41. Dance Spirit Magazine - Making It Up On The Fly If you thought choreography was difficult with unlimited time, checkout what these choreographers had to do in just one day. The http://www.dancespirit.com/backissues/june02/onchoreography.shtml

Making It Up On The Fly This summer, use the tips gleaned from TorontoÕs Season In A Day choreography festival to get started on the dance youÕve been dreaming about. By Katherine Cornell Issue: May/June 2002 Karen Kaeja (foreground) in Fibre License by director Lynda Adams and choreographer Heidi Strauss for Season In A Day, 2001 Season In A Day is also a fabulous learning experience for emerging and established choreographers alike. If you thought choreography was difficult with unlimited time, check out what these choreographers had to do in just one day. The next dance you choreograph will seem like a piece of cake. BACKGROUND BUILDUP CREATING A DANCE IN A DAY 9:30 am Be Versatile Trentham pulls 27-year-old dancer Allison Rees-Cummings aside. There is a problem: One of the choreographers has had to cancel at the last minute. Rees-Cummings bravely agrees to choreograph instead of dance. 10:30 am Let The Games Begin 12:15 pm Improv Impetus 3:10 pm Stay Focused All three choreographers work together in the same space at once. They buzz in separate corners of the gym, rehearsing and refining the choreography. The musicians drift from group to group emulating and collaborating with performers and choreographers.

42. "One Last Dance" Choreography other, various choreographers have been mentioned as possible choreographers forWithout that Patsy Swayze has been involved with the choreography for Without http://www.perfectlypatrick.com/waw5.html

You will see "One Last Dance" referred to sometimes as "Without a Word". This is because, for 18 years, the title of the project was "Without a Word"; The title was changed to "One Last Dance" in February 2003. Ever since getting just a taste of seeing Patrick dance, the Dirty Dancing fans have been eager to see Patrick dance again. Fans have wished for a Dirty Dancing sequel with Patrick, yet it was not to be. In the movie, One Last Dance, at long last, fans will be able to see Patrick do .... once again....what he was born to do..... dance! The style of dance will be far from the world of "dirty dancing". After all, Patrick has described "One Last Dance" as about lives of concert dancers. We know the dancing in One Last Dance will be far beyond the skills of the talented street dancer, Johnny Castle, but just what can we expect to see? Well, our best chance of knowing perhaps what the style will be is to look into who the choreographers are for the movie. Learning about their style may help us get a tiny peek into what to expect. "One Last Dance" will have several choreographers. At one time or the other, various choreographers have been mentioned as possible choreographers for "One Last Dance", including Dwight Rhoden, Doug Varone, Alonzo King, Lila York, and Patsy Swayze.

43. BC Education - Dance 11 And 12 - Choreography 11 process; identify the influences of technology on choreography; comparethe definitive styles of two or more choreographers; analyse http://www.bced.gov.bc.ca/irp/dan11_12/dachod11.htm

Choreography 11: Dance and Society This sub-organizer contains the following sections: Prescribed Learning Outcomes Suggested Instructional Strategies Suggested Assessment Strategies Recommended Learning Resources Prescribed Learning Outcomes It is expected that students will: articulate their goals in terms of the creative process identify the influences of technology on choreography compare the definitive styles of two or more choreographers analyse the cultural influences and evolution of choreography in a variety of context s assess the role of choreography in responding to community needs establish a plan for achieving personal goals for lifelong participation in dance as a career, for recreation, or for entertainment Suggested Instructional Strategies As a class, brainstorm and discuss the various ways dance contributes to the well-being and identity of a community (socially, culturally, and economically). Have students use their journals to reflect on the presence of dance in their lives and what their lives would be like without dance. Invite choreographers to discuss their work with the class. Include representation from a variety of choreographic

44. Choreographers For 2003 in New York City, attended Bard College and performed with a number of New York'schoreographers including Doug Richard's own choreography has been shown in St http://www.laban.org/transitions_dance_company/about_transitions_dance_company/c

