A native of Union Springs, Alabama, Chapman graduated from Alabama School of Fine Arts in 1983 with the Duane Dushion Award and the Prix d'excellence de Danse Award. After dancing for Alabama Ballet for one season Chapman joined American Ballet Theatre (ABT) in 1984 as a member of the corps de ballet. He was promoted to Soloist in 1987 and to Principal Dancer in 1989. With ABT, Chapman performed all the leading roles in the ballet repertoire and in works by many of the twentieth century's master choreographers: George Balanchine, Agnes de Mille, Jiri Kylian, Fredrick Ashton, Mats Ek, Twyla Tharp, Mark Morris, Merce Cunningham and Antony Tudor. Chapman has appeared in Dance in America, the film Dancers and the documentary Ballet as well as numerous television shows.

In 1996, Chapman was named Artistic Director of Alabama Ballet. He also founded the Alabama Ballet School, the apprentice pre-professional training program, Alabama Ballet Summer Program and Gorham's Bluff Summer Residency. Chapman received the Distinguished Career Award from the University of Alabama in 1998, Birmingham Business Journal Top 40 Under 40 in 2004, and was named Alabama Arts Ambassador by Governor Bill Riley in 2007. Chapman restaged for Alabama Ballet many of the full-length classical ballets including Swan Lake, Don Quixote, Sleeping Beauty, Giselle and Coppelia. Chapman acquired Balanchine's The Nutcracker, starred in Alabama Public Television's Jekyll and Hyde, and the Making of Romeo and Juliet.

Mr. Chapman returned to ABT as ballet master in 2006 before being named Artistic Director of ABT II in 2007-2011. Chapman oversaw the ABT Summer Intensive at the University of Texas Austin, hosted ABT's Works and Process at the Guggenheim Museum, Young People's Ballet Workshop and ABTKids. Beginning in January 2012-April 2013 Chapman was engaged as Artistic Advisor for Ballet San Jose in California. During the fall of 2013 Chapman served as Artist in Residence for Central Pennsylvania Youth Ballet and stages Costa Rican National Nutcracker and hosted the International Ballet Competition in Jackson, MS in June of 2014. August of 2014 marked the launching of "Revolutionary Principals of Movement" teaching method. Mr. Chapman is now partner and master teacher for RPM, holding teacher training workshops in Palm Beach, Florida.

Charmaine Hunter began her formal dance training at the Hartford Ballet School. Charmaine moved to New York City to study with Arthur Mitchell, Artistic Director of the Dance Theatre of Harlem while continuing her formal education at the Professional Children's School. She rose through the ranks quickly eventually becoming principal dancer and one of the company's leading ballerinas.

Among the highlights of Charmaine's career are command performances for European royalty and historic engagement at London's Royal Opera House. She also performed for luminaries such as Quincy Jones, Bill Cosby, Oprah Winfrey, Nelson Mandela, Cicely Tyson, President and Mrs. Clinton, President and Mrs. Bush, Mr. and Mrs. Colin Powell, just to name a few.

Ms. Hunter eventually relocated to Las Vegas Nevada in order to work in Casting with the Cirque du Soleil. She was also invited to teach on the production of A New Day at the Coliseum in Caesars Palace, which featured Celine Dion. While in Vegas, she Co- founded the Las Vegas Contemporary Dance Theater with dancer Bernard Gaddis formerly of Alvin Ailey American Dance Theater. LVCDT is a multi-cultural institution that attracts professional dancers and students from around the world.

Charmaine later accepted a full time faculty position with Texas Ballet Theater. She directs the Professional Division and teaches in the Academy of Texas Ballet Theater in Fort Worth, Texas under the guidance and leadership of Ben Stevenson O.B.E. Artistic Director of Texas Ballet Theater and Director Emeritus of Houston Ballet.

Desmond Richardson was the first African-American principal dancer of American Ballet Theatre, and is hailed by The New York Times as one of the greatest dancers of his time. Nominated for a Tony Award for his role in the original Broadway cast of Fosse and deemed a standout in the Tony-Award winning production After Midnight, Richardson is highly esteemed by the concert dance and American theater community. He appeared in Twyla Tharp's Broadway production Movin' Out, and had his singing debut in Burt Bacharach's and Hal David's The Look Of Love, choreographed by Ann Reinking and Scott Ellis.

