet dancer. Janice is also the founder of ShapeDate, which currently provides a full list of dance class schedules, studios, and instructors in NYC. paul-mckibbins Paul McKibbins Concerts: NY Philharmonic, Cincinnati Pops, Hollywood Bowl Orchestra, Boston Pops, and NY Pops. Recordings: The IT Girl, Follies, Tokio Confidential, Setting Standards, Suite of Dances from West Side Story. TV: The Muppets (EMMY nomination), The Sunshine Boys, Martha Stewart’s Christmas. Film: Unzipped, Suspicion. Theater: The Boy Friend, I Hear Music!. Ballet: Suite of Night Waltzes, Morgause. As publisher/editor for Sondheim, Kander & Ebb, Corigliano, Maltby & Shire, Wright & Forrest, and others, Mr. McKibbins has released over 100 editions. Composer-In-Residence at U. Bridgeport, MacDowell Colony Fellow. B.Mus., M.Mus., Manhattan School of Music. olga-bazilevskaya Olga Bazilevskaya A graduate of Moscow Conservatory College (Russia), Ms. Bazilevskaya was the musical director of Ballet Hispanico for seven years, as well as Gelsey Kirkland Ballet for six years. For over twenty years she has worked as an accompanist with professional dance companies such as Joffrey Ballet, Alvin Ailey Dance Theater, American Ballet Theater, SAB, Juilliard School, Les Ballets Trockadero, Ellison Ballet, Steps, and Ballet Academy East. Olga also is an accomplished piano teacher and has developed a unique music workshop for dancers. roni-mahler Roni Mahler Adult Division Faculty, Guest Roni Mahler is a former ballerina who was trained by the renowned Madame Maria Yurieva Swoboda. Ms. Mahler performed principal roles with American Ballet Theatre and the National Ballet of Washington (D.C.), after beginning her career in her teens with the Ballet Russe de Monte Carlo. For over three decades, Roni was the Artistic Associate of Dennis Nahat’s internationally-acclaimed Ballet San Jose in California, where she taught, coached, and performed “character” roles. A native of New York City, Ms. Mahler’s teaching credits include Ballet Academy East, The Alvin Ailey School, The Juilliard School, The Joffrey School, Ballet Tech, and School of Dennis Nahat’s Ballet San Jose. Roni is a former tenured Assistant Professor and director of Dance at Kansas State University, where she initiated the KSU Dance degree program. Kansas State has since honored her with the Roni Mahler Ballet Studio and, for fifteen years, presented an annual award in her name. Roni choreographed for Cynthia Gregory and Fernando Bujones during their City Center season in New York, and created “Ballet Movement for the Athlete,” a fitness program she customized for the Cleveland Browns. Her 6-DVD collection “The Complete Guide To Teaching Ballet” enables dance teachers to explore training methods for all ages. A certified Pilates instructor, Roni is the author of numerous ballet class CDs and a stretching DVD for flexibility and range of motion. Each year, Ms. Mahler is invited by the prestigious Rancho La Puerta Spa in Tecate, Mexico, to return as a Specialty Presenter for its Ballet Week. jamie-salmon Jamie Salmon Jamie Salmon has over 35 years of experience as a professional dancer and educator. Her training began with Melissa Hayden, Dana Kennedy Paul Mejia, Juan Anduze, and continued at North Carolina School of the Arts, School of American Ballet (sponsored and mentored by Bob Fosse and Gwen Verdon), Joffrey Ballet NYC, and with Finis Jung and David Howard. Jamie’s performing career has included Joffrey Ballet Concert Group and extensive industrials, regional theater, commercials, and film. Jamie’s class is dedicated to the physical, mental and artistic development of the dancer, whether novice or professional. Jamie shares her passion for ballet with her students in a positive and nurturing environment, emphasizing clean technique, proper alignment, kinesthetic awareness and musicality, while using imagery and hands-on physical corrections throughout the class. benjamin-houghton Benjamin Houghton Benjamin Houghton has been a pianist at BAE since 2010. He graduated from Westminster Choir College. In addition to being a pianist, he is also a dancer, singer, and actor. elizabeth-walker juan-carlos-peñuela Juan Carlos Peñuela A native of Cali, Colombia, Juan Carlos Peñuela began dancing at the age of 12 with Incolballet, a ballet-centered secondary school. His teachers included artistic staff from the National Ballet of Cuba and several Russian ballet academies. After Mr. Peñuela’s graduation in 1986, Gloria Castro invited him to become a soloist with Columbia’s National Company, Ballet de Cali. During the seven years he was with Ballet de Cali, he danced throughout South America, Europe, and the Caribbean Islands. His repertoire consisted of leading roles in contemporary works as well as classical pieces, including the principal male in Les Sylphides, Colin in La Fille Mal Gardée, and Franz in Coppélia. In 1993, Mr. Peñuela moved to the United States to join Ballet Arizona in Phoenix, where he danced several pieces by artistic director and choreographer Michael Uthoff, and also created roles in new ballets by Violette Verdy and Helgi Tomasson. In 1996, he joined Dance Theater of Harlem, where he performed in many of George Balanchine’s works, including The Four Temperaments, Agon, Allegro Brillante, and Bugaku, as well as a variety of contemporary pieces. Mr. Peñuela then joined Pennsylvania Ballet in 1998-2004. He was featured in several roles in The Nutcracker, and in Lynne Taylor-Corbett’s Great Galloping Gottschalk. Most notably, he received critical praise for dancing the role of The Moor in Josè Limon’s The Moor’s Pavane. He also performed in new works such as Jeffrey Gribler’s Cricket Dances, Meredith Rainey’s Slight Shifts, and Matthew Neenan’s Sfrenato. Juan Carlos then worked as a freelance dancer, ballet master, and répétiteur based in New York City, working with various companies and schools all over the US and abroad. He has rehearsed & staged full-length ballets such as: Giselle, Don Quixote, Paquita, Sleeping Beauty, The Nutcracker, Swan Lake, Romeo & Juliet, Cinderella, Walpurgis Nights, Diana & Acteon, Flower Festival in Genzano, Les Sylphides, Spartacus, Carmen, Raymonda, and Le Corsaire, as well as works created by choreographers Chiara Ajkun, Meredith Rainey, Gloria Castro, and Diane Coburn Bruning, to name a few. Juan Carlos is currently the Ballet Master of Ballet Hispanico Company in New York City as well Senior Ballet Master for the School of Dance. He teaches company classes at Alvin Ailey American Dance Theatre and Alvin Ailey School. Mr. Peñuela is faculty member of Joffrey Ballet School and Marymount Manhattan College, both in New York City. francis-patrelle Francis Patrelle Francis Patrelle serves as the Artistic Director for Dances Patrelle. He holds a BFA from The Juilliard School. Mr. Patrelle is a former resident choreographer at Berkshire Ballet, a part of the faculty of Manhattan School of Music, and former chairman of the dance division at USDAN Center for the Creative and Performing Arts. Mr. Patrelle has choreographed on such illustrious dancers as Cynthia Gregory, Merrill Ashley, Judith Fugate, Lourdes Lopez, Jennifer Ringer, John Meehan, Donald Williams, Peter Boal, and Jock Soto. As resident choreographer, Mr. Patrelle has encouraged and guided the development of many young choreographers. Francis Patrelle has been a faculty member at BAE since 1979. tara-mora Tara Mora Tara Mora was raised in Queens, New York. Her ballet training began with Donja Joseph at Studio E School of Dance and continued, on scholarship, with The School of American Ballet, and at LaGuardia High School of the Performing Arts. Ms. Mora has enjoyed a professional career dancing in ballet companies throughout the United States including The Suzanne Farrell Ballet, Carolina Ballet, where she was a founding member, Cincinnati Ballet, and Alabama Ballet. Among the highlights of her fourteen year career was the opportunity to perform soloist and principal roles in Balanchine classics such as Serenade, Square Dance, Who Cares?, Monumentum/Movements, Diamonds, Concerto Barocco, and Scotch Symphony. Ms. Mora has also had the pleasure of dancing soloist and principal roles in the work of esteemed choreographers Lynn Taylor-Corbett, Robert Weiss, Kirk Peterson, Christopher Wheeldon, Wes Chapman, and Roger Van Fleteren. She is thrilled to be a member of the BAE faculty. joseph-malbrough Joseph Malbrough Pre-Professional Stretch Faculty Joseph Malbrough is a former principal dancer with Chicago City Ballet, Ballet Chicago, and L’Opera de Lausanne. He also performed with Makarova and Company, Pennsylvania Ballet, and Fort Worth Ballet. Joseph is a former ballet master and teacher, Jeunne Ballet in Lausanne, Switzerland. He has taught at BAE since 2005. olga-dvorovenko Olga Dvorovenko Olga Dvorovenko is a former principal dancer and ballet mistress with the Ukrainian State Academic Dance Ensemble. She was honored by the President of the Ukraine for outstanding artistic achievement. She is a faculty member at American Ballet Theater Studio Company and JKO school. In 2002, Olga was invited by ABT to dance the role of “Madame” in Antony Tudor’s Offenbach in the Underworld, and in 2006 the role of “Madam” in Kenneth MacMillan’s Manon. She has been a faculty member at BAE since 1998. danielle-cortier austin-walker Austin Walker Musician, Guest Austin Walker is an internationally recognized modern drummer that doubles on world percussion and is based out of New York City. Austin moved to NYC in 2005 from Massachusetts to attend the Manhattan School of Music. There he studied with faculty drummer John Riley, while achieving a Bachelors and Masters in Music. Austin has performed and conducted as a musical director for the Jose Limon Dance Company. Austin maintains an active and busy life in the arts and music scene of New York City. He is currently a faculty accompanist for Ballet Academy East as well as the 92Y. www.austinwalkermusic.com steven-mitchell Steven Mitchell A celebrated figure in dance accompaniment, Steven Mitchell has accompanied and performed with some of the most esteemed dance institutions. He is currently the ballet rehearsal pianist for the Metropolitan Opera in New York City. Steven holds a Bachelor of Music in Piano Performance from Houghton College, NY, a Master of Music in Piano Performance, and a Master of Music in Piano Pedagogy from Southern Methodist University, Dallas, TX. From 1992-1998 he was a staff pianist for Boston Ballet Center for Dance Education; while there he performed as soloist and with Boston Ballet Orchestra. From 2000-2002 he held the position of Company Pianist for Pittsburgh Ballet Theatre; from 2000 – 2004 he held the keyboard chair for the Pittsburgh Ballet Orchestra. In the 2010 and 2011 seasons, he was the rehearsal pianist for Dutch National Ballet, the Netherlands. He was class pianist for the Columbia Pictures film Center Stage, his music can be heard in the film The Curious Case of Benjamin Button, and he was also heard during the ballet class scenes of the TV series Flesh and Bone on the Starz network. In New York City he has