Through the school’s partnership with The Music Center, USC Visions and Voices, as well as connections through current faculty, USC Kaufman has been fortunate to have several guest artists teach master classes, guest lecture and set choreography. Below is a list of previous guest artists:
Artist Francesca Harper joins the USC Glorya Kaufman School of Dance as a guest choreographer this semester. Harper promotes work rooted in artistic expression, empowerment and social justice. She brings this awareness to her work with USC Kaufman seniors.
Before switching into “performance mode” here at USC Kaufman, I, along with the entire Class of 2022 and Class of 2023, had the privilege of working with Silas Riener. Together, we delved into the work of Merce Cunningham.
USC Glorya Kaufman School of Dance will premiere a new work by University of Southern California alumnus Andrew Winghart next year at the School’s debut at The Broad Stage. During his time as a guest artist, he will work with the Class of 2020 and the Class of 2021.
Coming into this year at USC Kaufman, I didn’t know what to expect when hearing about the opportunity to work with Rauf “Rubberlegz” Yasit. A self-taught B-Boy, Yasit pairs his breakdancing technique with contemporary styled influences.
The opportunity to work with Matthew Neenan for three weeks during his residency was a dream come true. This semester I have been nursing an injury, and since I wasn’t dancing throughout the beginning of the process, I was lucky enough to be his rehearsal director.
A momentary cloud of sadness fell over the juniors when word spread that Kyle Abraham could no longer teach his scheduled master class after spring break—so you can only imagine our excitement when this dazzling opportunity was returned to us last Thursday. Exhausted from shows and crawling to class with aching bodies, we all pulled it together for an hour and twenty minutes with one of the leading contemporary choreographers of our current dance world.
At the USC Glorya Kaufman School of Dance, students are working to get ahead of the game when it comes to ensuring their future professional success. Recently, several dance majors secured agents who will help them to book jobs in the entertainment industry.
USC Kaufman BFA dance majors have worked with over 45 artists since the program’s launch in 2015, from their very first day with Complexions Contemporary Ballet’s co-artistic director Desmond Richardson to a recent residency with bboy and Rock Steady Crew senior vice president YNOT.
Creativity, authenticity, and originality. Anthony Denaro, aka YNOT, encapsulated all three of these properties during his residency at USC Kaufman. YNOT truly represents the essence of a hybrid artist, and it was such an honor to be a part of his choreographic process.
After seeing Kidd Pivot’s performance of “Betroffenheit” on Thursday evening, I was rendered quite literally speechless. And sure, I was being a little dramatic, but I wasn’t the only one who reacted strongly–tears were not scarce in the audience.
This past Tuesday we had the great honor of exploring with Lucky Plush Productions ensemble members Michel Rodriguez Cintra and Meghann Wilkinson. Working with them after having seen them perform the night before was very exciting because of the show’s high energy.
After a long break full of holiday spirit and Christmas cookies, USC Kaufman BFA dancers including myself anticipated the first week back to school, especially because working with Sonya Tayeh was first on the itinerary. Sonya’s visit right at the start of the semester was an exciting and rigorous challenge
On October 18, USC Kaufman and Visions and Voices hosted “Making Movements: Dance and Social Change,” an interactive performance and lecture featuring movement artist and choreographer Jon Boogz.
Ballet BC director Emily Molnar has a “warm yellow aura,” as one of my classmates phrased it–upon introduction, she emits welcoming, curious, and incredibly grounded energy. Her questions are rooted in an incredibly strong technical base and impressive résumé; she asks in order to create confusion and investigates in order to build beauty out of it.
She prefers the term “conflict engagement” to “conflict mediation.” Why? “I believe conflict is necessary,” Dana Caspersen told her audience on Wednesday night. “But we must approach it with curiosity, rather than violence. We must engage with it.”
Ballerina Wendy Whelan had an illustrious 30-year career with the New York City Ballet, during which she performed in works by countless choreographers, from Balanchine to Wheeldon. Now, she collaborates with acclaimed choreographer Brian Brooks, currently the first choreographer-in-residence at the Harris Theater in Chicago.