Richardson has appeared on celebrated stages across the world, namely The Metropolitan Opera, The Kennedy Center, Paris Opera, The Bolshoi Theatre, The Mariinsky Theatre, The State Kremlin Palace, Teatro Massimo, and Teatro alla Scala. He has been a member and invited guest of prestigious companies including Alvin Ailey American Dance Theater, Frankfurt Ballet, Royal Swedish Opera Ballet, American Ballet Theatre, Washington Ballet, and San Francisco Ballet, to name a few.

Richardson, a Young Arts Finalist and Presidential Scholar, has received numerous awards including the Dance Magazine Award, Capezio Award, Ailey Apex Award, L.A. Ovation Award, Bessie Award, YoungArts Alumni Award, and most recently the Roosevelt “Rosey" Thompson Award presented by the Presidential Scholars Foundation. In the spring of 2109, Richardson received an honorary doctorate degree from The University of North Carolina School of the Arts in recognition of his extensive contributions to the field of dance.

Richardson has been a celebrity guest performer and choreographer for productions across media such as the American Music Awards, the Academy Awards, City Center's Encores! series, Italy's AMICI, and international franchises of So You Think You Can Dance. Richardson has been featured by famed artists such as Michael Jackson, Prince, Madonna, Elton John, and Aretha Franklin, and he appears in celebrated films such as the Oscar-Award winning Chicago, Julie Taymor's Across the Universe, and the recent independent film, Fall to Rise. He has worked with fashion icon, Tom Ford, Chic's Nile Rodgers, and recently contributed to Grammy-Award winning Jill Scott's video Back Together, which features dancers from COMPLEXIONS.

Internationally and domestically, he is a master teacher for dance programs such as the New York's All Stars Project, YoungArts Miami, United Way, The Pulse, NYCDA, and ASH. He served as co-creative director and choreographer with David Monn for the Park Avenue Armory Gala Masquerade. Richardson is currently guest artist in residence at USC's Glorya Kaufman School of Dance and is the visiting adjunct professor of dance at Southern Methodist University.

Dwight Rhoden (Founding Artistic Director/Resident Choreographer) has established a remarkably wide- ranging career, earning distinction from The New York Times as "one of the most sought out choreographers of the day."

A native of Dayton, Ohio, who began dancing at age 17, Rhoden has performed with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancer with Alvin Ailey American Dance Theater. As a performer, he has appeared in numerous television specials, documentaries and commercials throughout the United States, Canada and Europe and has been a featured performer on many PBS Great Performances specials.

In 1994, Rhoden, along with Desmond Richardson founded Complexions Contemporary Ballet. Together they have brought their unique brand of contemporary dance to the world for over two decades. CCB is widely considered "America's Original Multicultural Contemporary Ballet Company." Complexions is celebrated for its pioneering spirit, and the building of a universal brand that continues to challenge traditional ideas, and redefine possibilities in the dance arena. Under Rhoden's direction, Complexions has become a dance institution that is much in demand. CCB has lead the way in Contemporary Ballet in America, by removing traditional boundaries, and celebrating the beauty of differences - through courageous, innovative and cutting edge programming. Over the years, Complexions has remained consistent in delivering a profound passion for diversity that has framed its vision and become its hallmark.

For nearly 3 decades, Rhoden's choreography has been the lynchpin in the development of the Complexions repertory. Since 1994 Rhodens' work has filled some of the most prestigious theaters across the globe including, The Joyce Theater (NYC), The Bolshoi Theater (Moscow), The Mar,insky Theater (St Petersburg), Maison De La Danse (Lyon), The Dorothy Chandler Pavilion (Los Angeles), BAM (Brooklyn) Cairo Opera House (Egypt), The Arts Center (Melbourne, Australia), The Auditorium Theater (Chicago), Telaviv Opera House (Israel), The ASB Theater (New Zealand), Holland Dance Festival, Grand Theatre De Geneva (Switzerland), Isle De Dance Festival (Paris), as well as others. CCB and Rhodens' work has been presented on five continents and in over 20 countries, including the USA, Canada, South America, Mexico, Europe, Asia, Poland, Australia, New Zealand, Russia, The Baltic Region, Egypt, Israel, and the Middle East. "Musicality, innovation, purpose, consistency, a brilliant use of stage space and the ability to tell a story -- all these qualities make him (Rhoden) one of today's elect choreographers." (The LA Times)