played for most of the major companies and schools, and he holds a special place in his heart for Ballet Academy East and its director Julia Dubno. annie-lebeaux Annie Lebeaux Annie Lebeaux has been a professional pianist since 1970, when she graduated from Boston Conservatory in her native New England. In addition to serving as musical director for over 60 regional shows, she’s had a wide range of experience both behind the scenes and as a performer. Some favorites include 5 years with the New York Renaissance Faire, touring with orchestras, playing Broadway shows in Europe, 9 years performing on the Delta Queen Steamboat, and 5 years performing on the American Orient Express train. For the last several years she has been playing for ballet, finally using the classical music she learned at the conservatory so long ago. sofiya-leavsie Sofiya Leavsie Sofiya Leavsie graduated from the Belorussian State Conservatory. She held the position of Head of the Theory Department at the School of Arts in Belarus. After moving to the USA, Sofiya studied composition at the Juilliard School. She accompanied ballet classes at the Usdan Center for Performing Arts, where she was very lucky to meet Francis Patrelle, who brought her into the world of dance. Currently, Sofiya has accompanied classes at Ballet Academy East since 1995. She also plays for classes at American Ballet Theatre, Ballet Tech, Cedar Lake, The Juilliard School and Hunter College. michael-kooman Michael Kooman Michael Kooman is a composer and pianist living in NYC. As a writer of musical theater, he won a Jonathan Larson Grant in 2010, and was the first recipient of the Lorenz Hart Award in 2011 (along with his collaborator Christopher Dimond). Michael is currently under commission from the Kennedy Center. His musicals have been workshopped or performed at the American Conservatory Theater, ASCAP, Disney Musical Theater Workshop, The Williamstown Theater Festival, London’s Ambassador Theater, and the 2011 NAMT Festival of New Musicals. In 2011, Michael released an album of his music, Out of Our Heads: the music of Kooman + Dimond, on iTunes, which features some of Broadway’s biggest stars. As a pianist, he accompanies at NYU, Alvin Ailey, Rosie’s Theater Kids, and Ballet Academy East. benjamin-bradham Benjamin Bradham Benjamin Bradham, born in Greensboro, North Carolina, is a Juilliard School graduate with extensive background as a concert performer. Benjamin’s long involvement with the dance world includes frequent requests from international professional companies to play for company classes. Among these are American Ballet Theatre, Mark Morris Dance Group, Ballet Hispanico, Alvin Ailey American Dance Theater, Matthew Bourne’s Swan Lake, Les Ballets Trocadero de Monte Carlo, Dance Theatre of Harlem, and others. rosanne-soifer Rosanne Soifer Rosanne Soifer was born in New York City. Her music career encompasses many areas, including composing, arranging and production, and playing piano. She has lectured extensively on music business and life skills at the Institute of Audio Research (IAR) and the School of Audio Engineering (SAE Institute), and is now an adjunct at Touro College, all in NYC. Her music career began when she was fifteen, playing in a local youth dance band, and for dance classes and talent shows. She received a BS in Music from Indiana University’s renowned School of Music. Rosanne has worked as an accompanist for American Ballet Theater, and continues to play at many professional studios, schools, and college dance departments around the New York City area, including Ballet Academy East, SAB, Marymount Manhattan, Steps, and Peridance. She also works as a music director in the field of Jewish music. Other work experience includes dinner theater, single engagements, and as a road musician based in Nashville. In the 1980’s, she was the first female business agent hired by Musicians Local 802 in NYC. In 1994, Rosanne Soifer and Steve Danenberg arranged and published the CHANUKAH SUITE for pops orchestra. It continues to receive numerous performances each year by over 30 orchestras around the country. Their pops vocal piece PUT OUT THE DARKNESS was premiered by the Tacoma Symphony and chorus in 2007. Her articles have appeared in many music industry publications such as Sound & Video Contractor, The Music Paper, and Pro Sound News. She also wrote the book Music In Video Production, published by Focal Press. Rosanne is a member of Musicians Local 802, ASCAP, and National Music Publishers Association. She lives in NYC. doug-schultz Doug Schultz Douglas Schultz (Pianist, Composer) began his association with dance at Bard College, his alma mater, as both a class pianist and performer. His first accompanying position upon his arrival in New York, more than 25 years ago, was at Ballet Academy East, a position he gladly holds to this day. During his years in New York, he has been on the music staff of American Ballet Theatre, was guest Company Pianist for Dance Theatre of Harlem, and held the title of Company Pianist for the Joffrey Ballet preceding their move to Chicago. He has also been on the staff of many major New York dance schools, including the Alvin Ailey and Martha Graham schools. He currently works at Ballet Academy East, Adelphi University, and is a senior pianist at Steps Studios, where he accompanies Wilhelm Burmann, David Howard, and Nancy Bielski, among others. In addition, he has composed and recorded extensively for ballet and modern dance, creating both original ballets and music for ballet class. His class music is recorded under his own label, Cynosura Sound. mary-beth-roberts Mary Beth Roberts Mary Beth has been a ballet accompanist with BAE since 1990. She has also worked at New York City Ballet, American Ballet Theatre, School of American Ballet, Eliot Feld Ballet, Steps, Broadway Dance, Eglevsky, Alvin Ailey, Ballet Arts, and The Metropolitan Opera. Mary Beth was a scholarship student at The Oberlin Conservatory, where she received her degree in Piano Performance. She also studied with Herbert Stessin and Nadia Reisenberg from The Juilliard School. renee-ong Renee Ong Renee Ong is a composer, orchestrator, and pianist from Singapore. As a dance pianist, she performs with dance companies and pre-professional schools like Dance Theatre of Harlem, Singapore Dance Theatre, New York Theatre Ballet, Harlem School of The Arts, Ballet Tech Public School, Ballet Academy East, and Singapore School Of The Arts. She also music directs musical theatre and collaborates with independent filmmakers. lali-mirry Lali Mirry Lali Mirry was born in Tbilisi (now Republic of Georgia). She graduated from the Georgian State Conservatory, and received her M.D. at Livonian State Conservatory (Vilnius, now Livonia). Lali was a soloist with the Georgian State Philharmonic. She has been living in New York since 1994, and has accompanied classes at BAE since 1996. Lali has also accompanied dance classes at the Juilliard School, American Ballet Theatre, Ballet Tech, and City Center. joan-matthews Joan Matthews Joan Matthews has a BA in Music from SUNY Empire State College. She accompanied for a number of schools in London while living there for several years. Joan has been filling the BAE studios with her beautiful music since 1992. eleonora-marder Eleonora Marder Eleonora Marder was born in Moscow, Russia. She is a graduate of the Academic Music College of the Moscow State Tchaikovsky Conservatory and The Gnesins Russian Academy of Music. Her professional career as an accompanist began when she was 17 years old at a vocal studio. It continued at Novosibirsk Conservatory, where she worked with both instrumentalists and vocalists. Eleonora was a head pianist at the Samarkand Opera Theater in Uzbekistan. Upon her return to Moscow, she worked as an accompanist at The Gnesins College for over 15 years. Her career in ballet accompaniment began in 1995 at Dance Adventure in Greenwich, CT. Eleonora has accompanied ballet classes at Ballet Academy East since 2001, as well as at The Juilliard School, Ballet Arts, and City Center. rich-klessig Rich Klessig Rich Klessig has been a dance accompanist for over 20 years. His ballet “Don Juan” has been performed by Ballet Oklahoma and the Oklahoma City Philharmonic Orchestra, and he has an album entitled “Quiet Jazz for Solo Piano.” Mr. Klessig holds a Bachelor’s Degree in Music Performance from the Berklee College of music in Boston, and currently plays piano and percussion for Ballet Acadamy East, Alvin Ailey, and the 92nd Street Y. tomoko-kawaguchi Tomoko Kawaguchi Tomoko Kawaguchi is a graduate of Manhattan School of Music. In addition to her classes at Ballet Academy East, Ms. Kawaguchi has worked with notable ballet masters from American Ballet Theatre, New York City Ballet, Bolshoi Ballet, San Francisco Ballet, and The Juilliard School. Her repertoire is versatile, ranging from classical music to ragtime. Ms. Kawaguchi loves accompanying character classes, and has been playing for Ms. Olga Dvorovenko’s character class at BAE for the past 3 years. colleen-jones Colleen Jones Colleen has been a ballet accompanist for the past five years. She received her extensive classical training in Canada and did her jazz studies in New York. Colleen is currently an accompanist with Ballet Academy East, the 92nd Street Y, and Mark Morris Dance Group. ludmilla-halfen Ludmilla Halfen Ludmilla Halfen, pianist and piano teacher, is a St. Petersburg Conservatory graduate. She toured with the Moscow State Concert Association, Mosconcert. Ms. Halfen was a faculty member of Bela Bartok School of Music and Franz Liszt Academy of Music in Budapest, Hungary. She played for Briansky Saratoga Ballet Center summer program for 16 years, and has been a faculty member at BAE since 1990. mikhail-golubitskiy Mikhail Golubitskiy Mikhail Golubitskiy holds a masters degree in music from the Gnessin Musical Institute in Moscow. After graduating he worked as a professor and conductor in Ufa (Russia). Since moving to the New York in 1993, Mikhail has been a ballet accompanist at many ballet schools including Ballet Academy East, Peridance, Steps, Broadway Dance Center, American Ballet Theatre and Long Island University. barbara-gayny Barbara Gayny Barbara Gayny studied composition as a scholarship student with Lee Kraft at the Aaron Copeland School of Music. She has been playing piano for Ballet Academy East for 25 years. Barbara has also worked with the Alvin Ailey Dance Foundation, Elliot Feld, Joffrey II, New York University, Princeton University, City University of New York, and the 92nd Street Y. Barbara was the Polish translator/lyricist for Pope John Paul II’s musical play, Jeweler’s Shop, performed at Carnegie Hall, the Kennedy Center, and the United Nations. She performed and recorded with composer Mieczslaw Litwinski’s ensemble in the the mid-to-late ’80’s. Barbara’s vocal music has been performed and recorded by Libana on Night Passage, Sbanachie label, and Singing the Stories of the West, Hal Leonard Publications. Barbara has performed with her husband, nationally acclaimed singer/songwriter and western entertainer