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This past January, six other Goucher girls and Iembarked on a journey to the beautiful hills ofTuscany to attend the Accademia dell’Arte. Ourhome for the next three months was a hillsidevilla overlooking the small town of Arezzo, with37 American students in total studying eitherdance or theater together in one community.

There were only American students at theAccademia, including Muhlenburg, SarahLawrence, Emory, Boston University, Meredith,and Cornish, as well as Goucher. There were16 dancers—15 female and one male—and21 theater students in spring 2009; it was thelargest number of students that the Accademiahad ever accepted.

The dance track was extremely different fromanything I have experienced before; we weretaught by a diverse collection of dance instruc-tors with an attitude toward technique differinggreatly from the education I have been receiv-ing here at Goucher. We took ballet once ortwice a week, sometimes traveling into townby bus to take ballet from Carolina, a formerballerina, and Rebecca, a teacher from the localstudio. This was the first year that the Accademiahad really implemented ballet into their program,since there had been an increased request for it.Modern was taught by Rita Petrone; her classwas based on movement analysis before practi-cal execution, which is related to the Europeantraditions of contemporary dance. We focusedmainly on how to do something—this aspectwas really stressed at the Accademia. It was notwhat we did, but howwe did something thatmattered. These differences in the teachingover at the Accademia were much needed forme and the other women to grow as dancers.

Dance composition was taught twice a weekby the quirky Giorgio Rossi, who challenged usduring classes to be in our bodies more and touse our bones rather than muscles. At the endof the semester, we put on a show featuring ourown solos, duets, and group pieces that we hadchoreographed and worked on for most of thesemester.

La Vita è Bella: Three Months of Dancing in ItalyBy Alyssa Santos ‘10

danceGOUCHER COLLEGE

a student publication of the goucher college dance department

vol. 25, no. 1 | fall 2009

Spring 2009 students of the Accademia dell’Arte, including Goucher students Emeri Fetzer, Emily Frederick,Sierra DeSalvia, Alyssa Santos, Becca Welna, and Claire Van Ryswyk, with teacher Giorgio Rossi.

Photo courtesy of Alyssa Santos

“La Vita è Bella,” continued on page 2

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In spite of the pressing economic crisis taxingthe nation, President Sandy Ungar showed hissincere dedication to the Goucher CollegeDance Department by allotting the time,energy, and money to renovate part of theStudent Recreation Center into a new dancestudio. The studio, dedicated and named forHarriet Sauber Eisner ’43, will be the fourthstudio available to Goucher dancers for classes,rehearsals, workshops, and auditions. The studiowill be fully equipped with state-of-the-artbarres, a studio-sized uncut piece of marley,the tools needed for aerial dance, and technicalequipment essential to broadening the perspec-tives and opportunities of the current andprospective dancers of the department.

On Friday, September 11, 2009, approximately100 alumnae, trustees, members of the boardof directors, faculty, staff, and students gath-ered in the Todd Dance Studio to celebrateHarriet Sauber Eisner and to dedicate the newstudio in her name. Sandy Ungar welcomedguests to the event and stated that he was“thrilled that Harriet [was] able to enjoy thecelebration.” Eisner’s cousin Bobbi Cox ’65 andher daughter Nancy Eisner ’72 spoke about theextraordinary ways that Eisner has blessed theirlives. Cox said of Eisner, “Actions speak louderthan words, and Harriet dances.” She is a“distinctive and dependable” mentor andteacher to many young dancers, to whomshe has taught valuable life lessons in additionto dance training.

Amanda ThomWoodson, associate dean forundergraduate students and former dancedepartment chair, spoke on behalf of the DanceDepartment founder, Chrystelle Trump Bond,who was unable to attend the ceremony, andgave a short history of Goucher dance.Elizabeth Lowe Ahearn, current chair of thedepartment, then reminded the attendees aboutthe importance of the new studio, gave detailsabout what equipment will be included in thestudio, and assured all that it is a necessaryaddition to the ever-expanding, ever-develop-ing Dance Department. She thanked SandyUngar for his dedication, and said that there willbe “great impact upon the department” becauseof the new studio. ThomWoodson presentedflowers to Eisner as she arose to speak.

