Kimberly Bartosik was a member of the Merce Cunningham Dance Company for 9 years, and received a Bessie Award for exceptional artistry in Cunningham's work. She is thrilled to be a 2015 Merce Cunningham Fellow. Her choreographic work has been commissioned and presented by The Chocolate Factory Theatre (2016), Abrons Art Center (2015), The Yard (2015), New York Live Arts, Dance Theater Workshop, Danspace Project, French Institute Alliance Francaise's Crossing the Line Festival, Recontres Choreographiques Internationales de Seine-Saint Denis (France), Artdanthe Festival (France), BEAT Festival, The Kitchen, La Mama, Mount Tremper Arts, Barnard College, UNC School of the Arts, Arizona State University, Purchase College, and Movement Research. Bartosik has received support from the Jerome Foundation; FUSED, French-US Exchange in Dance; Mid-Atlantic Arts Foundation's USAI; New York Foundation for the Arts through BUILD; MAP Fund; New Music USA's Live Music for Dance; the Foundation for Contemporary Arts, Grants to Artists (nomination only); and American Dance Abroad's The Travel Fund.
Carol Teitelbaum, a member of the Merce Cunningham Dance Company from 1986 to 1993, joined the faculty of the Merce Cunningham Dance Studio in 1985 and was faculty chair from 1998 until the studio at Westbeth closed in December of 2011. Ms. Teitelbaum has staged dances from the Cunningham repertory at State University of New York at Purchase, Barnard College, Ballet de Lorraine, the Cunningham Repertory Understudy Group and the Merce Cunningham Dance Company and has collaborated with Carolyn Brown on several revivals of Cunningham's early works. She has taught master classes and held guest teaching positions at many institutions, including Stanford University, the University of Michigan, the Conservatoire de Paris, La Guardia High School of the Performing Arts and the Ailey/Fordham BFA program. Ms. Teitelbaum holds a Master's of Fine Arts in Dance from the University of Michigan. Currently, she teaches for the Cunningham Trust at City Center and at Marymount Manhattan College. Before joining the Merce Cunningham Dance Company, she danced in the Lucinda Childs Dance Company and the Manuel Alum Dance Company. Ms. Teitelbaum is a Guild Certified Feldenkrais Practitioner (CM). She enjoys working with children with special needs as well as with adults from all walks of life.
Neil Greenberg came to New York from Minnesota in 1976 and danced with the Merce Cunningham Dance Company from 1980 - 1986. He formed Dance By Neil Greenbeg in 1986 and his choreography has since been presented in over twenty New York City productions and on tour. He is known especially for his Not-About-AIDS-Dance, which employs his signature use of projected words as a layering strategy that complicates the performance moment while also opening doors into potential meanings in the dance. His most recent projects - Really Queer Dance With Harps (2008), (like a vase) (2010), and This (2014) - continue his investigation into the nature of meaning-making. He has received a Guggenheim Fellowship and two Bessie Awards, as well as repeated fellowships from the NEA and NYFA, a fellowship from the Foundation for Contemporary Arts, a National Dance Project Production grant, a Doris Duke Charitable Foundation Creative Exploration Award, and repeated support from the MAP Fund and NYSCA. He has created two commissioned works for Mikhail Baryshnikov's White Oak Dance Project and two works for the Ricochet Dance Company of London. His works have twice been cited as among the Ten High Points of the Year in The New York Times: his dance/video work Two in 2003 and Not-About-AIDS-Dance in 1994. Greenberg is currently a Professor of Choreography at Eugene Lang College, The New School for Liberal Arts, and has previously taught at Purchase College, Sarah Lawrence College, and UC Riverside. He served as dance curator at The Kitchen from 1995 - 1999.
Daniel Roberts, originally from Pittsburgh, Pennsylvania, began studying piano at the age of seven and came to dance as an accompanist for ballet classes at the Pittsburgh Civic Light Opera Academy. He graduated magna cum laude from the Ohio State University with a BFA in dance performance and specialization in Labanotation. Daniel was a member of the Merce Cunningham Dance Company and appeared in several of Cunningham's works for camera. After leaving the company, he was invited to be head technique teacher at the Danish National School of Contemporary Dance in Copenhagen, Denmark. His pedagogy is featured in the book/DVD Dance Techniques (Tanzplan Deutschland 2010). While in Scandinavia, Daniel worked as a rehearsal assistant to several professional choreographers as well as at the Royal Danish Ballet, and served as rehearsal director for the national dance company Danish Dance Theater. Daniel has an MFA in Performing Arts from Bennington College, where he worked extensively with movement and music improvisation. His choreography has been presented in New York and Denmark, and he has been a Visiting Artist at Ohio State University and Williams College in Massachusetts. Daniel teaches for the Merce Cunningham Trust and is an instructor and accompanist at Ballet Academy East in New York City.