Ernie Sites, in the US and Great Britain, including the 2002 Winter Olympics in Utah. Barbara’s focus is on integrating music with dance, storytelling, and audience participation in a variety of musical styles. Her primary instrument is piano, but Barbara also loves to sing and play the vibraphone and riqq, the Arabic tambourine. whitney-gardner Whitney Gardner Whitney Gardner is a pianist and piano teacher in New York City. In addition to being a gifted ballet accompanist at BAE, she is a dedicated piano teacher and the founder/artistic director of In The Pocket NYC: a Co-op of Teaching Musicians (www.inthepocketnyc.com). Whitney studied at Carnegie Mellon University, earning both a Bachelor of Fine Arts and a Master of Music in Piano Performance. miles-fusco Miles Fusco Miles Fusco earned B.S. and M.S. degrees from The Juilliard School of Music as a scholarship student of Adele Marcus. He has performed as soloist and chamber musician on four continents, and made formal recital debuts at Carnegie Recital Hall in New York and The Wigmore Hall in London. He was appointed a Steinway Artist by Henry Steinway III. Miles brings a special expertise to dance, having been Company Pianist for American Ballet Theater for 12 years, where he worked with such artists as Mikhail Baryshnikov, Cynthia Gregory, Cheryl Yaeger, Susan Jaffe, Fernando Bujones, Rudolph Nureyev, and Margot Fonteyn. He toured with Gelsey Kirkland, Patrick Bissell, Kyra Nichols, Wendy Whelan, Natalia Makarova, and worked with choreographers Alvin Ailey and Twyla Tharp. Though most closely associated with ABT, Miles has also worked with New York City Ballet, Berlin Ballet, National Ballet of Canada, The Royal Winnipeg Ballet, and The Kirov. amanda-johnson Accompanists Faculty Amanda is originally from North Carolina. She received a BFA in dance performance from Oklahoma City University, where she also performed with the American Spirit Dance Company. In addition to ballet, Amanda is also a licensed Zumba instructor. jessica-cox Originally from Richmond VA, Jessica Anne Cox received her Bachelor of Music from Westminster Choir College in Princeton, NJ. Prior to moving to NYC, she was an accompanist with American Repertory Ballet’s Princeton Ballet School. She is an actress and singer and has appeared in a variety of productions in the tri-state area. coty-cockrell Coty Cockrell Coty earned his Bachelor’s Degree from Jacksonville State University in Classical Piano Performance, with a minor in Art. He then completed his Master’s Degree in Jazz Composition and Vocal Jazz at North Carolina Central University, where he graduated Summa Cum Laude. He was invited to perform in the 2012 Fiji International Jazz and Blues Festival, as well as international jazz festivals in Canada and South Africa, and in 2015 crafted a nation-wide concert/workshop series in conjunction with the US Embassy in Colombo, Sri Lanka. In addition to his jazz experience, Coty is heavily involved in musical theater, having worked on several regional and Off-Broadway productions. Some professional credits include Allegro, Ragtime, West Side Story, Jesus Christ Superstar, Songs for a New World, and The 25th Annual Putnam County Spelling Bee. His passion for creative collaboration has led him to the dance world, where he is often found accompanying ballet classes at Steps on Broadway, Ballet Academy East, and the Joffrey Ballet School. He is also the principal company pianist with Dance Theatre of Harlem, with whom he has had the pleasure of touring to Austria, Italy, Canada, and Israel. michael-cherry Michael Cherry Michael Cherry has been associated with Ballet Academy East as a staff pianist for more than 20 years. He has also served as Company Pianist and Soloist for Dance Theatre of Harlem from 1996 through 2004. He has also extensively performed as a piano soloist for The Limon Company. He has recorded five CDs of Music for Ballet Class. Michael holds a Masters Degree in Composition from the Manhattan School of Music, and was a recipient of the BMI Young Composers Award. amanda-johnson-primary Amanda Johnson kevin-carpenter Kevin Carpenter Kevin Carpenter began his piano training with Lee Rickaway in Brazoria, Texas, and studied voice with Catherine Wafford and Katherine Ciesinski. He has sung with the Houston Symphony Orchestra, Austin Lyric Opera, and the Houston Masterworks Chorus. He was a music associate at First United Methodist Church of Austin, Texas, and on faculty with Ballet Austin for seven years before moving to New York in February of 2010. Kevin can now be heard in New York City at Ballet Academy East and Steps, as well as in cabaret clubs around Manhattan. jamie-rae-walker Jamie Rae Walker Pre-Professional Modern Faculty Jamie Rae Walker began her ballet and Graham-based modern dance training at age eight in Levittown, Pennsylvania and later she performed with the Princeton Ballet, now American Repertory Ballet. In 1991 she began training at the Central Pennsylvania Youth Ballet, and in 1992 was awarded a scholarship by Violette Verdy at the Northeast Regional Dance Festival. Jamie Rae joined Miami City Ballet in 1994 and performed principal and soloist roles in Balanchine and Taylor dances until 2000. In 2001 she received a scholarship to attend The Taylor School and was part of the original cast of Twyla Tharp’s Broadway show, Movin’ Out. Jamie Rae joined Taylor 2 in fall 2003, and became a member of the Paul Taylor Dance Company in summer 2008. Jamie Rae has been teaching the modern classes within the BAE Pre-Professional Division since 2011. anne-kelly Modern, Pilates & Stretch Faculty Anne Kelly graduated Magna Cum Laude from Barnard College of Columbia University with a BA in English and Dance.She trained at the School of American Ballet and has been a member of the BAE faculty since 2004. courtney-conner rosanna-seravalli Rosanna Seravalli Born in Florence, Italy, where she started ballet classes at Daria Collin’s School, Ms. Seravalli joined the Joffrey Ballet shortly after her arrival in the U.S. She then moved to American Ballet Theatre, where she spent the next eleven years, attaining the rank of soloist. After leaving ABT, Ms. Seravalli joined the faculty of the Conservatory of Dance at Purchase College where she taught, staged, choreographed, rehearsed, and took on other academic responsibilities. She was invited to Taipei, Taiwan, to work with the Cloud Gate Dance Theatre and the National Institute of the Arts. In that same year, she was also invited to teach at the Hong Kong Academy for the Performing Arts. She has returned to teach at both institutions many times. Ms. Seravalli has been visiting ballet mistress for Ballet Philippines in Manila, where she rehearsed, staged, and taught classes for the school as well as for the company, with whom she went on a National Tour throughout the islands. Ms. Seravalli was also invited as a guest teacher and ballet mistress for the Ballet Municipal de Santiago and as a visiting teacher at its school. In addition, she has returned many times to her home country to teach, stage, and consult. Ms. Seravalli has received a SUNY Research Foundation Grant to travel to the former Soviet Union to develop methods for adapting Russian classical training for American dancers. She received a Fulbright Fellowship to Chile, which allowed her to return to Ballet Municipal de Santiago. She has traveled throughout Chile and neighboring countries, giving seminars and master classes. Ms. Seravalli has worked with Guangdong Modern Company in Guangzhou, China, and was invited to teach at the University of Melbourne’s Victorian College of the Arts and at the Queensland University of Technology’s dance program in Brisbane, Australia. Ms. Seravalli was featured in Dance Magazine in an article entitled “Rosanna Seravalli: Teacher’s Wisdom.” Ms. Seravalli has choreographed and taught master classes for the Nanyang Academy of Fine Arts in Singapore, and has been invited to teach at the school of the Houston Ballet and in Nagoya, Japan. She is currently a member of the faculty of American Ballet Theatre’s Summer Intensive Program in New York City, and is certified from levels Preliminary through Five in ABT’s National Training Curriculum. In addition, she teaches regularly at a number of schools in New York City and throughout the country. In the fall semester of 2014, Ms. Seravalli was on a leave of absence from the Conservatory of Dance at Purchase to accept an invitation to work in Taipei, Taiwan, where she taught at the Taiwan National University of the Arts (TNUA), gave master classes to Cloud Gate Dance Theatre’s school, and taught, choreographed, and staged for the Lan Yang Youth Catholic Center in both Taipei and Luotong. In January, 2015 Ms. Seravalli returned to her position as Professor of Dance at Purchase College. ana-luisa-baptista Ana Luisa Baptista Born in Rio de Janeiro, Ana Luisa Baptista currently performs with Ballet for Young Audiences. She is a certified Pilates instructor, trained by Peter Roel, Phoebe Higgins, and Susan Moran. She is a faculty member at Vaillancourt Studio since 1994, a faculty member at Pilates Shop/Yoga Garage Inc., and a faculty member at BAE since 1994. julie-voshell ginger-thatcher Ginger Thatcher Ginger Thatcher has taught ballet for Norwegian National Ballet, Steps on Broadway, Cleveland Ballet, Houston Ballet Academy, Joffrey New School, Minnesota Ballet, USDAN, PeriDance, University of Michigan, Oakland University, Rutgers University, and BAE since 2002. Ginger’s choreography credits include: Billy The Kid, Pinocchio, Verb Ballets, “Swing” for Maine State Music Theatre, Wild Women of Planet Wongo for the NY Music Festival, The Umbrellas of Cherbourg for Two River Theatre Company, the film “Far From Heaven,” and Maury Yeston’s new musical, “Hans Christian Anderson” for Maine State Music Theatre. Other New York credits include: Syncopation (Stamford Theatre Works), Big (Gateway Playhouse), The Lucky Chance (Jean Cocteau Rep., NYC), The Winter’s Tale and Othello (NYC Shakespeare Project), Barrio Babies (Amas Theatre Group NYC), and TV’s As The World Turns. Broadway Credits, as Associate, Assistant, and Resident Choreographer include: The Red Shoes, Carousel, Big, Matthew Bourne’s Swan Lake, Oklahoma!, A Year with Frog and Toad. Other Credits: PBS Othello (San Francisco Ballet, ABT), The Red Shoes (ABT, National Ballet of Canada), A Brahams Symphony (ABT), and Disney’s Hunchback of Notre Dame (Berlin), all with Lar Lubovitch. She has also worked on “But Not for Me” (Martha Graham Dance Company) and “Take Five” (PNB), with Susan Stroman. angelina-salama Angelina Salama Angelina is an experienced yoga and pilates professional, drawing from both modalities and her dance background to give insightful and challenging classes that synchronize movement and breath. Trained as a power vinyasa yoga teacher, she also studied restorative yoga and children’s yoga, bringing aspects of deep restfulness and playfulness into her core-centered classes. Her yoga path has also included journeys into Ashtanga and Anusara yoga, and has been guided at different times by the wisdom of Rodney