Eisner began her address by stating that she“speaks from her heart” in her sincere wishesto thank a number of people for allowing herto teach dance for as long as she has. She spokeabout her recent battle with pancreatic cancer,but announced that she now is blessed to bewell and healthy. She then touched upon herfirst involvement as a teacher at Goucher duringWorldWar II. She was a student, but when thephysical education teachers went off to thewar, she took over and taught dance, includingfolk, swing, and square dancing. She thankedBobbi Cox and her joyful way of approachingeverything, Sandy Ungar for his dedication, herdaughter Nancy and son-in-law Steve for assist-ing her, and all who attended the ceremony.

Three dance pieces were then performed byGoucher dancers to celebrate Harriet andthe newstudio. First, Ashley Turenchalk ’10performed Doris Humphrey’s “The Call/Breathof Fire.” Second, Angelica Daniele ’09 per-formed “Two Ecstatic Themes,” also choreo-graphed by Doris Humphrey. Finally, the cast ofSeptimeWebre’s residency, Lizzy Purcell ’12,Sophie Kurek ’13, Gretchen Funk ’13, CourtneyColarik ’11, Megan Simon ’13, and Maya Felton’11 performed a section of “D-Construction,”Webre’s intense piece dedicated to MerceCunningham.

The Continued Legacy of Harriet Sauber EisnerBy Kitty Dean ‘11

Cast of “D-Construction”Photo courtesy of Billie Weiss

We also studied the ancient populardanceof the TarantellawithGianni Bruschi,who brought in different instructors andmusicians who are part of the TerìacaAssociation. The best part ofmyexperienceat the Accademia was the process oflearning the Tarantella from Bruschi andperforming it with the theater studentson stage in Cortona during an end-of-the-semester performance.

While our primary focus at the Accademiawas dance, or theater, we were alsorequired to take an Italian class and aphilosophy of art class, in which westudied the classics of Plato, Aristotle,Hegel, and others.

My study-abroad experience in Italywas something that I will never forgetbecause of the wonderful times I hadwith 36 other beautiful artistic souls,as well as the continued growth I havenoticed in myself since returning toGoucher. At the Accademia, we livedtogether, we ate together, we danced theTarantella together; we were a family.

La Vita è Bella:Three Months ofDancing in Italycontinued from page 1

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This fall, Christopher Fleming, former principaldancer with the New York City Ballet andinternationally renowned choreographer andteacher, joined the Goucher Dance facultyand is teaching high-intermediate and advancedballet classes and a partnering class.

What inspired you to start dancing?I guess it was just in the family genes. Threegenerations of my family have been involvedin dance and theater. My uncles danced onBroadway, my mother and my uncle foundeda professional ballet company, my father wasa film director, my sister did films, my brotherbecame a principal dancer at 21, and nowmydaughter is dancing at Ailey.

Whowasyour biggest role model growingup?My Uncle Kip (Broadway/modern dancer) andmy Uncle Ron (Broadway choreographer).

Whatwas your favorite role to perform?Jerome Robbins’ “Fancy Free.” It was anenormous amount of fun. The role justsuited me well.

Do you have any funny or embarrassingperformance experiences?One time during a performance of “Stars andStripes,” I grabbed the wrong hat backstage.I went onstage with a black hat that had abig yellow feather instead of a black feather.I couldn’t figure why everyone was cracking uponstage. There was also this one time whenI was the lead in the fourth movement ofWesternSymphony, allmy friends in the audiencehad just come from a Bruce Springsteen concert.So, in the middle of the ballet they start chant-ing, “Chris! Chris! Chris!” I was supposed tothrowmy hat offstage during the pas de deux,but instead I threw it out into the audiencescreaming, “Yahoooooo!” The ballet mistresswas not toohappywithmeafter the performance.

