Barnard Dance





	Department of Dance Chair and Artistic Director at Barnard College of Columbia University, Mary Cochran has performed and taught on every continent except Antarctica. A soloist with Paul Taylor Dance Company from 1984-1996, Ms. Cochran is renowned as “an interpreter of Paul Taylor’s work who absorbs technique into her bones,” “blithe spirit, weaver of magic, quintessential muse,” and “a star, indeed.” She continues her association with Paul Taylor to this day having completed 20 restagings of his masterworks and as guest facultyat the Paul Taylor School. Her first appearance as the character Valeska was in 2003 at Joe’s Pub. The performance elicited the following favorable review from critic Tobi Tobias - “My favorite number … choreographed by the resourceful Sara Hook and astutely performed by Mary Cochran.” Her own dance/monologue Pitiful Vignette received its New York premiere on the LIT series in Soho in 2003. In July 2004 her newest work Concrete Jungle’s Hawaiian Shirt premiered in Texas. Critic Wayne Lee Gay described the solo as “a constant juxtaposition of anguish and grace.” In February of 2005 a review in the New York Times of Cochran’s performance of Hook’s Patriot Act Up described Cochran as “a compulsively parading and possibly deranged majorette.” Deborah Jowitt, in September of 2007, wrote of Cochran's performance in Hook's Rue "the most physically arduos movement {of the evening} ...Cochran...crashed to the floor in such telling bouts of regret that her pink wig looked in danger of landing in our laps." Cochran has taught at numerous colleges and conservatories including Mills College, the Juilliard School, University of Michigan, Harvard University, and the North Carolina School of the Arts. She received her MFA from the University of Wisconsin/Milwaukee in May of 2005. Back to faculty listing Mary Lisa Burns has taught at the Merce Cunningham Studio since 1988. She has also taught at Barnard College since 1996, and has been a guest teacher at the Mason Gross School of the Arts at Rutgers University , at Wesleyan College , the University of Texas at Austin and as part of the Isle de Danse Festival in Colombe , France . Her work has been presented at the Merce Cunningham Studio, Columbia University 's Miller Theater, Barnard College 's Minor Latham Playhouse, at Union College ( Schenectady , NY ), and the Cambridge Art Association ( Cambridge , MA ). A member of Kenneth King & Dancers for five years, Ms. Burns also performed in the companies and works of Brenda Daniels, Robert Kovich, Gina Gibney, Mitch Kirsch/Dogs in Space, Christopher Beck , the Reeves/Jones Performing Group and in the Tony Kushner/Ann Sullivan work, La Fin de la Baleine . She holds a B.A. from Barnard College , an M.F.A. from NYU's Tisch School of the Arts and a Certificate from the Merce Cunningham Studio. She also holds a certificate of completion from the Harkness Center for Dance's Dance Education Lab program. In addition, she has studied Anatomy/Kinesiology with Irene Dowd and Alexander Technique and Pilates with Clarice Marshall, and taught pilates-based body work in New York City for five years. Back to faculty listing Jenny Emerson graduated from Barnard College in 1997 with a degree in Dance/Theater. As a principal dancer for Buglisi Foreman Dance Company, she was instrumental in the creation of more than ten new works and acclaimed "a sensuous oracle" (Newsday) and "S©ˆexceptional" (NY Post). In addition to being company rehearsal director, Ms. Emerson assisted in staging and coaching signature BFD repertoire on the New Jersey Ballet, Marymount Manhattan College, the Juilliard School, Barnard College, and Purchase College. She also toured the US with the Martha Graham Ensemble, receiving the Coca-Cola Award for Artistic Excellence, performed at City Center with the Graham Company, and developed and implemented an arts-in-education curriculum for the Empire State Partnership program in Port Washington, NY. She is currently on the artistic staff and Board of Directors for the Nest Summer Dance Festival in Buck's County, PA, a founding member of Hunte Dance/Theater, and Associate Artist/Development Associate with PAMAR, Inc. In addition to being on faculty at Barnard, Ms. Emerson teaches dance composition for the Graham School's Young Artist's Program; has been guest faculty at SUNY Purchase, the Ailey School, and the Neighborhood Playhouse; and has developed and taught numerous outreach masterclasses and workshop focusing on utilizing dancea as a vital communicative art form. Back to faculty listing Donlin Foreman, (Associate Professor of Professional Practice in Dance) is Co-Artistic Director/Choreographer of Buglisi/Foreman Dance, with which he is presenting their eighth New York City Season at the Joyce Theater, February 25-March 