Yee, Cyndi Lee, and Charles Matkin. Her training in pilates has been through Power Pilates and the countless hours of practice needed to support her dance. Whether in yoga or pilates, Angelina strives to teach her students how to move intelligently and find the balance between effort and surrender. don-paradise Don Paradise Don Paradise trained with Mme Maria Swaboda, Leon Danielion, and Anotole Vilzak at the Ballet Russe de Monte Carlo, and is a former principal member of PACT Ballet in South Africa. He worked with Roland Petit, Françoise Adret, and Frank Staff, and is a former member of Ruth Page International Ballet. Don has been a faculty member at BAE since 1989. meaghan-maxwell Meaghan Maxwell Meaghan Maxwell holds a BFA in Dance Performance from Ohio State University. She has performed with Eidolon Ballet and JT Lotus Dance Company. Meaghan has been teaching at BAE since 2008. lisa-lockwood Lisa Lockwood Lisa Lockwood danced with the American Ballet Theatre for ten years, subsequently with Feld Ballet, and was an original cast member of Phantom of the Opera. The choreographers she worked with personally include Anthony Tudor, George Balanchine, Twyla Tharp, Natalia Makarova, Mikhail Baryshnikov, Glen Tetley, Eliot Feld, and Sir Kenneth McMillan. She currently teaches at Ballet Academy East and Steps on Broadway in New York. She has been a member of the faculties of Broadway Dance Center, Ballet Hispanico, and Alvin Ailey, and is an in-demand guest teacher at many international institutions such as the Metropolitan Opera, The Royal Ballet School (Denmark), Kaatsbaan Dance Center (New York), Juilliard, Joffrey Ballet, and Edmonton Ballet. Additionally, she teaches and coaches private students who are motivated to bring their ballet proficiency to the highest possible level. Anne Kelly’s experience in ballet includes performing, teaching, staging, and choreographing. She trained at the School of American Ballet for ﬁve years before attending Barnard College of Columbia University. While at Barnard, she studied with Francis Patrelle, Lourdes Lopez, Kate Glasner, and Allegra Kent. She performed works by George Balanchine, Lew Christiansen, Elisa Monte, Karla Wolfangle, Daniel Pelzig, and Lila York. She graduated magna cum laude with a B.A. in English and Dance. Ms. Kelly has danced with New York City Opera in their productions of Semele, Pirates of Penzance, and Candide, and she has performed with Dances Patrelle in Is That All There Is?, Murder at the Masque, Gilbert and Sullivan, The Ballet!, and The Yorkville Nutcracker, for which she also serves as Ballet Mistress. In 2012, Ms. Kelly founded her own company K/M•D/M, which is an elegantly modern ballet company that performs to live music. As Artistic Director and Choreographer, she has produced 5 Seasons for K/M•D/M in NYC. She has been on faculty at Ballet Academy East since 2005, teaching in the Pre-Ballet, Primary, Pre-Professional, and Adult Open Class Divisions. cornel-crabtree enrique-brown Enrique Brown Enrique Brown is a theatrical performer, director, choreographer, and producer. He also travels the country teaching ballet, jazz, and theater dance. He began his training in Dallas, and continued with numerous instructors all over the nation, including schools like the Houston Ballet Academy and Virginia School of the Arts. Enrique proceeded to spend four seasons with Ballet Oklahoma as a principal/soloist dancer. From there, Mr. Brown went on to become an actor/singer/dancer in many Broadway, national touring, regional, and stock productions. He was last seen playing multiple characters in the Broadway production of The Little Mermaid at The Lunt Fontaine. Other Broadway credits include Fiddler on the Roof, The Music Man (where he performed the role of Tommy Djilas), and Oklahoma!. He can also be seen dancing in the film titled “Across the Universe,” directed by Julie Taymor. Enrique is the founder of Brown Productions, a theatrical production company based in New York City. It is dedicated to developing and mounting Broadway and West End musicals and plays for the commercial theatre. marina-bilterijst Marina Bilterijst Marina Bilterijst is originally from the Netherlands and received her BFA in Dance at Codarts, Rotterdam. In the Netherlands, Ms. Bilterijst danced with Scapino Ballet Rotterdam before moving to New York in 2013. In 2014, she received the Steele Pilates Mat Certification with Teri Lee Steele and has been teaching Pilates since then at several locations throughout New York City. Currently, Ms. Bilterijst is a dancer with Nimbus Dance Works, where she is also an instructor at the Nimbus’ School of Dance. At the moment, Marina teaches Pilates group classes as well as private sessions on both mat and apparatus. Over the past two years, Marina has broadened her Pilates knowledge by taking continuing education workshops for the stability ball, foam roller and pre/post-natal. Her classes are based on the Pilates Principals, incorporating the classic Pilates exercises and a constant introduction of new variations within these exercises. Every class starts with proper breathing techniques to prepare you for an intense workout using your deeper abdominals in each exercise. maximilien-baud Maximilien Baud Maximilien Baud trained at the School of American Ballet for 10 years under the guidance of Peter Martins, Jock Soto, Peter Boal, Olga Kostritzky, and Andrei Kramarevsky. While a student, he performed with the NYC Ballet and was part of the original cast of two world premieres: Organon by Elliot Feld and Scenes de Ballet by Tony Award-winning choreographer Christopher Wheeldon. Mr. Baud began his professional career with the Carolina Ballet under Robert Weiss. There he would work with choreographers such as Lynne Taylor Corbett, Robert Weiss, Damian Woetzel, and Christopher Wheeldon. In 2005, Mr. Baud joined the Pennsylvania Ballet under the directorship of Roy Kaiser and would perform principal roles in ballets by Jerome Robbins, Peter Martins, George Balanchine, and many more. In 2009, Mr. Baud had the opportunity to work on the Oscar-nominated film Black Swan, by Darren Aronofsky. In 2010, he joined the national/international tour of Billy Elliot the Musical performing the role of Older Billy, and was nominated for a Helen Hayes Award for Best Supporting Performer in a Musical. He was in the ensemble of the national tour of Flashdance the Musical (based on the iconic 80’s film) under the directorship of Tony Award-winning choreographer, Sergio Trujillo. Maximilien has reprised his role of Older Billy in regional productions of Billy Elliot with the MUNY, North Carolina Theater, and the North Shore Music Theater company. Mr. Baud has had the opportunity to teach at numerous dance studios around the country, as well as coach the young Billys from Billy Elliot. Currently, he is on the staff at The Joffrey Ballet School. He helped co-create the Joffrey Ballet School Musical Theater Summer Intensive, where he holds the position of Associate Director. He also serves as a teacher and an adjudicator for Sheer Talent, the international dance competition. While teaching, Mr. Baud enjoys enriching the lives of dancers through discipline and a passion for the arts. shirley-bassat Shirley Bassat Shirley Bassat studied with Vickie Sheer, Harry Asmus, Barbara Fallis, Richard Thomas, and Dick Andros. She danced with Elena del Cueto, Dover Ballet, and U.S. Terpsichore. Shirley has taught at New York School of Ballet, Harkness Dance Center, Bronx House Music School, BOCES in Syocset, Usdan, and is currently teaching at 92nd St Y. Shirley has been teaching at BAE since 1989. wendy-amos Wendy Amos Wendy Amos teaches Body Conditioning based on the principles of Joseph Pilates. She received an MA from the Teachers College at Columbia University. Wendy is a former student and company apprentice with Dance Theatre of Harlem. She has been a faculty member at Alvin Ailey American Dance Center since 1977, a faculty member in Anatomy and Kinesiology at Marymount Manhattan College since 1997, and a faculty member at BAE since 1996. julia-dubno Julia Dubno “One thing that makes Ballet Academy East exceptional is our dedication to the personal development of each student. While expectations are high, so is our level of caring.” The founder and director of Ballet Academy East, Julia Dubno began her ballet studies at the age of eight with Edwina Fontaine. She later studied with Francis Patrelle, Dick Andros, and Richard Thomas, and subsequently attended the Juilliard School where she studied with Hector Zaraspe and Afredo Corvino, as well as other noted teachers. Early in her studies at Juilliard, she realized her true interest was in teaching and administration. In 1978, she was asked by her mentor, Christine Fokine, to run the Fokine Ballet School. That experience led to opening Ballet Academy East in a brownstone on East 79th Street with one small studio in 1979. Today the school has five spacious studios and a world-renowned faculty, and continues to flourish. As director of the school, Julia Dubno continues to oversee the day-to-day operations and is in close contact with the faculty in order to be kept abreast of all areas of the school. ashley-talluto Ashley Talluto Young Dancer Division Faculty, Guest Ashley Talluto received her BFA from The Boston Conservatory. She trained at the Boston Ballet School under the direction of Laura Young. She has danced professionally with Eidolon Ballet, Ballet For Young Audiences, Inclined Dance Project, and Directions Dance Ensemble. She is currently signed with Mcdonald/Selznick Associates for commercial dance in NYC. She has been teaching at BAE since 2008. caitlin-maxwell yuki-kittaka Yuki Kittaka Yuki Kittaka received a BFA and MFA from Tisch School of the Arts at New York University. She has performed with Ei Kasahara Ballet Company and Chubu Festival Ballet Company in Japan. Yuki has been a faculty member at BAE since 1998. Young Dancer Division Faculty, Principal Amanda Johnson is originally from North Carolina. She received a BFA in Dance Performance from Oklahoma City University. She performed with the American Spirit Dance Company before moving to New York City in 2012. Amanda has been a member of the BAE faculty since 2013 and was appointed as Principal of the Young Dancer Division in January, 2020. In addition, Amanda also teaches Dance Cardio within the BAE Adult Division. sarah-feliciano savannah-cobb Savannah Cobb Savannah Joy Cobb is originally from North Carolina, where she began serious ballet training at the age of nine under Galina Panova. At the age of fourteen, she began doing summer programs, including the Joffrey Ballet Intensive, CAMP: Common Art Mutual Passion, and David Parsons Intensive/Choreography Lab, as well as working on a site specific piece by Mark Dendy at the Museum of Modern Art. While growing up, she traveled up and down the East Coast performing, where she won many titles at Conventions/Competitions including the Future Star Award Winner for Dance Spirit Magazine. In 2011 she moved to New York City to train in Broadway Dance Center’s Professional Semester, where