What choreography are you currentlyworking on?I set a newwork on the Dayton Ballet that pre-miered on October 29, 2009. The ballet is aboutthe life of Edgar Allen Poe, particularly hisdescent into madness and his interactions with

four particular people: his mother, his wife, hislover, and his surrogate father. I incorporatedelements from [Poe’s stories], and the raven,adapted from Poe’s poem of the same name, isa central figure throughout the entire ballet.

What advice can you give to Goucherdancers?Get up every day and approach it like you meanbusiness. Everyone gets better at different levels,at different speeds. It’s so individual. You haveto learn to work hard for yourself. It gets funwhen you get better. You also have to love it,otherwise it’s too hard.

Will you continue choreographing andteaching or do you have other plans forthe future?For the time being I want to continue choreo-graphing and teaching. I have commissionslined up for next year. But I do love to teach.It motivates me to push people, especiallywhen I see them improving. It’s a very gratifyingjob, and I feel very endeared to my students.Ballet is not something that you can pass downthrough writing. It’s something that is passeddown from one generation to the next in theclassroom. You, as a dancer, are a productof what you have learned in your career.Remember: art lifts us up. And you can’t bean artist without technique. Become a masterof technique first, and once you get it, youcan have fun.

Get to Know Christopher FlemingBy Megan Lynn ‘11

Christopher Fleming

Jessica Lang ResidencyBy Muriel Mills ’11

Jessica Lang, a freelance contemporary choreo-grapher, taught classes to and set her choreo-graphic work “Prayers” on Goucher dancersfrom October 16 to 23, 2009. Lang is a graduateof the Julliard School anddancedwithTwyla Tharpbefore starting her career as a choreographer.Lang has staged works on companies includingthe American Ballet Theatre, the RichmondBallet, and the Pennsylvania Ballet, and herwork has been performed across the UnitedStates and around the world.

“Prayers” premiered in 2008 at New YorkUniversity Tisch School of the Arts. The music,Pergolesi’s “Stabat Mater,” a hymn about Mary,Jesus Christ’s mother, at his crucifixion, empha-

sized the religious undertones in the piece.The dance features nine dancers and ninechairs, representing church pews, that createsymbolic images of the cross and religion,and it explores unity as well as the relationshipbetween the individual and the group. Thedancers wear pointe shoes, but the choreogra-phy is a blend of strong classical ballet technique,modern style, and even jazz influence, whichdemands the dancers and audience membersto be open to contemporary movement.

Lang’s choreography highlights the manipulationof space, musicality, thematic material, andemotion. She enjoys using props as centralcomponents to the choreography and the

space. When choosing a dancer, Lang says shelooks for work ethic, energy, and the artisticand emotional capacity to handle the prominentemotions in her choreographic material.

Lang is an inspiring teacher and choreographer.She is reassuring, soft-spoken, and calm—but challenging. She demands precision andhard work in both class and rehearsal, and sheencourages dancers to develop greater artistryand thought beyond the movement and theactual steps. Lang’s choreography requires thecourage to connect with one’s peers and identifyand react to the emotional conflict within anindividual.

4 | goucherdance

Early in September, we had the great pleasure of working with SéanCurran, the modern dance choreographer and this semester’s artist inresidence. Curran, whose training began in traditional Irish step dancing,has danced with groups including the Bill T. Jones/Arnie Zane DanceCompany and Stomp. In setting his work “Left Exit” on the GoucherDance Department, Curran intended to incorporate the piece into anewwork-in-progress series for his own dance company, the SéanCurran Company, which he founded in 1997. “Left Exit,” a work which,according to him, was initially intended to explore the notion of religionand to ask questions like, “Where does religion fit into society?” and“Did man create God?” transformed itself throughout the rehearsalprocess into a work exploring “conversations” and theongoing dialogueamong diverse individuals.

The rehearsal process was one of both experimentation and intimatecollaboration. Our physically, mentally, and spiritually diverse castworked together with Curran to choreograph and experiment within-depth movement relationships.