LABAN TRANSITIONS DANCE COMPANY DANCE THEATRE JOURNAL DISCOURSES IN DANCE ... Tour Dates CHOREOGRAPHERS FOR 2003 In 2003 Transitions Dance Company will tour five dances, including four new commissions from an international collection of artists, whose work represents a range of choreographic influences and styles. The following choreographers are creating work for the company, click here to find out more about the work Luca Silvestrini (Italy) and Bettina Strickler (Switzerland) Luca and Bettina are the Artistic Directors of Protein Dance launched in 1997. Their work blends humour, text and music with idiosyncratic movement reflecting the absurdity of everyday life. They have made six Company works to date and 'Portrait with Group and Duck' (1999) for six dancers and forty chairs, has become their signature piece. In 2002 they produced 'Publife', a performance for pubs, theatre bars and clubs. They have toured their work extensively in the UK and overseas. In 2000, Protein Dance won the Bonnie Bird Choreography Award, the Jerwood Choreography Award and represented the UK at the Rencontres Choreographiques Internationales de Seine-Saint-Denis at the British Dance Edition 2000 (Newcastle). In the same year they won second prize at the International Choreographic Competition in Groningen (Holland). In 2001, Luca and Bettina became joint Choreographers in Residence at The Place (London). Henri Oguike (UK) As part of our 2003 programme we will be reviving Henri Oguike's 'Brightside' (2002).

45. Gender & Choreography: An Irrational Tango The important creators of dance, the choreographers, however, up to the end of thenineteenth century, were all male. This gender bias in choreography has been http://www-staff.mcs.uts.edu.au/~don/pubs/tango.html

GENDER AND CHOREOGRAPHY: AN IRRATIONAL TANGO Don Herbison-Evans donherbisonevans@yahoo.com Technical Report 330 Basser Department of Computer Science University of Sydney NSW 2006 (updated 7 September 2002) ABSTRACT This essay is a study of the history of the growth of creativity in dance over the last 100 years. Before 1900, most choreographers for dance were male. Theatrical dance in the first half of the twentieth century was dominated by female choreographers. The origins for this change are discussed. Meanwhile, social dancing before 1900 involved mainly dances with prescribed steps. Males appear to have been released from this straight-jacket (inadvertently) to do creative social dance choreography by Vernon Castle in 1911. Females were not released until some 50 years later (again, inadvertently) by Chubby Checker. Vernon Castle's method of dividing ballroom dances into "figures" may be viewed as the construction of a set of symbols. The mapping of these onto numerical digits is exemplified using figures from the modern Tango. Castle's catalysis of of the change from sequence dancing to ballroom dancing can then be viewed as a change from rational dancing (like rational numbers that have recurring groups of digits) to irrational dancing (like irrational numbers having digit sequences with no repetition). INTRODUCTION Ordinary people in society can involve themselves in dancing in either of two ways: watching the the performance of specially trained dancers. and/or participating themselves in social dancing. Over the last 200 years in Western society, substantial changes to the creation of dance in these spheres has occurred.

46. Choreographers choreography of “Les Misérables” at the Theater of Mecklenburg/West Pomerania NationalCompetition for choreographers Award for the play “Reprise eines http://www.tanzwerk-heinemann-jaillet.de/English/Choreographers/choreographers.h

Choreographies, productions and awards (a. o.): FringeNCY Overall Excellence Award in Choreography for the production “Blind Date - Bodytheater”, New York 02. Choreograpy for the German first production “Jeeves”, directed by Ralf Nürnberger, Theater Heilbronn 01. Independent dance theater production “Blind Date - Körpertheater” Lehrauftrag an der Hochschule f. Darst. Kunst u. Musik, Stuttgart. Körperausdruck/Tanz, since 00. Dance theater “Hellhörig” , Heidelberg City Theater, 00. Choreography of “Fliegenpapier III” , Heidelberg City Theater, 99. “Ariadne on Naxos”, Opera by R. Strauss, directed by: K. Prick, Heidelberg City Theater, 98. “Ausgewogen” , final gala of the Palucca School at the Dresden Semper Opera House, 98. Intensive examination of Robert Musils' work. Several different choreographical translations of the short prose “Fliegenpapier” and “Hellhörigkeit”, 94–97. Workshop for choreography and production with Johann Kresnik, 95. Choreography of “Les Misérables” at the Theater of Mecklenburg/West Pomerania, 94. Co-founder of “Freies Tanztheater Berlin”, 90–94.