2, 2003. He has served as chair of the NYSCA Dance Panel for 2000 and 2001. Former principal dancer of 20 years with the Martha Graham Dance Company, Donlin performed with Eliot Feld Company,the Jacques d’Amboise National Dance Institute, and La Scala Ballet. He has staged his works for the New Jersey Ballet, Ice Theatre of NY, and La Scala Ballet, and is commissioned to set works by to set works the North Carolina Dance Theatre next spring. Foreman’s volume of poetic writings, Out of Martha's House, was published in 1992. He has written articles in Dance Teacher and Dance Spirit magazines, and contributed to the Martha Graham issue of Choreography and Dance, an international journal. He was recently awarded the Choo-San Goh Award for Choreography. Back to faculty listing Katie Glasner (Assistant Chair, Senior Associate) has danced nationally and internationally with the Twyla Tharp Dance Company, 1977-87. Her professional credits include film work (Hair and Amadeus), television (Confessions of a Corner Maker and Scrapbook), Broadway (Singin’ In the Rain), and several other film and television roles. A graduate of Columbia University in 1994, Ms. Glasner has been on faculty at Barnard since 1996. She trained in the pre-professional program at North Carolina School of the Arts, at the University of Wisconsin-Milwaukee and with many leading dance teachers in New York City. In more than two decades of teaching, Ms. Glasner has worked with students at Wesleyan, Penn State, Princeton and New York Universities, the American Musical and Dramatic Academy, Princeton Ballet School and its affiliate professional company American Repertory Ballet Company, Ballet Hispanico and American Ballet Theater II. For the last five years she has served as a dance adjudicator for the New Jersey State Teen Arts Festival. Ms. Glasner co-choreographed a number of productions for the Princeton Ballet School, and has choreographed for musicals, including The King and I for the Brunswick Theater and The Sound of Music for Theater-By-The-Sea in Matunuck, RI. She directed Barnard’s Summer Dance Study in 2000 and 2001 and has taught on several occasions in the college's pre-college program. Back to faculty listing Nathalie Jonas holds a BA in dance from Barnard College. She is a freelance performer and choregrapher in New York City. She is also currently studying to be a practioner at the New York Feldenkrais Professional Training program. She has been on the Barnard College modern faculty since 2001. Back to faculty listing Colleen Thomas, Assistant Professor of Professional Practice in Dance, received her B.A. in Psychology from SUNY Empire State College and SUNY Purchase in 2001 and her M.F.A. in Dance from the University of Wisconsin , Milwaukee in 2003. Since 1990 she has performed both nationally and internationally with Bill T. Jones/Arnie Zane Dance Company, Bebe Miller Company, Nina Weiner Dance Company, and Donald Byrd/The Group among others. She is artistic director of Colleen Thomas Dance and co-director for Bill Young/Colleen Thomas and Dancers. Most recently she has choreographed Catching Her Tears (44°N, 93°W) , The Ritz Theater Minneapolis, MN (2007); Damsel , SUNY Purchase, Purchase, NY; Underneath , The Southern, Zenon Dance Company, Minneapolis, MN (2006); Plea, Miller Theatre, Columbia University, NYC (2006); and Taken ¸ Danspace Project St. Mark's Church, NYC (2005). Her choreography has been seen in Russia, Slovakia, Hong Kong, Estonia, Taiwan, Portugal, Brazil, Venezuela and in the USA at Danspace Project's St. Marks Church, Joyce SoHo, Kaye Playhouse, SUNY Purchase, The Puffin Room, Hundred Grand , Dance Space Center, Meredith College, California State University Long Beach, East Carolina University, The Ritz Theater, and the University of Wisconsin among others. She has taught for Barnard College of Columbia University, The New School, Long Island University – Brooklyn Campus. At Barnard she will be teaching Modern Technique VI, Ballet Technique I, Contact Improvisation, Advanced Contact Improvisation, and Advanced Composition/Group Forms. Back to faculty listing Karla Wolfangle, teacher and choreographer, is a graduate of The Boston Conservatory of Music and danced with The Paul Taylor Company from 1981 to 1993. Ms. Wolfangle was also a member of the Lar Lubovitch dance Company, The Boston Ballet and was co-director and co-founder of The Cliff Keuter Dance Company. She has been on the faculty of The National Institute of The Arts in Taipei, Taiwan, The Harvard Summer Dance Center, The American Dance Festival, University of Maryland, Delphi University, and was Guest Artist in Residence from 1995 to 1999 at the North Carolina School of the Arts. Her choreography has been presented in New York City at The City Center, The Cunningham Dance Center, Dance Theater