During our first rehearsal, for example, Curran guided us through thechoreographic exercise of “building a phrase,” through which eachof us created a unique movement signature, building off of themovements of the previous dancer. We created these movementson impulse, (largely due to Curran’s persistent shouting: “Don’t think!Don’t think! Just go!”) and, as a result, formed a continuous, yetstylistically diverse phrase of movement.

In later rehearsals, we built upon this phrase and other phrases derivedfrom similar choreographic techniques, and we used the material tocreate “counterpoint” duets, trios, quartets, and quintets. All of thework was highly collaborative; during each rehearsal, we werechallenged as a cast to create and discover newmovement relationshipswith one another. The movement relationships, or conversations, wecultivated and developed during these rehearsals ultimately becamethe dance itself.

From Séan’s body-mind-and-spirit, emotional-rollercoaster, warm-upclasses to our intimate, kooky, collaborative, and deeply poignantrehearsal times, the experience was unique and exhilarating. SéanCurran, choreographer, Irish step dancer, and comedian extraordinairechallenged us, through the experience, to expand our creative andchoreographic abilities and to foster deeper connections betweenourminds and our bodies.

Left ExitBy Kelsey Hobbs ‘12

Taken at the Meet the Artist with Sean Curran on September 11, 2009Photos courtesy of Ashley Evans

My experience with the Pilates Method beganhere at Goucher College. As a dance major, I wasfortunate enough to be able to take the academicclass with Elizabeth Lowe Ahearn. I learned howPilates could improve my dancing and physique.I fell in love with Pilates because of the technique,mental focus, and workout that it requires. But Ialso had another love: the French language. Withgraduation nearing, I had to decide what to doafter college. I thought to myself, why can’t Ido Pilates and French?

In April of 2008, one year after graduation, I hadpacked my life in a suitcase and was on a flightto France. Le Studio Pilates d’Aix-en-Provencewas waiting for me. I had contacted a Pilatesteacher-trainer who is certified through theRomana’s Pilates Teacher Certification Programand who said I was welcome to do my trainingat her studio. I found a nice apartment building,circa 1200-something, that was close to thestudio and in the center of town. My life becamea wonderful mélange of Pilates, French, goodfood, good wine, outdoor markets, and beautifulscenery. It was truly a dream.

I did not realize what I had gotten myself into.Not only was I enrolled in a physically vigoroustraining program, but itwas also amentally toughchallenge to become fluent in another language.I had to answer the phone at the studio, greetnew customers and try to explain to themwhatexactly Pilates is,which is difficult even in English.I observed the way my instructor trainer taughtthe Pilates exercises, and I listened to her vocabu-lary choices. For example, in English we can sayto someone, “Peel your back off the wall,” as animage to help him or her understand how to

articulate the spine. If I used that phrase inFrench, clients would look at me as if I werecrazy. I realized I was not only learning Frenchwords, but also the language and usage of theirwords. After a couple of months, I was teachingPilates classes of two or three people entirely inFrench. I picked up a couple “Franglais” wordsalong the way too such as, “Scoopez-vous!”and used them to my advantage.

Currently, I am teaching the newGoucher faculty/staff/student Pilates mat class in our satellitelocation, in the Julia Rogers building. Teaching atGoucher feels like I have completed a circle, andI can see how valuable my experience in Francehas been to my understanding of Pilates. If itwere not for the strong Pilates training I receivedhere at Goucher, I would not have been ableto travel across the world to train with peopleunder the same renowned Pilates school.

I encourage all faculty, staff, and students aliketo try out Pilates at our Julia Rogers location; youmay fall in love with Pilates, like I did. You neverknowwhere Pilates might take you in the future.

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Oh, the Places You’ll Go: The Pilates MethodBy A. Michelle Mulreaney ‘07

On the second day of early arrival for theFall 2009 semester, the Todd Dance Studiowas packed with dancers auditioning to bein a piece set byWashington Ballet ArtisticDirector SeptimeWebre. We dancerslearned that Webre was resetting a piecehe had choreographed 10 years before—“D-Construction”—a piece that wasconceived for and performed by four men.As Goucher’s Dance Department lacks fourmen, Webre decided to adapt the choreogra-phy for women, who would wear pointeshoes, no less. Despite somemodificationsfor double tours and the addition of pointeshoes, the piece did not change drastically.