she was able to perform for Glamour and Details Magazines’ End of the Year Celebration, as well as for New York City’s Choreographers Canvas. Savannah then chose to work as an entertainer at Hershey Park before beginning school at The University of the Arts in Philadelphia. Since then, Savannah has been in many works created by Dwight Rhoden, Douglas Becker, Roni Koresh, and Sidra Bell. During school she was lucky enough to travel to France, perform in RAW: Artists of Philadelphia, World of Dance, and The Capezio Ace Awards. In 2016 her short film, Àme, was an official selection of the Philadelphia Screendance Festival. Having graduated with honors, Savannah has now had the opportunity to dance for Broadway Cares with DRA, Destiny Rising at the Joyce Theater, and has been involved in Project 4 5 20 with Pushing Progress. ariella-aharon Ariella Aharon Ms. Aharon began her training in Syracuse, New York, and continued her studies at Princeton Ballet, CPYB, NYSSSA affiliated with NYCB, and BAE. She attended the Conservatory of Dance at Purchase College, performing works by George Balanchine, Betti-Jane Sills, and Stephanie Tooman. While at Purchase, she was selected to perform a piece choreographed by Stanton Welsh in collaboration with American Ballet Theater studio company. Ms. Aharon realized her passion for teaching when she was given the opportunity to assist classes at Ballet Academy East in 2003. She is currently a senior faculty member of the school and is also delighted being one of the Ballet Masters for Dances Patrelle’s “The Yorkville Nutcracker”. alan-hineline Alan Hineline Pre-Professional Division Faculty, Guest A lifelong advocate for the arts, Alan Hineline delivers a rare blend of business acumen and artistic expertise with a proven track record of motivating organizations to achieve their artistic and strategic missions. As Chief Executive Officer of Ballet San Jose, Hineline led all aspects of the organization’s mission fulfillment – working closely with trustee and artistic leadership on strategic initiatives, board development, financial stewardship, institutional marketing and fundraising campaigns, and artistic programming. Hineline served as CEO for Central Pennsylvania Youth Ballet (CPYB) from 2009 to 2014. His strategies to expand the CPYB profile and develop financial support of the organization’s mission put CPYB on a path toward long-term sustainability and viability for future generations of students and audience members. Previously, Hineline lead Ballet Philippines, in Manila, as Chief Operating Officer and Artistic Director. In his role, he oversaw a complete rebranding of the organization including repertoire expansion, artistic development of the company artists, and a heightened institutional profile. Hineline returned to the CPYB faculty with a broad range of international teaching credentials. He is a sought-after choreographer/ballet master and has created more than 25 works for Central Pennsylvania Youth Ballet. His body of work can also be seen in the repertories of American Ballet Theatre Studio Company, Pennsylvania Ballet, Atlanta Ballet, Kansas City Ballet, and The Juilliard Dance Ensemble, among many others. Hineline sits on the national advisory board of Regional Dance America. He is the founder of Central Pennsylvania Youth Ballet’s choreographic initiative, ChoreoPlan. Among his many awards is the Choo-San Goh Award for Choreography from the Choo-San Goh and H. Robert Magee Foundation, as well as multiple National Choreography Awards from Regional Dance America. stacy-caddell Stacy Caddell Stacy Caddell was born in Norfolk, Virginia, where she began her dance training at the age of 5. She later attended the School of American Ballet, where she was invited to join the New York City Ballet by George Balanchine and was eventually promoted to soloist. In 1991, Stacy joined Twyla Tharp’s dance company. She toured with Ms. Tharp and Mikhail Baryshnikov in the full evening production of “Cutting Up.” Stacy later assisted Ms. Tharp at American Ballet Theatre on “Known By Heart,” and also assisted Ms. Tharp at the New York City Ballet on “Beethoven’s Seventh.” From 2002-2005, Stacy served as the Dance Supervisor on Twyla Tharp’s Tony Award Winning Broadway show “Movin’ Out” and was also instrumental in staging its first national tour. She has performed on PBS on four separate occasions. Stacy’s choreographic credits include the play “A Drama You Can Dance To,” the short film “Central Park,” The HBO series “The Sopranos,” the opera “Aida,” and three ballets for Ballet Academy East where she is currently a guest faculty member. Stacy travels nationally and internationally staging the works of Twyla Tharp. She also works for the George Balanchine Trust staging George Balanchine’s ballets. She has been a guest teacher at the Royal Danish Ballet and Les Ballets de Monte Carlo. Stacy lives in New York City. nicholas-ade Nicholas Ade Nicholas Ade is from Los Angeles, CA. He trained at San Francisco Ballet School and the University of North Carolina School of the Arts. He danced with the Pacific Northwest Ballet (PNB) from 1996-2006 under Francia Russell, Kent Stowell, and Peter Boal. While with PNB, Ade performed leading roles in George Balanchine’s The Four Temperaments and A Midsummer Night’s Dream; Ronald Hynd’s The Merry Widow; and Kent Stowell’s The Tragedy of Romeo and Juliet. He has also been featured in Balanchine’s La Valse, Prodigal Son, Symphony in C, Symphony in Three Movements, and Who Cares?; and Peter Martins’ Fearful Symmetries. He originated featured roles in Val Caniparoli’s Torqueand Nicolo Fonte’s Almost Tango and Within/Without. Ade joined Central Pennsylvania Youth Ballet as school principal in 2012, prior to serving as principal of the Pacific Northwest Ballet School’s Francia Russell Center, PNB’s Eastside School, under Artistic Director Peter Boal from 2006 through 2012. Ade also serves as permanent guest faculty at Ballet Academy East in New York City under artistic director, Darla Hoover and founder and director, Julia Dubno. He has taught throughout Europe and North America, including the Iliev Foundation in Bulgaria. Ade has also taught at Tri-Cities Academy of Ballet, Utah Regional Ballet, and the University of North Carolina School of the Arts. He also has been on faculty at several national and regional festivals for Regional Dance America (RDA). Ade’s relationship with RDA has also extended into adjudicating in 2010; as well as serving as host to the Craft of Choreography Conference (CCC) and Summer Intensive from 2007-2009 and has been on the faculty of the CCC from 2004 through 2009. He has served as host of PNB’s Eyes on Dance and Discover Dance outreach performances and has been Project Coordinator for PNB’s NEXT STEP (formerly Choreographers’ Showcase) since 2005. In November 2014, Ade was appointed chief executive officer of CPYB. Photo Credit: Joel Thomas Photography cheryl-yeager Cheryl Yeager Cheryl Yeager received her early training at Maryland School of Ballet, performing with the Maryland Youth Ballet. She went on to receive scholarships to study at both the School of American Ballet and American Ballet Theatre School. Cheryl joined American Ballet Theatre in 1976, was promoted to soloist in 1981, and then became a principal dancer in 1986. During Cheryl’s eighteen years at American Ballet Theatre, she performed leading roles in all the great ballets including Sleeping Beauty, Don Quixote, The Nutcracker, Coppélia, Cinderella, La Bayadère, Giselle, Études, La Sylphide, Raymonda, Swan Lake, Les Sylphides, Firebird, Gaite Parisienne, Graduation Ball, Flower Festival, Bournonville Pas de Trois, La Fille Mal Gardée, Napoli, Grand Pas Classique, Le Corsaire, Diana and Acteon, Anthony Tudor’s Leaves are Fading, Undertow and Fandango, Merce Cunningham’s Duets, Twyla Tharp’s Push Comes To Shove and Bach Partita, Frederick Ashton’s Rendez Vous and Les Patineurs, George Balanchine’s Theme and Variations, Donizetti Variations, Apollo, Bourrée Fantasque, Harliquinade, and Sylvia Pas de Deux. Cheryl originated leading roles in ballets including Twyla Tharp’s Brief Fling, Clark Tippet’s Bruch Violin Concerto, Lynne Taylor Corbet’s Great Galloping Gottchaulk, and Michael Smuin’s Peter and the Wolf. Cheryl has toured throughout the world with Alexander Godunov, Rudolph Nureyev, Peter Boal, Julio Bocca, and Mikhail Baryshnikov. She has been seen on television and video in Live From Lincoln Center: Raymonda, Giselle, Swan Lake, Les Sylphides, Sleeping Beauty, Don Quixote, and Billy the Kid, as well as Baryshnikov with Twyla Tharp, Baryshnikov’s Nutcracker, and Don Quixote with Julio Bocca. Cheryl is a summer faculty member at American Ballet Theatre and Central Pennsylvania Youth Ballet. She is also a well known private teacher and coach. Cheryl has been a much-loved senior faculty member in the Pre-Professional Division at Ballet Academy East since 2002. jenna-lavin gonzalo-garcia Gonzalo Garcia is a principal dancer with New York City Ballet. Born in Zaragoza, Spain, Mr. Garcia began studying ballet at the age of eight at Maria Avila’s school. In 1995, he attended the summer session at San Francisco Ballet School. Following this session, Mr. Garcia participated in the Prix de Lausanne, becoming the youngest dancer to receive a gold medal. He then returned to the School to resume his studies and was selected by Helgi Tomasson, Artistic Director of San Francisco Ballet, to perform in a world premiere ballet created especially for the 1996 Spring Student Showcase. Mr. Garcia joined San Francisco Ballet as a member of the corps de ballet in March 1998. In 2000, he was promoted to soloist, and in 2002 to principal dancer. Mr. Garcia was invited to perform Balanchine’s Ballo della Regina with New York City Ballet as part of the company’s Balanchine Centennial Celebration in 2004. Mr. Garcia joined New York City Ballet in October 2007 as a principal dancer. At San Francisco Ballet, Mr. Garcia’s featured roles included Balanchine’s Apollo, The Four Temperaments, “Rubies” from Jewels, Prodigal Son, Square Dance, Symphony in C, Tarantella, and Tschaikovsky Pas de Deux; William Forsythe’s The Vertiginous Thrill of Exactitude; Jerome Robbins’ Dances at a Gathering, Dybbuk, Fanfare, Glass Pieces, and Other Dances; Helgi Tomasson’s Giselle (Albrecht, Pas de Cinq), Romeo and Juliet (Romeo, Benvolio), Sleeping Beauty (Bluebird, Pas de Six), Swan Lake (Prince Siegfried, Pas de Trois, Neopolitan), and Mr. Tomasson and Yuri Possokhov’s Don Quixote (Basilio); and Christopher Wheeldon’s Polyphonia and There Where She Loved. In addition, Mr. Garcia created the roles of Nutcracker Prince in Mr. Tomasson’s Nutcracker and Aminta in Mark Morris’s Sylvia, and originated a role in Mr. Wheeldon’s Continuum. Mr. Tomasson coached Mr. Garcia in Balanchine’s Divertimento from ‘Le Baiser de la Fée’ as part of the George Balanchine Foundation Video Archives. photo: Erin Baiano cynthia-birdwell Cynthia Birdwell Cynthia Birdwell is originally from Houston, Texas, and began her training at the Asbury School of Dance. She then joined the Margo Marshall School