Rhoden has created over 80 ballets for Complexions, as well as numerous other companies, including Alvin Ailey American Dance Theater, Ballet Arizona, The Aspen Santa Fe Ballet Company, BalletMet, The Dance Theater of Harlem, Colorado Ballet, Dayton Contemporary Dance Company, The Joffrey Ballet, Miami City Ballet, New York City Ballet, Charlotte Ballet, The Pennsylvania Ballet, Philadanco, Marinsky Ballet, Minneapolis Dance Theater, Phoenix Dance Company, Sacramento Ballet, Oakland Ballet, Pittsburgh Ballet Theater, Ballet Nice' Mediterranean, Tulsa Ballet, The Washington Ballet, The San Francisco Ballet, Western Australian Ballet, Zenon Dance Company, among others.

Mr Rhoden has also directed and choreographed for TV, film, theater and live performances including So You Think You Can Dance, E! Entertainment's "Tribute to Style", Amici, Cirque Du Soleil's Zumanity, and choreographed and appeared in the feature film "One Last Dance".

He has also worked with, and/or created works for such high-profile artists as Prince, Lenny Kravitz, Kelly Clarkson, ELEW, David Rozenblatt, Nicholas Payton, The Drifters, Paul Simon, Billy Strayhorn, Nina Simone, Marvin Gaye, U2, The Turtle Creek Chorus, and Patrick Swayze.

Rhoden was also commissioned to create a work for the centennial celebration of renowned collage artist Romare Bearden, choreographed a ballet for Diana Vishneva's Beauty In Motion, and has Directed and Choreographed The Great Gatsby Ballet for soloists of The Marinsky, Ukrainian National Ballet, and soloists from The United States.

"Rhoden's work is post-Balanchinean choreography,a new aesthetic in movement, stage, picture, and performance concepts reflecting a post- modern, techno-savvy worldview" (Dance Magazine).

Widely known as "a dancer's choreographer," Rhoden has worked with, coached and created for some of the most diverse artists spanning the worlds of ballet and contemporary dance including legendary dance artists Carmen De Lavallade, Misty Copeland, Wendy Whelan, Maria Kowroski, Diana Vishneva, Desmond Richardson, Sandra Brown, Jodie Gates, and Gus Solomons, to name a few.

Mr. Rhoden has served as Artist in Residence at universities around the United States including USC Glorya Kaufman School of Dance, New York University, Juilliard, UC Irvine, Skidmore College, The Boston Conservatory, and The University of Mississippi, where his 2004 Racial Reconciliation Project was credited as a catalyst for dialogue in a community that had been historically divided.

Mr. Rhoden is a beneficiary recipient of various honors and awards including the New York Foundation for the Arts Award, and subsequent induction into the NYFA Hall of Fame, The Choo San Goh Award for Choreography, and The Alvin Ailey Apex Award. Rhoden was nominated for a Benois De La Dance award for his libretto for Gatsby The Ballet, and received an Honorary Doctorate degree from The Boston Conservatory in recognition of his extensive contributions to the field of dance.

Tara Birtwhistle graduated from the Professional Division of the RWB School in 1991 and immediately joined the RWB as a corps de ballet member. In 1995, she was promoted to soloist and in 2000 became a principal dancer.

Through-out Birtwhistle's twenty-year stage career she danced many roles, some of her favorites include Lucy in Mark Godden's Dracula, Rita Joe in Vesak's The Ecstasy of Rita Joe, The Cowgirl in Agnes de Mille's Rodeo, Myrtha in Giselle and Juliet in Rudi van Dantzig's Romeo & Juliet. She has been lauded for her soloist performances in Mauricio Wainrot's smash sensation Carmina Burana. Birtwhistle also left her mark as the evil yet charismatic Stepmother in Val Caniparoli's, A Cinderella Story.