Workshop, and The Jacob’s Pillow Dance Festival. In the summer of 1999, Ms. Wolfangle choreographed and performed in Woody Allen’s feature film Small Time Crooks. In the Spring of 2000, she choreographed a revival of Fiddler on the Roof for the Greensboro Theater Company in North Carolina. In the Summer of 2000, Ms. Wolfangle was invited to present her choreography as part of Paul Taylor’s 70th birthday celebration. Currently she is on the faculty The New School/Joffery School, The Paul Taylor School, Barnard College, and Hofstra University. Back to faculty listing ACADEMIC FACULTY Mindy Aloff’s essays and journalism on dancing and other arts have appeared in The New York Times, The New Yorker, Dance Magazine, The Atlantic Monthly, The Chronicle of Higher Education, The Threepenny Review, Parnassus, and many other periodicals. Between 1983 and 1993, she was dance critic of The Nation; and between 1993 and 2001, she was dance critic of The New Republic. Aloff is a past fellow of The John Simon Guggenheim and Woodrow Wilson Foundations and of the Dance Critics Institute at the American Dance Festival. In 1987 she was given a Whiting Writers Award. She is a consultant to the "Popular Balanchine" research program of The George Balanchine Foundation; and also an editor of Frederic Franklin's extensive (41 transcripts) oral history of his 30-year career with the Ballet Russe de Monte Carlo, for which she served as one of the two principal interviewers. A past president of the Dance Critics Association, she is the program chair of the 2003 annual conference to be held at Barnard College next June. She has served as a juror for the De la Torre Bueno Award in dance history and for the Martha Allbrand/ First Book of Nonfiction award, administered by PEN American Center. Her collection of poems, Night Lights, published by Prescott Street Press in 1979, was a finalist in the Elliston Award. Her anthology Dance Anecdotes was published in hardcover by Oxford University press in 2006 and released in paperback this year. She is currently at work on Hippo in a Tutu, a study of the dance sources of historic Disney animated films, for Disney Editions. Back to faculty listing Lynn Garafola (Professor) is a dance historian and critic. She is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance , and the editor of several books, including The Diaries of Marius Petipa (which she also translated), Of, By, and For the People: Dancing on the Left in the 1930s , José Limón: An Unfinished Memoir , and The Ballets Russes and Its World . Curator of the New-York Historical Society's exhibition Dance for a City: Fifty Years of the New York City Ballet , the New York Public Library for the Performing Arts' 500 Years of Italian Dance: Treasures from the Cia Fornaroli Collection (with Patrizia Veroli), and several smaller shows, she is a former Getty Scholar, recipient of fellowships from the Social Science Research Council and National Endowment for the Humanties, and a member of the American Academy of Arts and Sciences. Editor of the acclaimed book series Studies in Dance History, she has written for Dance Magazine , The Nation , Times Literary Supplement , and many other publications. This past spring she curated the exhibition New York Story: Jerome Robbins and His World at The New York Public Library for the Performing Arts. Her next exhibition project, Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath, opens at the Library in mid-June 2009. Back to faculty listing Paul Scolieri, Ph.D., C.M.A. (on leave until Spring 2009) has taught in the Barnard College Department of Dance since 2000 and serves on the faculty advisory committee for the Program in Africana Studies. His primary areas of research and teaching include Latin American and Caribbean dance; political performance in the US; and movement theory and analysis. His writings have appeared in the Encyclopedia of the Harlem Renaissance, Women and Performance: A Journal of Feminist Theory, and TDR: The Journal of Performance Studies. He has served on the Editorial Board of Women and Performance, the Board of Directors of the Congress on Research in Dance as well as on the Board of World Dance Alliance: Americas. Professor Scolieri earned a Ph.D. in Performance Studies from New York University's Tisch School of the Arts and his certification in movement analysis (C.M.A.) from the Laban Institute of Movement Studies in NYC. In 2008-09 Professor Scolieri will be in residence at the David Rockefeller Center for Latin American Studies at Harvard University as the Peggy Rockefeller Visiting Scholar. Back to faculty listing BALLET FACULTY While still in high school Heléne Alexopoulos appeared professionally with the Chicago Lyric Opera before coming to New York City to study at the School of American Ballet, the