Webre’s time dancing for the recently passedMerce Cunningham inspired him to reset this

dance. “D-Construction” is a tribute toCunningham; even the music, a John Cagepiece, is an added tribute to Cunningham.

Working withWebre was an intense experi-ence. I have never been through somethingquite like it. “D-Construction” is very athleticand filled with jumps, turns, and runs. It feelslike the antithesis to the lightness we havecome to expect from ballet; though, instead,it is grounded and designed to show off thepure physicality of the dancer. Webre focusedon specific details, having us rehearse smallsections ad nauseam, it seemed. We did notspend a lot of time listening to the actualmusic until the end of the week.

Working with someone with such an exten-sive background as a dancer, performer,choreographer, and director is somethingto be appreciated. Webre has worked withmany numerous prominent American artists,including Merce Cunningham, Alvin Ailey,and Paul Taylor, and his works are performedby many companies in North America.Knowing his history and his importance tothe dance world may have been intimidating,but it also inspired me and the other dancersto work extremely hard in his presence.Hopefully, in performing “D-Construction,”we can do the piece justice, not only forWebre, but also in honor of the lateMerce Cunningham.

A Tribute to MerceBy Courtney Colarik ‘11

Pilates studio

6 | goucherdance

On October 23 and 24, Glenna Blessing, anassistant professor in the Dance Departmentand 1998 graduate of Goucher, participated inClancyWorks Dance Company’s first New Yorkseason. Blessing has been with the companysince 2005.

ClancyWorks is a Maryland-based nonprofitdance company founded by Adrienne Clancyin 2001. Prior to starting the company, Clancytaught at Goucher College, GeorgeWashingtonUniversity, and the University of Maryland,Baltimore County. She continues to teachat George Mason University and to conductresidencies all over the nation, including atGoucher. Two other Goucher grads are affili-ated with the company; Mathew Heggem ’06joined in 2005, and Melissa Talleda ’09, is nowan apprentice with the company. Glenna usedMelissa as an example of how students ofdance can form connections through residencies,as her relationship with Clancy grew out ofa residency.

Clancy uses choreography in distinctive ways,especially in her use of partnering, props, andsets. The partnering is exciting and is usedto illustrate relationships. Props, such as theladders featured in “On Taking Steps ToClimbing Mountains,” are used to illustrate atheme or idea. In addition to performing cultur-ally relevant works, the company is deeply

involved in community education, serving as thecompany in residence for the Baltimore D.A.R.E.(Drug Abuse Resistance Education) dance pro-gram. Company members collaborate withBaltimore County Police officers to inform stu-dents about the effects of drugs and to teachstudents how to stay drug-free by providing alter-native options.

The show being performed in New York is titledClancyWorks in Concert and is a collectionof four works that showcase the range anddiversity of the company. Rehearsals began inAugust, and although three of the four pieceshave been performed previously, they eachhave evolved from their original forms.

“OnTaking Steps toClimbingMountains” is adisplay of theme development. A piece forfive people, it begins with a solo performedby Blessing. As the piece developed, dancerswere added, reinforcing and continuing theexploration of its themes. The other piecesare “Light Armor,” performed with a Plexiglasset, “Paths Unturned,” a world premiere, and“Noise,” another, more athletic, duet. Theworks are all accompanied live by Leah Smithand Zak Fusciello. Each work explores variedphilosophical and cultural ideas, hopefullygiving every audience member something totake home and think about.

Professor Performs in New YorkBy Stephanie Walker ’12

Glenna BlessingPhotos courtesy of www.ClancyWorks.com

Fall 2009Calendar of Events

THURSDAY, NOVEMBER 19Fall Dance Concert MatineeKraushaar Auditorium, 11 a.m.