of Ballet, and was a member of their student company. Cynthia attended High School of the Performing and Visual Arts as a Dance major, and spent her summers at School of American Ballet. Cynthia took a break from ballet and pursued a successful modeling career. She has been on the faculty of the BAE Pre-Professional Ballet Division since 1998. maxim-beloserkovsky Maxim Beloserkovsky A principal dancer with American Ballet Theatre, Maxim Beloserkovsky received his dance training at the Kiev Ballet Institute. In 1990 he danced as a leading soloist with the National Opera of Bulgaria where he remained for one year. From 1991 to 1994, he was a principal dancer with the National Opera Ballet of the Ukraine, and toured with them to numerous countries, including France, Germany, Spain, Hungary, Egypt, Japan, Mexico, Canada, and the U.S. He performed most of the major roles in the classical repertory: the Prince and Bluebird in Sleeping Beauty; Prince Siegfried and the Pas de Trois in Swan Lake; Albrecht in Giselle; Ferhad in Legend of Love; and the Pas de Deux from Le Corsaire, Don Quixote and La Sylphide. In 1993, Mr. Beloserkovsky was honored by the President of the Ukraine for outstanding artistic achievement. After joining American Ballet Theatre in 1994, Mr. Beloserkovsky was made a soloist in 1995 and was appointed principal dancer in 2000, following a brilliant season in which he was repeatedly cited for his superior artistry, “(adding) virtuosity to his pure classical style.” (Anna Kisselgoff, The New York Times.) His performance as Basilio in Don Quixote was a triumph: “The last Don Quixote of the season … had (partner and wife) Irina Dvorovenko and Mr. Beloserkovsky in a stunning display of integrated artistry and technique, a truly flawless and exciting performance.” (Kisselgoff, The New York Times.) Ms. Kisselgoff’s review of his 1999 Don Quixote hailed his performance as “perfect, and danced in sublime harmony and with breathtaking stylistic unity.” Mr. Beloserkovsky’s Siegfried in Ballet Theatre’s new Swan Lake also brought critical acclaim: “To see Irina Dvorovenko and Maxim Beloserkovsky step into the leading roles of Swan Lake was to see two outstanding dancers outdo themselves and enhance a 19th century classic with a splendid and mature performance.” “It is up to the principals to bring depth to the plot through their dancing. This is what Ms. Dvorovenko and Mr. Beloserkovsky did with unusual technical polish.” (The New York Times). Jennifer Dunning, reviewing Etudes in The New York Times, cited Mr. Beloserkovsky for his “forceful Russian-style attack, mixed here, characteristically, with a winning clarity of line and shape.” Equally confident in both classical and contemporary works, Mr. Beloserkovsky brings graceful dignity and elegance to his many roles. His repertoire with ABT includes Basilio and Espada in Don Quixote, Prince Desiré and Bluebird in The Sleeping Beauty, Siegfried in Swan Lake, Romeo in Romeo and Juliet, Albrecht in Giselle, Jean de Brienne in Raymonda, Oberon in The Dream, the lead in Theme and Variations, Conrad and Lankendem in Le Corsaire, Camille in The Merry Widow, Colas in La Fille Mal Gardée, Lensky in Onegin, Misgir in The Snow Maiden, James in La Sylphide, Franz in Coppélia, the Cavalier in The Nutcracker, Aminta in Sylvia, and the Prince in Cinderella. He has also danced leading roles in The Leaves are Fading, Lilac Garden, Dim Lustre, Brüch Violin Concerto, Mozartiana, Symphony in C, Symphonic Variations, Les Sylphides, Etudes, Apollo, Pas des Déesses, La Bayadère (Act II), and Variations for Four, as well as Sylvia Pas de Deux, Tchaikovsky Pas de Deux, and Paquita. His athleticism and style have also earned him leading roles in important contemporary works: Twyla Tharp’s Push Comes to Shove, The Elements and The Brahams-Haydn Variations, Nacho Duato’s Without Words and Remanso, Natalie Weir’s Hereafter, Mark Morris’s Drink to Me Only With Thine Eyes, Jiri Kylian’s Sinfonietta, John Neumeier’s Spring and Fall, Christian Spuck’s Le Grand Pas de Deux, Stanton Welch’s Clear, Peter Quanz’s Kaleidoscope, Martha Graham’s Diversion of Angels, and Jerome Robbins’s Afternoon of a Faun. Mr. Beloserkovsky has appeared as a guest artist with numerous companies, including the Hamburg Ballet, the Finnish Ballet, the Rome Opera Ballet, Verona Ballet, the Universal Ballet, and with Stars of the Bolshoi Ballet, and has been a guest with Asami Maki and at the National Theater in Tokyo. He has also appeared in several videos and television arts programs, including the PBS broadcast of the opening of the New Jersey Performing Arts Center, partnering his wife, ABT principal dancer Irina Dvorovenko, in the Swan Lake Act II Pas de Deux. He has been featured on the cover of Dance Magazine, Japanese Dance Magazine, New York Dance Fax, and Pointe, as well as in articles in People, Dancing Times, Dance Review, Gotham, Good Housekeeping, and Talk. With his polished technique and confident stage presence, Mr. Beloserkovsky easily meets the technical challenge of both the classical and contemporary repertory, making him one of American Ballet Theatre’s most versatile dancers. He and Ms. Dvorovenko are the proud parents of daughter Emma Galina, born in March 2005. charles-askegard Charles Askegard Born in Minneapolis, Minnesota (USA), Charles began his dance training at the age of five with Loyce Houlton and the Minnesota Dance Theatre. He continued his studies in Minneapolis until the age of 16, spending one summer at the School of American Ballet (SAB), the official school of New York City Ballet, in 1983. Mr. Askegard joined American Ballet Theatre as a member of the corps de ballet in 1987, and was promoted to soloist in 1992. His repertoire while at American Ballet Theatre included leading roles in Giselle, La Bayadere, Manon, Romeo and Juliet, The Nutcracker, Etudes, Voluntaries, The Rite of Spring, Symphonic Variations, Rodeo, Fall River Legend, The Other, The Red Shoes, Le Corsaire Pas de Deux, and Apollo. In 1997, Mr. Askegard left ABT to join New York City Ballet as a soloist. He served as Principal Dancer from 1998 until 2011. In 2002, he appeared in the nationally televised Live from Lincoln Center broadcast, “New York City Ballet’s Diamond Project: Ten Years of New Choreography” on PBS, dancing in Them Twos. And in May of 2004, he appeared in the Live From Lincoln Center broadcast of “Lincoln Center Celebrates Balanchine 100,” dancing in Vienna Waltzes. In addition to his appearances with New York City Ballet, Mr. Askegard has been a guest artist with The Dutch National Ballet, the National Ballet of Canada, Pacific Northwest Ballet, Ballet Etudes of South Florida, Bavarian State Opera Ballet, Minnesota Dance Theatre, Philippine Ballet Theatre, The Daring Project, and the Stars of American Ballet. He performed the leading roles opposite Barbie in the “Barbie” 3-D animated videos, dancing in Swan Lake, The Nutcracker, and the Twelve Dancing Princesses. He can also be seen in the documentary Ballet, directed by Fred Wiseman. Since joining New York City Ballet, Mr. Askegard has danced featured roles in works by several key choreographers of the 20th and 21st century, including George Balanchine’s Allegro Brillante, Apollo, Brahms-Schoenberg Quartet (Fourth Movement), Concerto Barocco, Coppélia (Frantz), Cortège Hongrois, Firebird, The Four Temperaments, George Balanchine’s The Nutcracker™, “Diamonds” from Jewels, Ivesiana, Kammermusik No. 2, Liebeslieder Walzer, A Midsummer Night’s Dream, Monumentum pro Gesualdo, Movements for Piano and Orchestra, Orpheus, Robert Schumann’s “Davidsbündlertänze”, Scotch Symphony, Serenade, Stars and Stripes, Stravinsky Violin Concerto, Swan Lake, Symphony in C, Tschaikovsky Pas de Deux, Tschaikovsky Piano Concerto No. 2, Tschaikovsky Suite No. 3 (Theme and Variations), Union Jack, Vienna Waltzes, Walpurgisnacht Ballet, Western Symphony, Who Cares?, Peter Martins’ Barber Violin Concerto, Fearful Symmetries, Morgen, Naïve and Sentimental Music, The Sleeping Beauty (Gold), Swan Lake (Siegfried and Russian), The Waltz Project, Harmonielehre, River of Light, Swan Lake, Them Twos, Thou Swell and Viva Verdi, Jerome Robbins’ The Four Seasons (Fall), Glass Pieces, In Memory of…, In the Night, Ives, Songs In addition to Eliot Feld’s Intermezzo No. 1, The Unanswered Question, Organon and Robert La Fosse’s “Rockin’ in Rhythm” from Duke!, Helgi Tomasson’s Prism (2000 Diamond Project ballet), and Christopher Wheeldon’s Carnival of the Animals. Charles Askegard is the Associate Artistic Director of Minnesota Dance Theatre. Darla Hoover “The quality of the training a dancer receives has an enormous impact on their future. BAE’s meticulous and comprehensive syllabus develops technically strong, expressive ballet dancers, who ultimately can adapt to any style.” Darla Hoover was trained at the renowned Central Pennsylvania Youth Ballet under the direction of Marcia Dale Weary and completed her studies on a full scholarship at the School of American Ballet. In 1980, after choreographing a solo for her in the New York City Opera production of Bourgeois Gentilhomme, George Balanchine invited Ms. Hoover to become a member of his New York City Ballet. From 1980-1991, Ms. Hoover appeared as a featured soloist in ballets such as Balanchine’s La Valse, Chaconne, Harlequinade, Ballo della Regina, as well as Peter Martins’ Eight Easy Pieces, Rossini Quartets, Sonata di Scarlatti, and Jerome Robbin’s Fanfare. Upon retirement, a full schedule of guest appearances throughout the United States and Europe further expanded her repertory experience. Ms. Hoover now focuses her attentions on teaching and staging ballets, including positions as the Artistic Director of Ballet Academy East’s Pre-Professional Division in New York City, and Artistic Director of Central Pennsylvania Youth Ballet, where she also directs a nationally recognized Teachers Workshop that instructs fellow dance educators on the syllabus and methodologies developed by Marcia Dale Weary. Ms. Hoover guest teaches all over the world, and has been invited to share her successful techniques at distinguished companies such as New York City Ballet, Boston Ballet, Pacific Northwest Ballet, Miami City Ballet, Joffrey Ballet, New National Theatre Tokyo, and Royal Danish Ballet. As a répétiteur, Ms. Hoover regularly stages works for the George Balanchine Trust. Recent stagings at major ballet companies such as the Stanislavsky Ballet, Royal Danish Ballet, American Ballet Theatre, Joffrey Ballet, New National Theatre Tokyo, and Dance Theatre of Harlem have included George Balanchine’s The Nutcracker, Raymonda Variations, La Source, Serenade, Scherzo à la Russe, Divertimento No.15, Valse Fantaisie, Concerto Barocco, Allegro Brillante, Tschaikovsky Pas de Deux, Stars and Stripes. Ms. Hoover was invited to stage George Balanchine’s Raymonda Variations at the Vaganova Ballet Academy in St. Petersburg, Russia. This performance marked the first time the esteemed Academy had ever performed a work by Mr. Balanchine.	cc/2020-05/en_head_0014.json.gz/line23