official school of the New York City Ballet. Within a year she was invited by George Balanchine to join the New York City Ballet as a member of the corps of ballet, was promoted to the rank of Soloist in 1984, and was named a Principal Dancer in 1989. During her career with the New York City Ballet, Ms. Alexopoulos performed a wide range of principal roles in the Company's extensive repertory of more than 200 Balanchine, Robbins and other ballets. In 2002 she gave her farewell performance at the New York State Theatre. In addition, Ms. Alexopoulos originated principal roles in Jerome Robbins' Glass Pieces and Antique Epigraphs, Peter Martins' Ecstatic Orange, Suite from Histoire du Soldat, and The Waltz Project, William Forsythe's Behind the China Dogs, Ib Andersen's Baroque Variations, Ulysses Dove's Twilight, Lynn Taylor-Corbett's Mercury, Alexander Prioa's Refractions, and Robert La Fosse's Duke! She also originated roles for Chet Walker (Fosse), Richard Move and Robert LaFosse in the Jacob's Pillow production of The Seven Deadly Sins. Ms. Alexopoulos has worked with other well-known choreographers such as Twyla Tharp, Lar Lubovitch, and Jacques D'Amboise. Back to faculty listing Cynthia Anderson was discovered by Robert Joffrey at a Regional Ballet Festival. He awarded her a scholarship to the Joffrey Ballet School, where she studied prior to joining the Joffrey II Dancers, and then the main Joffrey Company two years later. From there, she quickly assumed a remarkable range of leading roles by nearly every choreographer in the company’s eclectic repertoire: Sir Frederick Ashton, Gerald Arpino, John Cranko, Robert Joffrey, Kurt Jooss, Juri Kylian, Jerome Robbins and Glen Tetley. Following her years at The Joffrey, she performed with the Washington Ballet, working with the chorographer, Choo San Goh. She concluded her performing career with American Ballet Theatre under Mikhail Baryshnikov’s direction. At ABT, she performed classical roles in all the full-length ballets, dramatic roles in the Tudor and de Mille ballets, and modern roles in Paul Taylor, Twyla Tharp and Mark Morris ballets. Ms. Anderson was acclaimed for her extraordinary jumping capabilities, her fluid classicism, her musicality, and her dramatic sensitivity. Back to faculty listing Tessa Chandler is a Birmingham, AL native, and she is a Guild Certified Feldenkrais Practitioner(cm), performer, and dance teacher. She is a faculty member at New York's School for Film and Television and in the Dance Department at Barnard College, Columbia University, where she teaches ballet and originated a for-credit course in Awareness Through Movement(cm) in 2005. Further teaching engagements with Feldenkrais have included the Paul Taylor Summer Dance Intensive, the New York in Naxos Festival (Greece), the Trisha Brown Dance Studio, and the Feldenkrais Institute of New York. Tessa graduated summa cum laude with a B.A. in English from Columbia University's School of General Studies, following a classical ballet career with the Vienna State Opera Ballet, the Royal Danish Ballet, and the Dutch National Ballet. She has performed her own choreography and that of many independent dance and theater artists in New York since 1999, and from 2003-2006 she was a member of Molissa Fenley and Dancers. She maintains a private practice in Functional Integration(cm), the hands-on application of the Feldenkrais Method, at the Feldenkrais Institute of New York ( www.feldenkraisinstitute.com ), and offers movement direction, master classes, and coaching to theater and dance companies. In November, Tessa will give a workshop on Feldenkrais and Improvisation at the annual World Dance Alliance Americas General Assembly in Bahia, Brazil. Back to faculty listing Allegra Kent was born in Santa Monica, California and began her dance education at age nine with folk dance classes at the boarding school she attended. She moved to New York to begin studying at the School of American Ballet. After an apprenticeship she joined the New York City Ballet as a member of the corp. Kent danced her first featured role in the Viola pas de deux in Jerome Robbins's Fanfare, in January 1954; her first created role, in The Unanswered Question section of George Balanchine's Ivesiana, was performed later that year. In 1956, the year she became a soloist, she created one of the five ballerina roles in Balanchine's Divertimento No. 15. In 1957 she became a principal dancer and also danced in the Broadway musical Shinbone Alley. Other roles that Kent created in Balanchine ballets included one of the ensemble women in Agon (1957), the baton-twirling leader of the first regiment in Stars and Stripes (1958), the dancing Anna in the revival of The Seven Deadly Sins (1958), the Concerto (op.24) in Episodes (1959) the principal woman in Bugaku (1963), and