Among the many accolades behind her name, Birtwhistle was designated "One of 100 Young Canadians to Watch in the New Millennium" in Maclean's magazine, she has received the Golden Jubilee Medal and Diamond Jubilee Medal from Her Majesty Queen Elizabeth in recognition for her stage career and her contribution to dance in Canada. Birtwhistle was also nominated for a Gemini Award for her stunning performance in Guy Maddin's Dracula: Pages From a Virgin's Diary, a screen adaptation of the ballet.

Since retiring from the stage, Birtwhistle has been an integral part of the RWB's artistic team. As Ballet Master for 11 years, she has overseen many RWB productions at home and on tour. In 2017 she curated Our Story the Company's tribute to Canadian choreographers in celebration of Canada's 150th. At the end of the RWB's 2017-18 season, Birtwhistle was appointed Associate Artistic Director of the Royal Winnipeg Ballet.

As Associate Artistic Director, Birtwhistle is a member of the senior leadership team of the organization, participating in strategic planning and serving as a key liaison with the Board of Directors. In collaboration with Artistic Director and CEO, Andre Lewis, Birtwhistle is responsible for casting, scheduling and overall management of the artistic team. She is also a significant contributor to the development and marketing functions, building connections between the RWB and its donors, supporters and patrons. Of particular note is her work as the artistic lead on all elements of the RWB's visual brand, including directing the stunning video that launched the Company's 80th Anniversary season.

Born in Buenos Aires, Argentina, Julio Bocca began his dance training with his mother at the age of four. He studied at the Instituto Superior de Arte del Teatro Colon where his teachers included Gloria Kazda, Jose Pares, Ninel Jultyeva, Karemina Moreno and Luis Aguilar. During that time, he danced with the Caracas Ballet Company performing the title role in Le Spectre de la Rose, among others. In 1983, he joined the Ballet del Teatro Municipal de Rio de Janeiro as a principal dancer and, in the same year, appeared with the ballet company at the Colon Theatre and with the International Ballet of Caracas.

In May 1985, he won the Gold Medal at the Fifth International Ballet Competition in Moscow. He has toured the former U.S.S.R., appearing with the ballet company in Novosibirsk, where he danced the Prince in The Nutcracker and Basil in Don Quixote, and with the Bolshoi Ballet in Moscow and the Leningrad-Kirov Ballet, again dancing in Don Quixote.

Bocca joined American Ballet Theatre as a Principal Dancer in 1986. His roles with the Company include the title role in Apollo, Solor in La Bayadere, a Stepsister in Cinderella, the Duet from Concerto Six Twenty-Two, Conrad in Le Corsaire, Basilio in Don Quixote, Albrecht and Hilarion in Giselle, Des Grieux in Manon, Danilo in The Merry Widow, the pas de deux Other Dances, Arthur Saint Leon in Pas des Deesses, Romeo in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Misgir in The Snow Maiden, Prince Siegfried in Swan Lake, James in La Sylphide, Petruchio in The Taming of the Shrew, the Tchaikovsky Pas de Deux, the fourth variation in Variations for Four and leading roles in Drink To Me Only With Thine Eyes, Etudes and Theme and Variations. Bocca created the leading role in Brief Fling.

Bocca made his Broadway debut in Fosse.

Point Park University alumna Kiki Lucas begins her second year as an assistant professor of dance teaching Jazz Technique and Entrepreneurship for the Arts. Lucas spends her weekends traveling as part of Modas Dance faculty, as well as a freelance teacher and choreographer. Additionally, since 2002, she's taught for Point Park's International Summer Dance program.

In spring 2020, alongside Director Stephen Sposito, she choreographed Point Park's rendition of Pippin. Lucas was the resident choreographer of Houston Metropolitan Dance Company for eight years and a company dancer for 11 seasons in Houston. She recently spent a year in Miami presenting three full-length evening performances as the resident choreographer of Mosaic Dance Project.