47. Ask Jeeves: Search Results For "Choreographer" 4. Choreographies in Ballet and Modern Dance by Tim Martin choreography by Tim http//www.martinballet.com/5. Los Angeles choreographers amp Dancers The http://webster.directhit.com/webster/search.aspx?qry=Choreographer

48. UI Dance Dpt. :: Performance/Choreography And Teaching This exuberant company performs awardwinning, internationally acclaimed choreography. facultyas well as contemporary guest choreographers and reconstructed http://www.uiowa.edu/~dance/PROSPECT/DanceInfo_perfo.html

CLAS Division of Performing Arts Dance Home Info Center PERFORMANCE/CHOREOGRAPHY OPPORTUNITIES Dance students at The University of Iowa have abundant opportunities to perform and choreograph during the year. These include the University of Iowa touring company Dancers In Company, the annual Dance Gala held in Hancher Auditorium, faculty and student concerts in Space/Place theater, MFA thesis concerts, the School of Music Opera Theatre, musical theatre in conjunction with the Theatre Arts Department, community performances, and participation in Gala Festival Concerts of the American College Dance Festival Association. DANCE GALA The annual Dance Gala involves 40-60 dancers, in a fully produced concert, which showcases the best of the faculty and student dance talent at The University of Iowa. The Gala provides UI students (majors and non-majors) with the opportunity to perform at Hancher Auditorium, one of the major theatres in the Midwest. With the full technical and artistic support of costume, scenic and lighting design, this concert provides choreographers and dancers with the chance to see their work produced on a professional level of the highest caliber. Another goal of the Gala is to build dance audiences. Presenting top-quality premieres, and capitalizing on the talent of UI dancers and choreographers, the Gala introduces audiences to new artists not seen through other Hancher dance events.

49. Tutorial For Course DANC 483, UM Libraries The * = truncation and in this case will retrieve choreography, choreographer,choreographers. See also Guide to The Catalog. return to top. http://www.lib.umd.edu/MCK/danc483.html

Course Related Web Pages DANC 483 : History of Dance II Professor Karen Bradley Web Page created by Judy Markowitz, UM Libraries The University of Maryland Libraries have many resources that will help with the research for your DANC 483 project. E-mail, Judy Markowitz ,the subject specialist, or call 314-1316 for additional information. Most of the materials on dance are located in the Michelle Smith Performing Arts Library. Hours of the Performing Arts Library. Borrowing Materials from the Performing Arts Library Videorecordings are held in Nonprint Media Services - located on the fourth floor in the Hornbake Library REFERENCE RESOURCES = START HERE SUBJECT ENCYCLOPEDIAS International Dictionary of Ballet. PA LIB REF GV1585.I57 1993 vols. 1-2 International Dictionary of Modern Dance. PA LIB REF GV1585.B46 1998 International Encyclopedia of Dance. PA LIB REF GV1586.I586 1998 vols. 1-6 Bremser, Martha. Fifty Contemporary Choreographers. PA LIB REF GV1785.A1B74 1999 BIBLIOGRAPHIES Adamczyk, Alice. Black Dance. An Annotated Bibliography. PA LIB REF GV1595.A25 1989 Forbes, Fred. Dance: An Annotated Bibliography, 1964-1982. PA LIB REF GV1594.F67 1986

50. Choreographers Info Dance experience, Danced in and created main choreography for three boy bands. Masterclasseswith Thea Barnes and Aubrey Lynch (choreographers of The Lion King http://www.cam.ac.uk/societies/dance/choreo.htm

Choreographers and Dancers Available On this page, you can find details of dancers and choreographers who have made their details available to us. To send your details, email lcs23@cam.ac.uk The dancers on this page will also be informed of upcoming shows and events by regular email bulletin. Do keep checking our Dancers Wanted page for news! Helen Lacey Contact ballerinabarbie01@yahoo.co.uk Style of interest Singing, Pointe Work, Street Jazz, Ballet, Tap and Contemporary Dance (Graham , Limon and Release). Choreographic experience March 02-Present Flamingoland (North Yorkshire): Promotion Work and Choreography (Colin Lang, Amanda Scales) June/July 01Handres Greek Theatre (Greece): Dance Captain/Backing Dancer/Choreographer Dance experience 1999-2001 London College of Dance (Middlesex University), BA Honours – Dance, 2:1. Awarded Theresa Theodolu Award for Talent in Theatrical Dance; 1999 HND Performing Arts (Dance); 1997 BTEC National Diploma in Performing Arts; IDTA Dance Syllabus in Ballet, Modern, Tap, National. March 02-Present Flamingoland (North Yorkshire) July-Oct 2001 Cabaret Dancer/Singer; Illusionist’s Assistant; Karaoke Hostess; Promotion Work; Choreography (Colin Lang, Amanda Scales);

