June 22, 2017
The USC Glorya Kaufman School of Dance invites applications for a fixed-term position as Part-Time Lecturer in Dance Studies to teach an academic course entitled Dance and Popular Culture. This course involves the study of social dance styles and their evolution in recreational and professional settings. This course meets twice a week and serves as a means of examining the role of dance in contemporary culture. The class encompasses a heavy lecture component and a small practical studio component. Visit usccareers.usc.edu for an application and details.
June 14, 2017
With both a BFA and and MFA in dance, along with years of experience in her field, Dawn Stoppiello joins the USC Kaufman faculty to teach on Dance in New Media. Her work at Troika Ranch combines her passion for media as well as somatic practices to explore dance and its relationship to the digital era.
April 5, 2017
USC Kaufman faculty member Patrick Corbin was featured in “Conversations on Dance,” a podcast hosted by ballet dancers Rebecca King and Michael Breeden.
Corbin, who is currently staging Paul Taylor’s “Arden Court” for the Miami City Ballet, spoke of his multi-genre background and his responsibility as Taylor’s repetiteur, coaching dancers to perfect the presentation of the choreographer’s works.
Listen to the talk on the “Conversations on Dance” podcast.
April 3, 2017
An enviable number of premieres and revivals of the works of choreographer and USC Kaufman School of Dance faculty member William Forsythe will be performed around the globe starting this spring. More than 14 of Forsythe’s ballets and 13 of his exhibitions are crossing seas to audiences from Tokyo to Madrid through the end of the year. In addition, four significant publications authored or about Forsythe will make their appearance in 2017.
March 8, 2017
A unique dialogue between hip-hop dance academics and practitioners began at the Glorya Kaufman International Dance Center on March 5. “The Cypher: 2017 hip-hop dance education summit” gathered educators, choreographers, researchers, dancers and community leaders to strategize on the future of the art form.
March 3, 2017
Currently on stage at Boston Ballet, William Forsythe’s “Artifact” has received broad attention from the media.
The piece, which the world renowned choreographer and USC Kaufman faculty member designed in 1984 for Ballett Frankfurt, has gone through a process of evolution since its inception more than three decades ago.
February 22, 2017
USC Kaufman’s jazz and tap lecturer Christian Vincent was featured in Windsor Life Magazine, a lifestyle publication from his hometown in Canada.
In her article, Karen Paton-Evans takes the reader through Vincent’s journey as a dancer.
“He observes that anyone who dances is rewarded for their efforts. Whether the dancers are professional or young kids trying out hip-hop moves or a middle-aged couple taking their first ballroom dance class, dance improves their health, motor skills, stress levels and confidence,” highlights Paton-Evans.
Read the full article on Windsor Life Magazine
February 16, 2017
Jiří Kylián’s pupil and faculty artist in residence Fiona Lummis discusses the expanding legacy of emblematic choreographers from the second half of the 20th century as she stages Kylián’s “Stepping Stones” (1991) at The Houston Ballet.
February 6, 2017
Gillian Finley, USC Kaufman’s newest lecturer, joined the faculty this spring and has an extensive background in both ballet and teaching. She has danced with Ballet Pacifica, Nevada Dance Theatre, and Eugene Ballet; along with a B.A. in Dance from the University of California Irvine, an M.A. in Arts Management from American University, and a Stott Pilates certification, Finley has dance experience that makes her the perfect fit for USC Kaufman’s blend of conservatory dance and university education.
January 27, 2017
USC Kaufman faculty member William Forsythe is bringing his four-act ballet “Artifact” to Boston Ballet as a part of his five-year contracted relationship. In a recent article, the Boston Globe’s Karen Campbell writes about Forsythe’s connection with the company.
“…the dancers love working with Forsythe, too. “We’re incredibly excited,” confirms soloist Patrick Yocum following the rehearsal. He says “Artifact,” the third Forsythe work in which he has danced, demands intense concentration, and he calls it “wonderful, strange, shocking.””
Read more about the staging process at the Boston Globe.