She has worked with Robert Battle, Kate Skarpetowska, Peter Chu, Pattie Obey, Salim Gaulwoods, Sidra Bell, Larry Kegwin, Joe Celej, Jason McDole and Kiesha Lalama. Her choreography has been presented at Jacob's Pillow Inside Out Stage, The Kennedy Center, Houston Met Dance, Towson University, Marygrove College, Point Park University, University of Central Oklahoma, The Grier School and James Madison University

Raised in Rambouillet, France, Isabelle Guérin began her ballet training at age 6 with local teachers. After attending the Conservatoire de Paris, where she was awarded the first Prize in 1977, she joined the School of the Paris Opera Ballet. One year later, at age 17, Ms. Guérin enrolled the Paris Opera Ballet. She is only "Quadrille" (the lowest rank of the Paris Opera Ballet hierarchy) when she is chosen by Kenneth McMillan to dance Spring Pas de quatre in his ballet The Four Seasons and by Pierre Lacotte to dance Sylphide's Scottish Pas de deux.

Still a corps de ballet member,Rudolf Noureev gave Ms. Guérin her first leading roles as soloist : Kitri in Rudolf Noureev's Don Quichotte. In 1984,

Ms. Guérin won the Silver Medal at the International Paris Ballet Competition.

On November 2, 1985, after having danced Bourmeister's Swan Lake version, Isabelle Guérin is promoted - on stage - to the rank of "Danseuse Etoile" (Principal dancer) by Rudolf Noureev.

Considered as one of the world's greatest ballerinas, Ms. Guérin danced an extensive repertory of leading roles, including full-length repertory ballets, heritage works as well as new works by foremost choreographers, among them Jerome Robbins,Twyla Tharp, William Forsythe and Angelin Prejlocaj Her triumph as Nikiya, in Noureev's new production of La Bayadère (1992), sealed her stardom.

COACHING

- La Bayadère (Rudolf Noureev), Paris Opera Ballet: various casts of principals/soloists. - Don Quichotte (Rudolf Noureev) - Teatro alla Scala -The Norwegian National Ballet- Stanislavsky Ballet in Moscow ( complete ballet.)

-Other Dances (Jerome Robbins), San Fransisco Ballet - American Ballet Theater- The National Ballet of Canada-Paris Opera ballet-Vienna State Ballet- Stanislavsky ballet various casts of principals/soloists.

- Swan Lake (Rudolf Noureev), Vienna State Ballet: coaching soloists.

- Etudes (Harald Lander), Vienna State Ballet: coaching soloists.

"EN AVANT" FOUNDATION

- Member of the Advisory Board. - Masterclass sessions: New York, May 2014 - San Fransisco, April 2015 - New York, April 2015 and Paris

HONORS

- Recipient of the Pavlova Prize (Paris), 1988

- The Benois de la Danse (Moscow), 1993. - Awarded the French's government "Chevalier des Arts et Lettres" (1993) and "Chevalier de la Légion d'honneur" in honor of her commitment to the world of ballet, (Paris 2011).

-The Isadora Duncan Dance Awards for the 2017/2018 season for the revival of Other dances (Jerome Robbins )with the San Francisco Ballet

OTHER PERFORMANCES

Ms. Guérin has performed as a guest artist with the Vienna Opera State Ballet, Berlin Ballet, Royal Ballet, Kirov, Bolchoï, Finland National Ballet, Twyla Tharp & Dancers, with the New York City Ballet (Balanchine Celebration 1993 and 2 seasons), Noureev and Friends, Teatro alla Scala - Milano, Palermo (Sicily)...

In August 2014, after more than 10 years away from performing, Ms. Guérin came back on stage with Manuel Legris in Patrick de Bana's "Farewell Waltz" (Shanghai Grand Theater).

In June 2015 Gala Noureev In Vienna -July 2015 Gala in China -August 2015 World Ballet festival in Japan

-June 2016 Gala Noureev in Vienna

-April 2017 Gala in Homage of Julio Bocca at the H.Koch Theater in NYC -August 2017 Gala in Japan "Legris gala"

-May 2018 Gala Petipa Bolshoi Theater -June 2018 Gala Noureev in Vienna

FILM & TV CREDITS

- Cinderella (Rudolf Noureev), Isabelle Guérin et al. Paris Opera Ballet, 1987. La Sept/SFP/Electra. - Yvette Chauviré, une étoile pour l'exemple (Istar & Dances at a gathering). Isabelle Guérin et al.