FRIDAY–SATURDAY, NOVEMBER 20-21Fall Dance ConcertKraushaar Auditorium, 8 p.m.

SUNDAY, NOVEMBER 22Auditions for Rosenberg Scholarshipsand performance concentration

TUESDAY, DECEMBER 1ACDFA adjudicationTodd Dance Studio, 8:30 p.m.

FRIDAY-SUNDAY, DECEMBER 4-6361 ConcertTodd Dance Studio, 7:30 p.m. and 3 p.m.

FRIDAY, DECEMBER, 11Melissa Brady Senior IndependentProject ShowingTodd Dance Studio, 7:30 p.m.

Spring 2010SUNDAY–SATURDAY,JANUARY 3–23, 2010Intensive Course Abroad inLondon, England

MONDAY, JANUARY 4Rosenberg Application Deadline

FRIDAY, JANUARY 29Dance Major/Minor ReviewsTodd Dance Studio, 3–5 p.m.

FRIDAY–SUNDAY, FEBRUARY 5 -14Gen Horiuchi ballet residency

FRIDAY, FEBRUARY 12Meet the Artist with Gen HoriuchiTodd Dance Studio, 6–7 p.m.

SUNDAY, FEBRUARY 14Auditions for Rosenberg Scholarshipsand performance concentration

FRIDAY–SUNDAY, FEBRUARY 19–28Larry Keigwin modern residency

FRIDAY, FEBRUARY 26Meet the Artist with Larry KeigwinTodd Dance Studio, 6–7 p.m.

WEDNESDAY–SUNDAY, MARCH 17–21ACDFA at Virginia Commonwealth University

FRIDAY, MARCH 5Open MarleyTodd Dance Studio, 7 p.m.

“Calendar of Events,” continued on back

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2008

WHITNEY RICKARDSRickards is working for Janice Garrett andDancers in San Francisco. She performedwith Janice Garrett and Charles Moultonin The Illustrated Book of Invisible Storiesat the Yerba Buena Center for the Arts,April 16-19.

ASYA ZLATINANow an apprentice with Koresh DanceCompany in Philadelphia, PA, Zlatinarecently performed in Theater of PublicSecrets, choreographed by Roni Koresh,which was featured in The PhiladelphiaInquirer.

ALISA PRAVDOPravdo is working as a physical therapytechnician in Baltimore and will be pursuingher doctorate degree in physical therapystarting in June 2009.

2007

KAT RICHTERCurrently, Richter is a graduate student atRoehampton University in London. Richterwrote several reviews covering Resolution!2009 at the Dance Place as well as Out ofHand, the Melanda Dance Company and Big

Beef Dance Theatre, Club Fisk, Elisabettad’Aloia and Fish in a Bowl Dance Company,which were several performances inLondon.

2005

CAITLIN KOLBNow dancing with Robert Moses’ Kin, whichis based in San Francisco, Kolb was featuredin two separate reviews in the San FranciscoBay Guardian during the company’s pastseason.

2003

ALDEN LAPAGLIALaPaglia is off on a Bye-Bye Birdie nationaltour, her first musical theater debut. She isthe dance captain of the show.

ALYCIA NAYLORNaylor joined the New York Choral Societyand has performed with them several timesat Carnegie Hall.

2001

HANNAH KOSSTRINKosstrin recently had a paper accepted forpresentation at the Society of Dance History

Scholars. She is completing her Ph.D. inDance at Ohio State University.

1992

AMYMARSHALLAmyMarshall Dance Company (AMDC)performed A Klezmer Nutcracker and OtherStories this past December at WestchesterCommunity College, NY. You can check outher website at www.amymarshall.com.

1990

DINAMACAIONE LATOFFHaving recently moved to Madison, NJ,Macaione Latoff had twins last January andis now teaching an adult ballet class.

1983

CYNTHIA PRESSONPresson now practices yoga, Tai Chi, andQigong. She also occasionally still runs, andhas finished nine marathons in the past fewyears. She writes: “At a recent dinner withfriends, it came up that Shawn (our host)had done massage on Maria Tallchief.”