__label__cc	0.632556	0.367444	LISTEN TO THE BOB KAYE TRIO There's a series of 9 DVDs called Jazz Icons. I played at Rose Hall at Lincoln Center, a while ago with Franks Wess, Jymie Merritt , and Phil Woods to kick off the DVD release. I'm on the Buddy Rich one from The Hague in 1978, including my composition, "Grand Concourse". Click here to view the clip. Check out the other quicktime samples. http://www.jazzicons.com/ I have also played, recorded and written for the late, great Chris Connor for about 25 years. Here is a concert we did in Osaka in 1992, with Scott Lee on Bass and Vinnie Johnson on drums. Here are a couple of clips from a show I did with Anita O'Day a few years ago. Jim DeJulio is on Bass and Ed Caccavale on drums. It took place at the Fez Room in the Time Café in New York, around 2002. Lover Come Back.mp3 Is You Is Or Is You Ain't My Baby.mp3 To see my solo CD and hear samples, go here. Bob & Lenny clip at bottom! I played with The Buddy Rich band most of 1978. Click here for a youtube clip of the band in the Hague - 1978 Here are two audio clips from my days playing with Buddy Rich. First, from 3/13/78 in New Orleans "You Gotta Try" 2.The Buddy Rich Trio(Like Someone in Love) Tom Warrington on bass. "Like Someone In Love" is from a concert at Kansas State College, February 12, 1978. (Pic of the band at Disneyland 1978) Liza Minelli at Mayor Bloomberg's inaugral. For the last 20 or so years I have been working as pianist for Lainie Kazan. To find out more about what Lainie is doing these days, go here. OTHER PERFORMERS I HAVE WORKED WITH: Julius LaRosa Helen Schneider - I had the pleasure of playing and arranging for Helen and The Count Basie Orchestra at The Supper Club in NY, as part of the JVC festival a few years ago. It was quite memorable, being that it was Frank Foster's last appearance as leader of the Basie Band. HERE IS A CLIP https://www.youtube.com/watch?v=C8IvKjqv_1A I have played with many jazz artists through the years, including-Dizzy Gillespie, Stan Getz,Yusef Lateef, Hank Mobley, Woody Shaw, Clark Terry, Lionel Hampton, and Milt Hinton. The Buddy Rich Band I spent a memorable year as pianist and arranger with this band. Please stop by the Lenny Kaye Page. Lenny was my father and also was one of the great swing sax and clarinet players in the music business. Check out the picture gallery of him with some of the bands he had played with. (Including Benny Goodman and Tommy Dorsey.) There are seven sound clips. Go to the page for more clips! Please check out my Jean Shepherd Page. Shepherd was one of the great humorists of our century, along with Mark Twain, JamesThurber and George Ade. He had worked in all of the media. For those of you who aren't aware of him, (other than his movie "A Christmas Story"), take a peek. You won't be sorry! Might even open new worlds! (And possibly close a few!) Mail bk@bobkaye.com	cc/2020-05/en_head_0014.json.gz/line30
__label__cc	0.69432	0.30568	Social networking - one columnist's view I read the Press and Journal newspaper, the regional paper for the north of Scotland. One of its columnists is UK columnist of the year. Not if her outpouring in today's P&J is anything to go by: prejudiced to a P. Read for yourself - http://www.pressandjournal.co.uk/Article.aspx/1446590 Hurricane update - 4 November This afternoon, a tropical depression has formed in the far southwestern Caribbean Sea. It is located about 125 miles east of Nicaragua and is moving northwest. System 11L (Ida) could already be a tropical storm and will certainly be at that intensity at landfall, in the early hours of tomorrow (GMT). The main hazard is rainfall, and Nicaragua and Honduras could see 15 to 20 inches (375 to 500 mm) of rain, with possible maximum amounts of 25 inches (625 mm). Mudslides and flashfloods are a distinct possibility. The National Hurricane Center carries 3-hourly updates. Wednesday 4 November A very nice, sunny day here in the Western Isles and it's been dry all morning. Hardly any cloud in the sky, although there is a breeze going. The starlings, sparrows, finches, greenfinches, doves and other small fry is still having a good old go at the birdfeeders - they don't go far when I go out to rake up the last of the leaves. When a hooded crow came in to have a look, they retreated to a safe distance in the tree, and did not resume eating until after the black and grey crow had flown away. A baby is in hospital in Edinburgh, suffering from botulism. The 16-week old from Fife was admitted on September 19th, and is in a serious but stable conditions. I am surprised to hear of botulism in November; the disease, caused by a form of Clostridium bacteria, is commonly transmitted in hot weather, when the temperature in ponds etc exceeds 27C / 80F. It is carried by ducks, and that how the bacterium reaches humans. The clostridium bacterium lives in soil, and does not require oxygen for its life cycle. Tetanus is caused by another type of clostridium, and the hospital infection caused by Clostridium difficile takes a hold when someone's immune system is weakened. The war in Afghanistan continues to claim the lives of servicemen from the States and the UK; five British servicemen were killed by an Afghan policemen who fired on them. NATO forces ousted the Taliban from power in Afghanistan in 2001, following American intervention in the wake of 9/11. The Taliban have resorted to guerilla warfare, using roadside bombs as their most effective means of killing the foreign troops. The situation in the country begins to resemble that of the 1980s, when Soviet troops tried to take control. The purpose of the war is beginning to recede into the background, as not much progress is seen to be made. Elections were held recently which were far from devoid of fraud, and President Karzai, who was reelected by default after a challenger withdrew prior to a rerun of the poll, has pledged to root out corruption.	cc/2020-05/en_head_0014.json.gz/line39
__label__wiki	0.779544	0.779544	News: Scientists to drill beneath oceans http://atlantisonline.smfforfree2.com/index.php/topic,8063.0.html ‘Ghost Rider’ Rights Dispute May Be Headed to Trial Atlantis Online > Forum > Science Fiction & Fantasy > Comic Books > Comic Book Creators > ‘Ghost Rider’ Rights Dispute May Be Headed to Trial Author Topic: ‘Ghost Rider’ Rights Dispute May Be Headed to Trial (Read 44 times) June 12, 2013 \| 10:18AM PT Senior Editor @tedstew Marvel Ready to Crossover with ‘Phineas and Ferb’ Glenn Close Joins ‘Guardians of the Galaxy’ for Marvel Summer’s Effects to Heat up Screens Fox Wrapping Upfront Sales With Lower Volume As Cable Starts To Move A federal appellate court has set the stage for a trial over the rights to “Ghost Rider,” reversing a lower court decision that rejected a comicbook author’s claim to the character. The 2nd Circuit Court of Appeals, in a ruling issued on Tuesday, said that the language of a 1978 agreement between author Gary Friedrich was “ambiguous,” even though Marvel contended that the agreement, made in a form work-for-hire contract, assigned to it renewal term of the “Ghost Rider” copyright. Friedrich conceived and wrote the first comic book that introduced “Ghost Rider” in 1972. In a 2011 ruling, U.S. District Judge Katherine Forrest granted summary judgment to Marvel, concluding that the 1978 agreement did assign the copyright and that Friedrich also endorsed checks from the comicbook publisher. But a three-judge appellate panel said that a jury should decide whether the contract language assigned the rights, noting that the 1978 agreement makes “no explicit reference to renewal rights.” They also found fault with using the 1978 contract to mean that Friedrich’s work on “Ghost Rider” was “for hire,” noting that such a declaration cannot be made in a contract “ex post facto,” or after the fact. Friedrich has been pursuing the rights to the character since 2004, as plans were in the works for a movie adaptation eventually released in 2007 and starring Nicolas Cage. He had argued that he retained rights because he did some of his work as a freelancer, and that even though he signed over rights to the character, he did not sign over the rights to non-comic book use in films, TV and merchandising. The appellate court also upheld Forrest’s denial of Friedrich’s motion for summary judgment on the question of authorship of “Ghost Rider.” http://variety.com/2013/film/news/ghost-rider-rights-dispute-headed-to-trial-1200495504/?_r=true	cc/2020-05/en_head_0014.json.gz/line41
__label__wiki	0.562296	0.562296	The Celator VCoins.com Coin Auctions Aelia Eudoxia marries Arcadius. 27 April 325. By Marisa Ollero on 26 April, 2018 No Comments / 195 views On 17 January 395, Theodosius I succumbed to death. Arcadius succeeded him in the Eastern Roman Empire and Honorius in the Western Roman Empire. Arcadius was effectively placed under the control of Rufinus, Praetorian prefect of the East. Rufinus reportedly intended to marry his daughter to Arcadius and establish his own relation to the Theodosian dynasty. However, while Rufinus was distracted by a conflict with the magister militum of the West, the wedding of Eudoxia to Arcadius was orchestrated by Eutropius, one of the eunuch officials serving in the Great Palace of Constantinople. The marriage took place on 27 April 395, without the knowledge or consent of Rufinus. For Eutropius it was an attempt to increase his own influence over the emperor and hopefully ensure the loyalty of the new empress to himself. Zosimus reports that Arcadius was also influenced by the extraordinary beauty of his bride. Arcadius was approximately eighteen years old and Eudoxia may be presumed to be of an equivalent age. The extent of her influence at matters of court and state has been a matter of debate among historians. Philostorgius considers her to be more intelligent than her husband but comments on her “barbarian arrogance”. Zosimus considers her strong-willed but ultimately manipulated by eunuchs at court and the women of her environment. Barbarians and Bishops: Army, Church, and State in the Age of Arcadius and Chrysostom (1990) by J. W. H. G. Liebeschuetz considers her influence overestimated in primary sources while The Cambridge Ancient History XIII. The Late Empire A.D. 337-425 (1998) reports her dominating the government between 400 and her death in 404. In 403, Simplicius, Prefect of Constantinople, erected a statue dedicated to her on a column of porphyry and a base of marble. Arcadius renamed the town of Selymbria Eudoxiopolis after her, though this name did not survive. Arcadius bride bronze bronze coin Byzantine Constantinople Eastern Roman Empire emperor Empress Eudoxia Eudoxiopolis eunuch Eutropius gold coin Great Palace of Constantinople Honorius late roman empire Praetorian Prefect Prefect of Constantinople Roman Empire roman empire coin Rufinus Selymbria Simplicius Solidus Theodosian dynasty Theodosius I Western Roman Empire Zosimus eight + = 9 Julia. January 17, 38 BC. The Capitulation of Granada. January 6, 1492. Sacrifice to the gods. January 3, 250 AD. Vespasian, pecunia non-olet. December 21, 69 AD. Drake´s circumnavigation starts. December 13, 1577. The Capture of Sidon. December 4, 1110. Thanksgiving Day. November 26, 1789. Judas Maccabee and the Temple. November 21, 164 BC. The Source of the Nile. November 14, 1770. The Walls of Constantinople collapse. November 6, 447. King Cyrus and the Temple of Jerusalem. October 29, 538 BC. The Vision of Constantine. October 27, 312. Neville´S Cross. October 17, 1346. The Battle of Lepanto. October 7, 1571. The Battle of Arnemuiden. September 23, 1338. The Battle of Teutoburg Forest. September 11, 9 AD. The Battle of Actium. September 2, 31 BC. Geoffrey Plantagenet. August 24, 1113. First evidence of HMS Erebus found. August 15, 1855. Il Duomo. August 7, 1420. Our purpose is to provide a platform for the collecting community to gather and discuss all numismatic topics. We also will continually add articles from a wide range of experts and sources, along with the full digitalization of the Celator magazine by Wayne Sayles. Each issue of This Week In History is also here, so if you have missed any, they are stored chronologically when they were published. We hope you enjoy the Community! 