Documentary, Paris Opera Ballet, 1988. Films du Prieuré. - La Bayadère (Rudolf Noureev), Isabelle Guérin, et al. Paris Opera Ballet, 1996. NVC Arts. - Le Parc (Angelin Preljocaj), Isabelle Guérin et al. Paris Opera Ballet, 1999. Bel Air. - Dancer's dream, the great ballets of Rudolf Noureev - La Bayadère. Documentary, Paris Opera Ballet,

2002. ArtHaus Musik. - Notre-Dame de Paris (Roland Petit), Isabelle Guérin et al. Paris Opera Ballet, 2009. ArtHaus Musik.

- L'Arlésienne (Roland Petit), Isabelle Guérin et al. Paris Opera Ballet, 1997. TV movie. - Istar (Serge Lifar), Isabelle Guérin et al. Paris Opera Ballet, 1998. TV movie page2image24360

Born in New Orleans, Louisiana, Ms. Holmes began her ballet training with Audrey Maduell and Lelia Haller. Under the direction of Harvey Hysell, she was a soloist with New Orleans Ballet. In 1983 she joined San Francisco Ballet and was promoted to soloist in 1990. She then moved to Birmingham, England where she was a senior soloist with Birmingham Royal Ballet until her retirement in 2000.

Her repertoire includes over 100 ballets spanning both classical and modern genres, including principal and soloist roles.

She had the pleasure of working with choreographers of international fame on world premieres of: David Bintley's The Dance House- 1st Soloist, The Nutcracker Sweeties - Floreadoress, Shakespeare Suite - Lady Macbeth, and Carmina Burana; James Kudelka's The End, Terra Firma, Dreams of Harmony, The Comfort Zone, Baiser de la Fee - the Gypsy; Lisa de Ribere's Harvest Moon - Audrey; Mark Morris' Maelstrom; Val Caniparoli's Seeing Stars, Lamberena, Pulcinella, Connotations - the Red Couple; Stanton Welsh's Powder; Brenda Way's Krazy Kat - Krazy; Lila York's Sanctum, and Wayne MacGregor's Reverse Project.

After retiring from the stage, she worked in Education and Outreach for Birmingham Royal Ballet, bringing the company repertoire out into the community and into schools. Later she moved to London to become the Ballet Education Manager for the Royal Opera House at Covent Garden, where she implemented and managed numerous community and educational projects across the UK. Upon returning to the United States, she became Academy Director for Tapestry Dance Company and was a Professor of Dance at University of Texas at Austin. She completed her teacher training with David Howard and Central Pennsylvania Youth Ballet and has taught students aged 6-80 for over 20 years in the US and UK. She holds a Master's Degree in Dance in Education and the Community from University of Birmingham, England. She is thrilled to be bringing her life experiences and passion for dance to Kansas City Ballet.

Mr. Cooper is an in demand master teacher and choreographer. He is also currently co-founder and director of Modas Dance. He received most of his training at San Francisco Ballet and later spent 5 years in the company. He then joined The Dance Theater of Harlem as a principal dancer from 1995 until 2004 with whom he danced notable leading roles. His list of guest artist appearances includes lead roles in New York City Ballet, Washington Ballet, Royal Birmingham Ballet and more.

Mr. Cooper retired as a full time professional dancer in 2004. He then spent 6 years as a faculty member with one of the biggest dance conventions/competitions, New York City Dance Alliance. Mr. Cooper has also been a long-standing faculty member with Alonzo King's Lines Ballet.

In 2012 he started MODAS Dance, Modas Dance consists of a yearly summer and repertory program, bringing dance talent from around the world, in addition Modas designs dance workshops that tour nationally and internationally to an ever expanding network of schools. In 2016 they added a year round program in resident at the Santa Fe University of Art & Design.

Mr. Cooper continues to travel around the country and abroad teaching, choreographing and passing on his craft as a dance educator.

Born in Long Beach, California, Evelyn began studying ballet at 8-years-old. Cisneros later received full summer scholarships to the San Francisco Ballet School and the School of American Ballet. Upon graduation from high school she joined the San Francisco Ballet and soon began dancing principal roles from classical, to new choreography and the most contemporary ballets.