51. D&TZ Mailing List Archive By Date Re economic barriers Darren Kelly; Re money = ability Darren Kelly;Re choreographers and composers Darren Kelly; Re choreography vs. http://www.art.net/~dtz/archive/DanceTech98/date.html

About this archive Most recent messages Messages sorted by: [ thread ] [ subject ] [ author ] Other mail archives Starting: Thu 01 Jan 1998 - 14:36:17 Ending: Sun 07 Mar 1999 - 12:39:56 Messages: Re: Ultimate Interactive Robert Wechsler Re: money = ability Dawn Stoppiello Re:PARACHUTE- Under construction/Press release Johannes Birringer Re: Introduction Darren Kelly Re: STREB (also pretty long) Darren Kelly Re: Interactive Performance Darren Kelly Re: Interactive Performance Darren Kelly Re: references/ National Dance Assoc. Darren Kelly Re: money = ability Darren Kelly Re: money = ability Darren Kelly Re: money = ability Nick Rothwell Re: money = ability Robert Wechsler Re: references/ National Dance Assoc. Mary-Lou Michael Re: money = ability Mary-Lou Michael Re: money = ability Johannes Birringer Re: Interactive Performance Gerd Willschütz Re: money = ability Nick Rothwell Re: Introduction Nick Rothwell Re: choreographer collaborations Sarah Rubidge seeking artist (cd-rom, animation, etc.) Robert Wechsler Re: references/ National Dance Assoc. Lesley Wheeler Re: money = ability Lesley Wheeler Re: seeking artist (cd-rom, animation, etc.)

52. National Resource Centre For Dance - Publications On Choreographers 1 The pack contains ideas for choreography, performance and appreciation, lesson above,bibliographies.) Forward to publications on choreographers 2 National http://www.surrey.ac.uk/NRCD/chorpub1.html

Publications on Choreographers 1 All prices include postage and packing. Publications Home Dance Works Choreographers 1 Choreographers 2 Dance Companies Dance Subjects Conference Proceedings ... Order Form Choreographer Fact Cards The NRCD produces a series of Choreographer Fact Cards useful for teachers and students. These laminated, folded-A3 cards provide an effective first or quick source of reference and are suitable for a range of students. Each card gives details about the choreographers life and career, stylistic features, collaborations and choreographic characteristics, and provides a select bibliography of books, articles, and videos available commercially or for viewing. The fact card price has been kept low to encourage students to build their own reference collection. A sliding scale provides a discount for purchasing several different titles (it does not apply to multiple copies of the same fact card): 1 card = ; 2 cards = ; 3 cards = ; 4 cards = ; 5 cards = ; 6 cards = ; 7 cards = ; 8 cards = , 9 cards = Richard Alston (Sanders, L., 2002) Order No. QX1285

53. Moving Current   " The Guest Choreographers" David Dorfman’s choreography has been produced in New York City at performed internationallyin the companies of over two dozen choreographers including Doug http://www.movingcurrent.com/guestchoreographers2.htm

Home The Collective Our Story Directors ... Contact us The Guest Choreographers Dale Andree (Choreographer) a graduate of the Boston Conservatory of Music, began her performing career in New York and then moved to Miami where she established the Mary Street Dance Theatre in 1985. She has been a recipient of the Florida Individual Artist Fellowships as well as receiving funding from the national Endowment for the Arts for Mary Street Dance Theatre (MSDT). Ms. Andre has taught internationally, as well as conducted residency workshops at festivals in Florida Peru Brazil and Columbia As Director of MSDT she has conceived and developed many community outreach programs, most recently developing an after school program with ASPIRA/ACCOLADE Middle School. She is committed to developing the

54. Institute For Choreography And Dance/ Forums The Righting Dance Programme is a series of special dance projects devised throughclose collaboration with dance artists and choreographers and providing a http://www.instchordance.com/site/links/forums/forum_RightingDance.shtml