Jennifer Goggans began dancing in her hometown of Owensboro, KY, and continued her studies at the Nutmeg Ballet in Connecticut. She graduated Summa Cum Laude from SUNY Purchase in 2000 and joined the Merce Cunningham Dance Company that same year. Goggans danced with MCDC until the company's planned closure in 2011 and was named Assistant to the Director of Choreography during the company's Legacy Tour. Goggans has been teaching Cunningham Technique since 2005 and has taught master classes and workshops throughout the United States and across Europe. In addition, she has staged various Cunningham works including Cross Currents (1964) for the Augusta Ballet, Verb Ballet and the New York Theater Ballet, and also Winterbranch (1964) for Benjamin Millepied's L.A. Dance Project's inaugural season. Moreover, she and Robert Swinston staged Un jour ou deux (1973) for the Paris Opera Ballet and BIPED (1999) for the Bayerisches Staatsballett of Munich. Goggans has also staged Cunningham work for students at Yale Dance Theater, the Centre National de Dance Contemporaine (CNDC)-Angers, the Frank Sinatra Performing Arts High School and the Beijing Dance Academy. Goggans has performed with the Louisville Ballet, MOMIX, Chantal Yzermans, Christopher Williams, and has appeared as a guest artist with the Bill T. Jones/Arnie Zane Dance Company. She also studied fashion design at New York's Fashion Institute of Technology and has created costumes for Tere O'Connor's Wrought Iron Fog, as well as RoseAnne Spradlin's Survive Cycle and beginning of something. She is currently working as the Studio Coordinator and faculty member for the Merce Cunningham Trust and recently completed teaching a course at the Juilliard School where she and Jean Freebury will be staging BIPED this spring.
Marcie Munnerlyn is from Portland, Oregon. She trained at Jefferson High School, Oregon Ballet Theater, and the Cornish College of the Arts. She became a member of the Cunningham Repertory Understudy Group in June 2002 and joined MCDC in January 2004.
Andrea Weber was a dancer with the Merce Cunningham Dance Company from 2004 - 2011, performing roles in over 25 works. Andrea is on faculty of the Merce Cunningham Trust, teaching Cunningham Technique at New York City Center and at The Joffrey Ballet Trainee program. She has also taught at Brown University, Skidmore College, the American Dance Festival, Salem State College and Dance New Amsterdam. Andrea has staged Pond Way for Ballett am Rhein in Dusseldorf and Suite for Five for the CNSMD in Lyon. She has also danced with Coleman & Lemieux Compagnie, Dance Heginbotham, Queen of the Night, Jessica Lang Dance, Cornfield Dance, Jonah Bokaer and Charlotte Griffin.
Dylan Crossman grew up under the Mediterranean sun and studied in rainy London at the Laban/Trinity College of Music and Dance. He moved to New York 8 years ago where he worked for choreographers Wally Cardona, Christopher Williams, Peter Kyle and Sean Curran. He also managed a turkish restaurant. Dylan became an understudy in 2007, joined the Merce Cunningham Dance Company in 2009 and was part of the Legacy Tour, enjoying every second of it. Melissa (Toogood) and Dylan worked on the revival of Trails with Merce in 2008. Now freelance, Dylan works with Pam Tanowitz, Kimberly Bartosik/Daela, Sally Silvers, Ryan McNamara and Sylvain Emard (Montreal). He can often be spotted sharing the stage with Melissa. Dylan has received a Bessie Award for his work in Tanowitz's Be in the Gray With Me while Kid Birds, a project he was the teacher/choreographer for won the 2014 Artistic and Cultural Audacity Award (FR). He is a part-time faculty member at Purchase College and for the Cunningham Trust. Dylan is a NYLA associate artist. Crossman Dans(c)e was created in 2013 and looks at identity issues in human behaviour. Its work has been seen in New York at DanceRoulette, La MaMa moves! and Socrates Dance Festival, in Montreal and in Montpellier (FR). Crossman Dans(c)e also works with children and adults, using dance as a means for social integration or conflict resolution. A new solo, BOUND, will premiere at Abrons Art Center in May 2015, in collaboration with Hubert Lafore and presented by Laurie Uprichard alongside Kimberly Bartosik's Ecsteriority 4. Dylan would like to thank Michele and Steve Pesner, Juliette Robbins and Sean Cullen for their support. Photo: Damian Calvo