Alumnae/i News

How do you teach choreography? Goucher’sdance majors are required to complete dancecomposition at the intermediate level, but fromwhose philosophy are we learning? At thebeginner level, dancers read Doris Humphrey’sThe Art of Making Dances, and while Humphreyhas an excellent philosophy that has beenwoven into many choreographers’ work, thereare also many other opinions about choreogra-phy to be explored. How can teachers possiblychoose fromwhich background to use?

Last semester, Juliet Forrest took a break fromteaching modern and choreography classesand spent her sabbatical researching in orderto solve this very problem for her first book.She is currently in the midst of interviewing 18choreographers from all over the United Statesand completed nine interviews this past springand summer. By interviewing past mentors and

colleagues, she will be able to gather informa-tion about their dance philosophies and createan eclectic dance composition book. Whenasked what motivated her to tackle such aproject, she explained that in all her years ofteaching composition courses, she has yet todiscover a book she truly loves.

Forrest has traveled all over the country inter-viewing the cast of characters who will helpcreate her book. David Dorfman, Gabe Masson,Bebe Miller, Don Redlich, JoAnna Mendl Shaw,and others all make it onto the list of voices tobe heard in Forrest’s work. During the interviewprocess, Forrest was lead toward more peopleto interview. The dance world is small andconnected; therefore providing fora great amountof overlap within dancers and choreographers.Juliet’s project is a perfect example of this,

considering three generations of dancers arecontributing to her book.

Forrest does not want to write a book abouther theory of choreography, but a book full ofideas from other dancers and professionals inthe dance world. In addition to a book, Forrestis also launching an interactive website wheredance students all the country can continue adialogue and share ideas about movementand choreography.

After her first book is completed, Forrest plans oncontinuing her work and writing a sequel on thetheories of international composition teachers.More about Forrest’s work will be discussedduring the post-sabbatical presentations onMarch 24, 2010 in the Todd Dance Studio.

Juliet Forrest’s Sabbatical: An Eclectic Approach to ChoreographyBy Lizbie Harbison ’11

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GOUCHER COLLEGE1021 Dulaney Valley RoadBaltimore, Maryland 21204-2794

WEDNESDAY, MARCH 24Post-leave presentation–Juliet ForrestTodd Dance Studio, 3:30 p.m.

FRIDAY–SATURDAY, APRIL 9 AND 10Hillary Hoffman’s “A Moving History”and Sarah Nagle’s “A Single One of Us”Senior ThesesTodd Dance Studio, 7:30 p.m.

FRIDAY, APRIL 16Open MarleyTodd Dance Studio, 7p.m.

THURSDAY, APRIL 22Spring Dance Concert MatineeKraushaar Auditorium, 11 a.m.

FRIDAY, SATURDAY, APRIL 23-24Spring Dance ConcertKraushaar 8 p.m.

FRIDAY, SUNDAY, APRIL 30–MAY 2361 ConcertTodd Dance Studio, 7:30 p.m. and 3 p.m.

SUNDAY, MAY 2Chorégraphie Antique ConcertMerrick Hall, 3 p.m.

MONDAY, MAY 3262 Presentation, Glenna’s SectionTodd Dance Studio, 4:30 p.m.

TUESDAY, MAY 4262 Presentation, Juliet’s SectionTodd Dance Studio, 4:30 p.m.

FRIDAY – SATURDAY, MAY 14 – JUNE 5Intensive Course Abroad in Brazil

SUNDAY – SATURDAY, JULY 11-24Goucher Summer Arts Institute

Spring 2009 Calendar of Events

C10280B/11.09

danceGOUCHER COLLEGE

a student publication of the goucher college dance department

Editor: Kitty Dean

Newsletter Contributors:Courtney ColarikLizbie HarbisonKelsey HobbsMegan LynnMuriel MillsA. Michelle MulreanyAlyssa SantosStephanieWalker

Faculty Advisor:Professor Juliet Forrest

danceGOUCHER COLLEGE

Continued from page 6