Introduction Conversations on Choreography Acts of Criticism Safe Harbour ... Information The Righting Dance Programme The Righting Dance Programme is a series of special dance projects devised through close collaboration with dance artists and choreographers and providing a conducive environment in which to carry out personal research and creative experimentation. Its focus is to research and develop a choreographic language. This programme responds directly to the needs of Irish/ Irish based choreographers-established or emerging-offering the possibility of mentor programmes to the former and of apprenticeship schemes to the latter, in addition to theoretical discussion, interdisciplinary research projects and critical appraisal and evaluation. In creating Righting Dance, icd consulted with people operating comparable models, such as Le Group Dance Lab, Ottowa and Dance Xchange, Birmingham. Through this choreographic and performance research programme, icd has contributed to the professional formation of a number of Irish dance makers. ER: Emerging/Re-Emerging is icd's most recent model for stimulating choreographic practice. Devised in collaboration with Bessie-award winning choreographer, teacher and dance writer Susan Rethorst, the project allows both emerging and established choreographers to come together to examine issues, work methodologies and individual goals in a unique, practice-centred environment. ER began in August 2002 with a 2 week workshop and reconvenes in October 02 and into Spring 03. ER may lead onto independent projects but the main aim is to establish conditions for a collective engagement with forms of experimental questioning

55. Institute For Choreography And Dance/ Residencies The presence of a writer in the space of choreography prompts many a series of dancecriticism workshops, documented conversations with choreographers and live http://www.instchordance.com/site/links/residency/res_WriterInRes.shtml

Introduction Dance Writer in Residence Guest Dance ... History Dance Writer In Residence The Institute for Choreography and Dance (icd) is proud to announce the second year of its Dance Writer in Residence programme with Dr. Diana Theodores. The presence of a writer in the space of choreography prompts many questions about the relationship between writing and moving bodies, about the physical acts of writing and moving, about the language and texts of writing dancing, about the narrative of observation and also about the dramaturgy of documentation itself. icd's Dance Writer in Residence programme aims to address these questions through a series of dance criticism workshops, documented conversations with choreographers and live events. Dr Diana Theodores has written and compiled icd's first publication She is currently Reader of Theatre at Dartington College of Arts, England. Diana has written extensively about dance both in Ireland and abroad including First We Take Manhattan: Four American Women and the New York School of Dance Criticism and was the dance critic for The Sunday Tribune newspaper (1984-92).

56. Los Angeles Choreographers & Dancers -Videos Quicktime Videos. Go to Dances of Assimilation 3016 k. choreography by LouiseReichlin. All choreography copywritten by Louise Reichlin and Alfred Desio. http://www.usc.edu/dept/dance/p16_videos.html

Quicktime Videos Go to "Dances of Assimilation" 3016 k. Choreography by Louise Reichlin. Go to Zapped Taps/Alfred Desio 2804 k. Choreographed and danced by Alfred Desio. Go to "Contest" 7880 k (for those of you with really fast connections) Choreography by Louise Reichlin, Tap-Tronic sound score by Alfred Desio. Danced by Allison Higa and Ken Arata. Go to "The Tennis Dances" 7272 k (Another large selection for fast connections) Choreography by Louise Reichlin. All choreography copywritten by Louise Reichlin and Alfred Desio. It may not be used without permission. Return to Southern California Dance and Directory (home page.)

57. National College Choreography Initiative (NCCI) choreography Initiative (NCCI) was conceived at the National Endowment for theArts as a way to showcase the accomplishments of American choreographers. http://www.danceusa.org/programs_publications/choreography_comments.htm

NCCI HONOR THE PAST, IMAGINE THE FUTURE Honor the Past, Imagine the Future As the end of the 20th century drew near and with it the turning of the millennial clock, much attention was given to the events and accomplishments of the past. For the dance field, much of the history of the last century is an American story. Modern dance was born, classical ballet was redefined, and world cul-tural traditions were incorporated into the country’s movement vocabulary, resulting in the creation of a catalog of masterworks. However, because dance lives only in perform-ance, many of these dances—the core of American dance history—are unfortunately inaccessible to students, professional dancers and audiences. It is particularly troubling that as dance students sharpen their technical performance skills, they have little direct knowledge of the artistry and artistic works that underpin the profession they seek to enter. To celebrate the Millennium, the National College Choreography Initiative (NCCI) was conceived at the National Endowment for the Arts as a way to showcase the accomplishments of American choreographers. Following the White House directive to “Honor the Past; Imagine the Future,” the Initiative’s goals were to provide dance students with access to their artistic heritage, and to acquaint audiences across the country with the treasury of American concert dance. NCCI would also acknowledge the tradition of American creativity through the commissioning of new works by leading choreographers that would involve students in the artistic process.