Melissa Toogood was a member of the Merce Cunningham Dance Company; her tenure included the Legacy Tour, has taught Cunningham Technique since 2007 and was a 2013 Merce Cunningham Fellow. Melissa was on faculty at Barnard College Spring 2015, Bard College Fall 2012, Dance New Amsterdam 2012-13, has taught master classes and repertory workshops internationally and is on the teaching staff for the Merce Cunningham Trust. She joined Pam Tanowitz Dance in 2006-2008, returning in 2012 as a dancer and to serve as Rehearsal Director. As Assistant to the Choreographer she has worked on creations for Barnard College, Dickinson College, Princeton University, Rutgers University, and the American Ballet Theater. She has performed with Rashaun Mitchell and Silas Riener, Kimberly Bartosik, Sally Silvers, Bill Young and The Bang Group: Tap Lab. She's collaborated with writer Anne Carson, was a founding member of Miro Dance Theater, the Michael Uthoff Dance Theater and has been a Guest Artist with Rosie Herrera Dance Theater, Robert Wood Dance, Kyle Abraham/Abraham.In.Motion and the Stephen Petronio Company. She performed in the revival of Merce Cunningham's RainForest during the inaugural season of the Petronio Company's Bloodlines initiative. She appears in a duet with her sister Jodie Toogood in the latest edition of Dances for an iPhone: Dancing Sondheim. A native of Sydney, Australia, she earned a B.F.A. in Dance Performance from New World School of the Arts, Miami, FL under Dean Daniel Lewis. Melissa was named in Dance Magazine's 25 to watch in 2014. Photo: Chad Kamenshine
Sandra Neels, since leaving her ten-year performance career with the Merce Cunningham Dance Company (1963 – 1973), has choreographed over 200 works in a variety of settings across the United States, as well as Canada. She has taught and choreographed at the University of South Florida, York University in Toronto, the Harvard and Connecticut College Summer Sessions, Hampshire College, California Institute of the Arts (where she received the 1983 Faculty of the Year Award), The Royal Winnipeg Ballet, the University of North Carolina-Greensboro, Winthrop University (where she is an Associate Professor of Dance), the South Carolina Governor’s School for the Arts and Humanities, Ballet Spartanburg, and Ballet Hawaii. In 2003, she reunited with MCDC, teaching company classes and coaching the dancers for their 2004 Lincoln Center performances. Since then, she has also reconstructed several of Cunningham’s works on MCDC as well as in student workshops. For the last nine years, she has choreographed a number of contemporary solos for dancers competing in the Youth America Grand Prix. In 2006 and 2007 she was choreographer for the Brevard Music Festival in North Carolina. Dance Magazine has published three of her “Teacher’s Wisdom” interviews on Stanislav Issaev, Robert Barnett, and Eva Evdokimova: she is currently writing a biography of the latter. She first assisted Mr. Cunningham in the teaching of his repertory in the early 70’s, during the restaging of How To Pass, Kick, Fall, and Run. Recently, Sandra received the Winthrop President's Award for Service to the Community (for her reconstruction/restaging work on Merce Cunningham repertory) and became the Winthrop Faculty Advisor for the campus NAACP. At Winthrop, she also choreographed a hologram for the Wounded Warriors Project.
Jean Freebury is currently on faculty at the Juilliard School and SUNY/Purchase teaching Cunningham Technique and repertory classes. Jean danced for the Merce Cunningham Dance Company from 1992 - 2003 and began teaching at the Merce Cunningham Studio in 1996. Originally from Canada, she received her early training at The Alberta Ballet School and later London Contemporary Dance School and North Carolina School of the Arts. Staging experience includes Merce Cunningham's Inlets II for the American Dance Festival, Minevent for the University of Michigan, Beach Birds with Patricia Lent for the University of Texas and most recently BIPED with Jennifer Goggans for the Juilliard School. She was a 2014 Merce Cunningham Fellow, staging Windows for a workshop showing. Other choreographers she has danced for include Pam Tanowitz, Douglas Dunn, Kota Yamazaki, Elke Rindfleisch, Glen Rumsey, Ellen Cornfield, Makram Hamdan and Katy Orthwein. She was a collaborator of Magnetic Laboratorium directed by visual artist Marisela La Grave from 2003 - 2008 creating site specific performances in New York City. She is co-owner of Inwood Healing Arts in upper Manhattan and a licensed massage therapist since 2005.