the Andante of Brahms-Schoenberg Quartet (1966). She is associated especially with the title role in La Sonnambula, which she first danced in the ballet's 1960 revival. She was in the first cast of Robbin's Dances at a Gathering (1969), and other roles for which she is noted include the Girl in Afternoon of a Faun, Odette in Balanchine's one act version of Swan Lake, the Sugarplum Fairy in The Nutcracker, the pas de deux in Agon, and many more. Her last appearances were in 1981 in John Taras's Variation VI from Trip in A Minor, a section of his Tempo de Valse. Ms. Kent pursued her entire career with the New York City Ballet, performing with it-except for five leaves of absence-over a period of almost thirty years. Ms. Kent is also the author of an autobiography (1997) and of Allegra Kent's Water Beauty Book (1976) , which details an exercise program she developed that uses water as the source of resistance. Back to faculty listing Kathryn Sullivan trained at the Joffrey School in New York and studied with Maggie Black and David Howard. She performed with the Boston Ballet, Les Grands Ballets Canadiens, and Les Ballet de Nancy. Her choreography has been presented at Joyce SoHo, Dance at Holy Trinity, New Choreographers on Point, and numerous STEPS BEYOND showcases. Ms. Sullivan has taught at Ballet Hispanico, La Guardia High School of Performing Arts, New Jersey Ballet, Interlochen Arts Camp, and for the Professional Dance Teachers Association and Dance Masters of America. For eight years she worked for the New York City Ballet's Education Department designing and presenting ballet workshops in public schools. She now teaches at STEPS on Broadway and at New York University's musical theatre department at CAP 21. Ms. Sullivan has collaborated with pianists Flora Arbitman, Eugenia Lev, and Nick Levinovsky on CD's for ballet classes produced by Roper Records. Back to faculty listing OTHER DANCE TECHNIQUES (FACULTY) Maguette Camara is a recognized West African choreographer, musician and teacher who is based in New York City. He began his career with the Ballet Bougarabou Dance Company and his extensive experiences with this company allowed him to perform and present workshops in Morocco, Canada, Senegal and the United States, earning him the privileged opportunity to perform as the representative of Senegal in the festival of De Jeunes Createurs. Mr. Camara’s has performed in diverse venues such as include Lincoln Center Outdoor Concert Series, the Guggenheim Museum, The Rolling Stones World Tour, Epcot Center Disney World, the World Trade Center Jazz Festival. Mr. Camara is artistic director of the group Manekadang-Dance and Drum. Back to faculty listing Uttara Asha Coorlawala, (Ph.D.) has been teaching technique and theoretical dance courses at Long Island University's C.W. Post Campus, Barnard College (Columbia University) and at Princeton NJ. She served as editor for the Newsletter of the Congress Of Research in Dance, and as Guest Editor for Dance Research Journal. Her articles have been published in Dance Chronicle, Dance Research Journal, Animated, Sangeet Natak Akademi Journal, Pulse and in anthologies on intercultural performance and dance. Dancer-choreographer, Coorlawala pioneered in India what has since become a movement towards intercultural innovation. Her choreographic style and performances brought her three disciplines, modern dance, Bharata Natyam and yoga to the dance stage. She danced throughout India, Europe, East Europe, Japan and the United States and as a designated cultural representative of India and for the United States Information Service. Her repertory included works by Alvin Ailey, M.H. Burchfield, Mohanrao Kalyanpurkar Sun Ock Lee, Daniel Maloney, Mrinalini Sarabhai, Anna Sokolow, Padma Subrahmanyam, Kei Takei, and Yuriko (Kikuchi). Participating in intercultural, Indian, and S. Asian dance events as consultant, speaker and as choreography mentor, Coorlawala recently received the Dadabhai Naoroji Lifetime Achievement Award sponsored jointly by the British and Indian governments, AHRB Dance Research Fellowship for South Asian Dance Research, London and most recently has been researching South Asian Dance for an Asia Society/Ford Foundation project on changing demographies and cultures in the USA. Back to faculty listing Gloria Marina holds a Bachelor's Degree in Education and a Master's Degree in Spanish Dance. As a professional dancer, she was a member of the Ballet Company at "Teatro Argentino," State Theater in La Plata City. Ms. Marina came to New York in 1963 and was named Artistic Director of the United Students of the Americas. She was invited to teach Spanish Dance to the professional dancers of Harkness House for Ballet Arts and also has been faculty member of the Saratoga Ballet Center, Skidmore College and