17 January, 2020 42 views 9 January, 2020 89 views 3 January, 2020 173 views support@vcoins.com Copyright © 2016 VCoins.com. All rights reserved.	cc/2020-05/en_head_0014.json.gz/line47
__label__cc	0.518511	0.481489	Legend of St. Brigid’s Cloak The Icon of St. Brigid Brigid’s Fire Congregation of St Brigid Children and Vulnerable Persons As a congregation of Brigidine sisters we value the right of every person to dignity and respect. We are committed to establishing right relationships and just structures within our Communities and in our ministries. We protect the well-being of all people and ensure that appropriate measures are in place for the safety of children and vulnerable adults. Our policies and procedures for safeguarding children and vulnerable adults are in line with the relevant guidelines and legislation in each civil jurisdiction in which our sisters, their colleagues, employees and volunteers are engaged in ministry. The Brigidine sisters fully comply and cooperate with civil law in each jurisdiction where they work and with Canon law. Safeguarding policies are reviewed every three years or updated according to changes in the requirements of the civil jurisdictions in which our communities are involved in ministry. Appropriate ongoing training and education is provided regularly for all our sisters, employees and volunteers. Where Brigidine sisters work in other than Brigidine sponsored ministries they follow the safeguarding policies of the organisations in which they work, having received clearance for such ministry from the relevant civil authority. In the absence of there being appropriate policies in these workplaces, sisters follow their Brigidine Community policy and procedures. Dated: 14 September 2018 Click the links below to access policies that are relevant to each jurisdiction where Brigidines are engaged in ministry. Safeguarding Children Policy and Standards for the Catholic Church in Ireland 2016 http://www.portsmouthdiocese.org.uk/safeguarding/ Brigidine Sisters New Zealand Guidelines for the Prevention of and Response to Sexual Abuse in the Catholic Church in ANZ April 2017 Brigidine Sisters USA Professional Standards Policy Charter-for-the-Protection-of-Children-and-Young-People-2018-US The Brigidine Sisters of Victoria recognise the rights of children and young people to enjoy a safe environment in which to live and develop. We adhere to the recommendations and policies of the Commission for Children and Young People. https://ccyp.vic.gov.au/ In response to the outcomes of the Royal Commission into Institutional Response to Child Sexual Abuse the Brigidine Sisters in Australia are currently reviewing our Safeguarding Policies and Standards. (February 2019)	cc/2020-05/en_head_0014.json.gz/line49
__label__wiki	0.939463	0.939463	Oldest Bollywood actor Can we talk about age gaps please? In an interview to The Wrap magazine's upcoming issue, Hollywood actress Maggie Gyllenhaal spoke about being rejected as the love interest of a 55-year-old actor in a film. "I'm 37 and I was told recently I was too old to play the lover of a man who was 55. It was astonishing to me. It made me feel bad, and then it made me feel angry, and then it made me laugh, " she said. If things are bad in a Hollywood that is currently roiling with several campaigns against red carpet sexism and unequal salaries, they are worse in Bollywood. Not only are the age gaps between its most senior actors and their female co-stars alarming and disturbing (or should be), they are not spoken of either. There is little to no discussion of the fact that while Bollywood's biggest heroes age but continue to play leading roles, their heroines remain mostly under-30. This is a year in which Bollywood's ruling trinity of Khans officially crosses over into middle-age - Aamir turned 50 in March, Shah Rukh and Salman will follow suit in November and December. Of course we ought to celebrate, not just the fact that they can still pass for 40-ish on screen as SRK did in Chennai Express (or a carefully unspecified age in other films) but also that they still command box office crores like no other actor. Last heard, Aamir's PK was Bollywood's top performer worldwide and a Khan film almost never makes less than the coveted 100 crores. Hitting a half-century not out doesn't mean, however, that the Khans' heroines get any older than they used to be. SRK's last heroine was Deepika Padukone, 29, who appeared with him both in Happy New Year as well as in Chennai Express where she was presumably 20-something to SRK's 40-year-old Rahul. Salman's Kick co-star was Jacqueline Fernandez, also 29. Aamir's PK starred Anushka Sharma, even younger at 27. Akshay Kumar, the next oldest leading man at 47, just made Gabbar Is Back with 29-year-old Shruti Haasan and has several recent movies opposite 27-year-old Sonakshi Sinha on his resume. These actresses have, of course, made movies with actors their own age - Ranbir Kapoor, Ranveer Singh, Arjun Kapoor - but their biggest successes have arguably been with older men. In their next films, the Khans will star with slightly older actresses. Salman's Bajrangi Bhaijaan co-star is 34-year-old Kareena Kapoor; much has been made of the 'age appropriate' Waluscha de Sousa in SRK's Fan, his Raees heroine is 32-year-old Pakistani star Mahira Khan, and Rohit Shetty's Dilwale reunites him with frequent collaborator Kajol, 40. Actress Mallika Sherawat, 38, has auditioned to play Aamir's wife in sports movie Dangal. But with Kajol and Waluscha the oldest at 40-ish, all these women are still several years younger than the men they are cast opposite. The last time SRK appeared with a heroine his age was opposite Madhuri Dixit, now 48, in 2002's Devdas and Hum Tumhare Hain Sanam - 13 years ago. Salman made a brief appearance opposite Juhi Chawla, 47, in 1997's Deewana Mastana and starred with Manisha Koirala, 44, in 1996's Khamoshi. Aamir starred with Manisha in 1999's Mann and with Nandita Das, now 45, in 1998's Earth. When we celebrate then 48-year-old Sridevi's triumphant return to screen in 2012 film English Vinglish, it's important to keep in mind that there's not the ghost of a chance that she will now be considered as a heroine for Salman, with whom she made films like Chandramukhi and Chand Ka Tukdaa. Directors might conceivably now want her to play his mother (not that we imagine she ever will). Playing the mother or grandmother has been the traditional trajectory that actresses' personal story arcs follow, though defenders of Bollywood might argue that they now have longer careers as leading ladies. This is true. Just 30 years ago - a third of Indian cinema's 100 year history - very little time lapsed before Bollywood's women found themselves cast as mother figures, often to actors they had run around trees with not so long ago. Waheeda Rehman played Amitabh Bachchan's mother in 1978's Trishul just two years after being cast as his wife in Kabhi Kabhie. Raakhee made a swift transition from Mr Bachchan's object of tragic affection in Muqaddar Ka Sikandar (1978) to playing his sister-in-law in Shaan (1980) and then his mother in Laawaris (1981). Now, Kajol and Aishwarya are still romantic leads at 40. But consider this - the Dilwale casting is simply cashing in on the SRK-Kajol jodi, hoping to repeat the magic that worked in films like Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai. The other jodi in the film, Varun Dhawan and Kriti Sanon, have four years between them while SRK and Kajol are separated by a decade. This age gap is unlikely to be woven into the narrative as a plot point - the years that often divide male and female co-stars like a yawning chasm is almost always ignored studiously, except in 2007's Cheeni Kum where the 30-year difference between Amitabh Bachchan and Tabu's character formed the axis of the story. Consider also that Madhuri's last romantic lead was Naseeruddin Shah, almost 20 years older than her at 65. This was not a problem in Dedh Ishqiya, perhaps because there were 20 years between each romantic pairing - Arshad Warsi at 47 with Huma Qureshi at 28 as well as the implied relationship between Madhuri and Huma. 20 years is apparently quite normal on screen, although in real life it would inevitably cause comment and gossip. Madhuri's CV and that of Sridevi appear to suggest that actresses are cast opposite actors their own age or even younger up until they hit a ceiling of sorts, after which their heroes are either much older or little known as mainstream actors - like English Vinglish's Adil Hussain who is exactly Sridevi's age. So Shahid Kapoor, 34 last February, might have once been cast opposite Rani Mukerji and Vidya Balan, both now 37, and Priyanka Chopra, who is 32, but is currently making Shaandaar with the 22-year-old Alia Bhatt. Hrithik Roshan and Aishwarya Rai Bachchan, both 41, have delivered films like Dhoom 2, Jodhaa Akbar and Guzaarish together but Hrithik's last heroine in 2014's Bang Bang was the 31-year-old Katrina Kaif and Ash's Jazbaa co-star is Irrfan Khan who, at 48, is looking at 50 himself. Source: movies.ndtv.com Top 20 Richest Bollywood Actor 2015-2016 [ HD ] Bollywood actor Bobby Darling marries Ramneek Sharma, a ... VIP Mimics 50 bollywood actors in 5 minutes -Great Performance Veerendra (Punjabi: ਵਰਿੰਦਰ) was a noted Punjabi film actor, director, producer and writer who made 25 films in his 12-year career including Lambardarni, Sarpanch, Batwara and Yaari Jatt Di. He also tried his hand at Hindi films, dubbed. Those were Khel Muqaddar Ka... Mylapore (Tamil: மயிலாப்பூர் Mayilāppūr) is a cultural hub and neighborhood in the southern part of the city of Chennai, the capital of Tamil Nadu, India. Earlier, Mylapore used to be called Vedapuri. Mylapore is a major commercial center, and one of the oldest... New Bollywood Actors Biggest Bollywood actors Youngest Bollywood actor Best Director of Bollywood Today released Movies in Bollywood Bollywood actors Photo Bollywood songs for Dance	cc/2020-05/en_head_0014.json.gz/line57

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