58. National College Choreography Initiative (NCCI) for American dance creativity, the National College choreography Initiative (NCCI therestaging of works by historically significant choreographers, in order to http://www.danceusa.org/programs_publications/choreography_oview.htm

NCCI THE NATIONAL COLLEGE CHOREOGRAPHY INITIATIVE Overview by Suzanne Callahan For all projects, public involvement outside of the academic community was critical. Colleges were to make substantial efforts to involve the general public beyond the performance of the dance work itself. Activities such as panel discussions, lectures, open rehearsals, school performances, and video showings would allow students and general audiences access to the history of dance and the process of creating choreography. Scholars, educators, critics, historians, and artists would inform the public presentation of the dances. Finally, it was hoped that other organizations would join these collaborations, including musical ensembles, community-based dance organizations, presenters and other colleges within the particular state. Measured Steps In the past year, 48 artists and ensembles have worked in every state in the country plus the District of Columbia to bring dance of the highest caliber to students; many of these guest choreographers brought in additional professional artists from their own companies to assist with teaching and reconstructions. A total of 43 dances have been restaged or reconstructed and another 44 new works have been created, as colleges opted to capitalize on this rare funding opportunity by commissioning multiple works.

59. MDF Choreographers of her dancing, choreography, and tireless work with Bharatanatyam in the Minnesotaarea, including 12 McKnight Artist Fellowships for choreographers, two http://www.balletminnesota.org/MDFhtml/MDFChor.html

produced by: Ballet Minnesota, 249 East Fourth Street, St Paul, Minnesota 55101 / 651-222-7919 MDF Choreographers MDF Companies MDF Dance Schools MDF Homepage ... Articles about MDF M INNESOTA D ANCE F ESTIVAL C horeographers Chris Aiken: (1997: 9th MDF) Chris Aiken is one of the leading dance improvisation artists in America. John Beasant: (2000: 12th MDF) A graduate of the University of Utah, John has danced with JazzDance and ARENA since moving to the Twin Cities in 1998. John was nominated by Dance Magazine for best new choreographer of the year at Kennedy Center for the Performing Arts in Washington DC. John is a very intriquing choreographer. His use of modern dance to convey emotion, the flow of line and theme are strong components in his choreography. Jesse Bethke: (1993: 5th MDF; 1996: 8th MDF) Jesse is the artistic director of El Ballet Mexicano. Formerly with Ballet Folkloric in Mexico, he brings a stong sense of Mexican dance to Minnesota. Brenda Buckley: (2000: 12th MDF) Brenda is the artistic director of Scoil Na dtri. The company celebrates Irish dance. On the 12th MDF, Brenda (and choreographer Meryl Kenny) presented 3 works: "Bodhran", "Cry of the Celts" and "Call of the Dance"

60. Choreographers Mr. Ezralow one of the best young American dancerchoreographers now working joinedthe ensemble of Stuttgart Ballet, where he created his first choreography. http://www.balletflorida.com/people/bios/guests/choreogr.html

Choreographers Alvin Ailey, The River American Ballet Theatre , The Joffrey Ballet and Paris Opera Ballet. George Balanchine, Allegro Brillante, Tchaikovsky Pas de Deux New York City Ballet , choreographing the majority of the productions the company has introduced since it's inception. John Butler, The River, Carmina Burana, Othello John Butler has worked with the top stars of the dance world, including Mikhail Baryshnikov, Carla Fracci, Judith Jamison, Natalia Makarova, Martine van Hamel and countless others. His works are in the repertories of New York City Ballet American Ballet Theatre , Alvin Ailey American Dance Theatre, Joffrey Ballet, Paris Opera Ballet, and companies around the world. He has been honored as a recipient of the Dance Magazine Award, the Critic's Circle Award in Santiago, Chile, the Diaghilev Award in Paris, and the Mississippi Native Son Award in celebration of the international acclaim garnered by this choreographer from Greenwood, Mississippi. Following studies at the School of American Ballet and with Martha Graham, Mr. Butler joined Graham's company and soon began choreographing. He then founded John Butler Dance Theatre and, touring throughout Europe, was appointed Dance Director of the 1958 Festival of Two Worlds in Spoleto, Italy. Val Caniparoli

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