guest choreographer for operas presented at the Lake George Opera Festival. She founded and directed the "Original School of Ballet" in Rego Park, Queens, teaching Classic Ballet and Spanish Dance (1967-1987). Throughout the years, in addition to regular classes, she actively pursued other projects: Lecture demonstrations for Private and Public School of Queens and New York City. Educational programs for T.V. Channel 13 and 47. Teachers Seminar and Spanish dance classes at David Howard summer programs. Lecture demonstrations and Master classes of castanets at the Julliard School and Manhattan School of Music. Artistic Director and Choreographer for Amigos de la Zarzuela. Guest teacher at the Elaine Kaufman Center, former Hebrew Arts School in New York City. She choreographed the play "Senoritas en Concierto" presented by the Barnard Theater Department and also "Sueño" at the MCC Theater in NYC. In June 1999, she created a new version of dances for the opera "Carmen," performed at the NJ PAC for the New Jersey State Opera. Gloria Marina was a faculty member of the Dance Department at The Juilliard School (1972-1994), where she choreographed and directed Spanish Dance workshops and performances. Since 1994 she has been on the faculty, teaching Flamenco and Classical Spanish Dance, at Barnard College. Back to faculty listing Margaret Morrison has performed, choreographed, taught and produced rhythm tap since 1986, appearing across the United States, Brazil and Europe. She is a founding member of the American Tap Dance Orchestra, directed by Brenda Bufalino. She toured internationally with the ATDO for 15 years and appeared on the acclaimed PBS Special, Tap Dance in America with Gregory Hines. Her own performance ensembles have ranged from experimental collaborations of tap, poetry and percussion to her classic tap show "Body of Rhythm" in which she was hailed as a "consummate artist who breaks the mold." As a soloist and choreographer her work has been presented at the Joyce, Avery Fisher Hall, the Duke, Town Hall, PS 122, and the Nuyorican Poets Café. She is the Director of Adult Programs for Tap City - The New York City Tap Festival. Margaret is an alumna of Barnard and has taught in the dance department since 1997. Back to faculty listing STAFF Gilles Obermayer (Music Coordinator for Dance) lived and worked in Scandanavia from 1981 to 2000 before moving to the U.S. As an instrumentalist, he specializes in ethnic percussion from North and West Africa, and Latin America. As an accompanist, he served on the faculty of the Norwegian National College of Dance in Oslo, (1982-95), The Swedish National College of Dance (1995-97) and The Ballet Academy (1995-00) in Stockholm. As a composer, Gilles has written scores for Norwegian and Swedish national television and radio, as well as for many jazz and modern dance companies, including Norway's Zakraz Dance Company, Sweden's Modern Jazz Dance Ensemble, New York's Gabriel Masson Dance, and at present is composing a score for the Bulgusi/Foreman Company for upcoming Joyce Theater performances. He has released five solo CD's. As a performer, Gilles has toured throughout Europe and Africa with his solo concert for percussion, Rythmes en Folies, as well as with the early music ensemble Pro Musica Antigua and the Modern Jazz Dance Ensemble. He serves on the staff of the Bates Summer Dance Festival. His most recent production, Fenetres/windows will be produced at the Cunningham Studio, NYC, in February, 2003. Back to faculty listing Rhonda Rubinson (Technical Director for Dance) has been on the Barnard College staff as the Technical of the Barnard College Department of Dance since 1989, following seven years as Technical Director at the Minor Latham Playhouse. She has served as technical director, production stage Manager, and Lighting Designer for a variety of dance, opera and theater companies, including bopi’s black sheep: dances by kraig patterson, the neta dance company, choreotectonics, Dances/Janet Soares, Oure Danse Kampagni (in Denmark), and The Yard (in Martha’s Vineyard), and The Little Orchestra Society (at Lincoln Center). Rhonda has designed lights throughout the United States as well as for dance performances world wide, including arts festivals in Florence, Jerusalem, Corsica and Costa Rica. A versatile designer, she has designed the setting and lights for Suzanne Vega’s World Tour’87, working color organs (“farbklaviers”) for works performed by the American Symphony Orchestra at Lincoln Center, as well as designed choral risers for use at Alice Tully Hall, Lincoln Center. Her directing credits include Opera Uptown (The Bus to Stockport and Other Stories with John Cage). Rhonda is an ordained Episcopal priest who is affiliated with the Church of the Heavenly Rest in Manhattan. Back to faculty listing