Silas Riener graduated from Princeton University in 2006 with a degree in Comparative Literature and certificates in Creative Writing and Dance, with a focus on linguistics. As a dancer he has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Joanna Kotze, Jonah Bokaer, and Rebecca Lazier; and is currently dancing in projects for Tere O'Connor, Wally Cordona, and Kota Yamazaki. He was a member of the Merce Cunningham Dance Company from November 2007 until its closure at the end of 2011, and received a 2012 New York Dance and Performance Award (Bessie) for his solo performance in Cunningham's Split Sides. While performing with MCDC, Riener completed his MFA in Dance at NYU's Tisch School of the Arts (2008). Since 2010 he has collaborated with choreographer Rashaun Mitchell on site-specific dances and immersive theatrical experiences. Riener was the movement designer for the architecture and design firm Harrison Atelier in 2012/2013 and choreographed the site-specific performance/installations Pharmacophore: Architectural Placebo at the Storefront for Art and Architecture, and VEAL at the Invisible Dog Art Center. His work has also been curated at Architecture OMI, CATCH, as part of LMCC's River to River Festival, at Danspace Project, and at the BFI Gallery in Miami. Riener choreographed Way In the fall of 2013 in collaboration with Rashaun Mitchell, writer Claudia La Rocco, and lighting designer Davison Scandrett. His work with Rashaun Mitchell appeared in Carla Fernandez exhibition The Barefoot Designer at the Isabella Stewart Gardner Museum in 2014. Riener has taught workshops on performance and technique at Concord Academy SummerStages in Boston, throughout Turkey at several universities, in the Dance Program of Princeton University and the Merce Cunningham Trust. In 2013 along with Rashaun Mitchell he was named one of Dance Magazine's "25 to Watch", and was invited to participate as an inaugural member of LMCC's Extended Life Dance Development Program. He was a 2014 New York City Center Choreographic Fellow and a Mellon Artist-in-Residence at The Newhouse Center for the Humanities at Wellesley College.
Abi Sebaly is currently undertaking a major independent research project on the Merce Cunningham Dance Company's 1964 World Tour, initially supported in part by the Merce Cunningham Trust, the Getty Research Institute, the John Cage Research Grant from the Northwestern University Library, and a Mabel Dodge Luhan House's writers residency in Taos, New Mexico. From 2011 - 2014, she was the Merce Cunningham Research Fellow at the Walker Art Center, where she researched and cataloged the museum's comprehensive Merce Cunningham Dance Company Collection. In addition to processing over 3,500 set and costumes pieces, she conducted extensive archival research on the collection, including undertaking over 50 oral history interviews in Europe, Japan, and the United States. From 2003 - 2008, she worked in various capacities for the Cunningham Dance Foundation in New York, including serving as director of special projects and an administrative assistant to Merce Cunningham. She earned an M.A. in the Humanities from the University of Chicago (2010), with a thesis focused on performance curation, a Graduate Certificate in Performance from the Institute for Curatorial Practice at Wesleyan University (2013); and a B.F.A. in Dance and B.A. in English from the University of Michigan (2003). From 2008 - 2009, she was a Fulbright postgraduate scholar in Melbourne, Australia, where she participated in a professional mentorship at the Melbourne International Arts Festival with artistic director Kristy Edmunds, founded the draft work series First Run with Lucy Guerin Inc, and performed her own choreography in Melbourne and at the Central Academy of Fine Arts in Beijing, China.
Jamie Scott is from Great Falls, Virginia and began her professional training at the Washington School of Ballet. She attended Barnard College and graduated Cum laude in 2005. Jamie worked with Merce Cunningham as a member of the Repertory Understudy Group beginning in 2007 and joined the Merce Cunningham Dance Company in 2009. In 2012, Jamie began dancing with the Trisha Brown Dance Company. She has also worked with Daniel Gwirtzman Dance Company, Ana Isabel Keilson, the Merce Cunningham Trust and Silas Riener. Jamie teaches technique and master classes for both the Trisha Brown Dance Company and Merce Cunningham Trust. She is a 2014 Merce Cunningham Fellow and the recipient of a 2014-2015 Princess Grace award.