Cisneros has been featured on the covers of Dance Magazine, Ballet News, Hispanic Magazine, and received numerous awards for her community activism and artistic achievements. Awards include two honorary doctorate degrees. She has taught in summer intensive programs for the Kansas City Ballet and The Boston Ballet School and enjoys coaching dancers for ballet competitions. She has staged ballets for Val Caniparoli and Michael Smuin for the Pacific Northwest Ballet, State Theatre Ballet in South Africa, Northern Ballet Theatre in Leeds England, Ballet Florida, Kansas City Ballet, Louisville Ballet, Cincinnati Ballet and San Francisco Ballet.

Cisneros served as Academy and Artistic Director for Ballet Pacifica. She has also co-authored "Ballet for Dummies" with conductor Scott Speck. In 2010, Cisneros became the Principal of Boston Ballet School's Marblehead Location. Cisneros is married to Dr. Stephen Legate and is currently The Hiland Artistic Director for National Dance Institute of New Mexico in Albuquerque where she passes on the love of dance to the next generation.

Born in Yorkshire, England, Louise Lester received her ballet training at The Royal Ballet School in London .   In 1972 she joined the Bavarian State Ballet, in Munich, where she rose to the rank of principal. Throughout her career she has had numerous opportunities to work with world-renowned choreographers, including John Cranko,  John Neumeier, Glen Tetley, Jiri Kylian, William Forsythe  Ohad Naharian, Christopher Bruce, David Bintley. Sir Peter Wright, Hans van Manen, Rudi van Dantzig. After a career as a dancer she became Ballet Mistress for  the Bavarian State Ballet, where she remained until 1996. In 1996, she began working as guest teacher and coach with companies such as Teatro La Scala, The Royal Danish Ballet, Ballet du Rhine, Teatro Colon ,Buenos Aires, and Teatro Comunale Florence. From 1999-2003 she was the assistant to the director of Teatro Municipal Santiago de  Chile. Ms. Lester joined the Artistic Staff of Houston Ballet as Ballet Mistress in 2004  and received the title of Principal Ballet Mistress in 2013. She has assisted in the creation of many of Stanton Welch’s ballets. She has staged his version of “La Bayadere" for Joffrey Ballet in 2013 and “Maninyas “in 2015. “La Bayadere “for Australien Ballet in 2014 and “Sylvia” in 2019, “Tutu” for Atlanta Ballet and Leipzig Ballet. Ms. Lester has staged ballets for many major companies, including Peter Wright’s production of “The Sleeping Beauty; “ for Teatro Colon Argentina. John Neumeier’s  production of “The Nutcracker;” for Dresden ballet. Christopher Bruce’s “Hush” for Ballet Rambert. Since 2020 Ms. Lester is  a Guest Teacher and Coach.

Katharine Garrett earned her ARAD under the direction of Deborah Morgan before joining the graduate program of Pittsburgh Ballet Theatre. There, she danced with the company in some of her favorite Balanchine ballets as well as many full-length classics. Ms. Garrett then returned to Canada to dance with Alberta Ballet, Les Grands Ballets Canadiens, and Ballet Jörgen Canada. While continuing to dance as a freelance artist, Katharine began to teach and coach throughout the Greater Toronto Area. After graduating with Distinction from NBS’s Former Professional Teacher Training Program, she joined the faculty of Canada’s National Ballet School, teaching in the Professional Ballet Program and the Associates Program as well as working with the children’s cast of NBoC’s The Nutcracker.

Nicole Duffy is the Programs Advisor for the Ballet Hispanico School of Dance Preprofessional Division. She was raised in San Juan, Puerto Rico, where she began her training at Ballets de San Juan under Maria Carrera and Ana Garcia. She made her professional debut with BSJ, dancing in the great 19th century classics and Balanchine masterworks, mentored by luminaries such as Fernando Bujones, Frederic Franklin, Melissa Hayden, and Ivan Nagy.   After further training at SAB, Joffrey Ballet School, and Alvin Ailey, she joined the Joffrey Ballet in New York and in Chicago. During her Joffrey years she danced ballets by Joffrey, Arpino, Ashton, Balanchine, Cranko, Limon, DeMille, Page, Laura Dean, Alonzo King, David Parsons, and Ann Reinking, among many others. She danced in all the historic Ballets Russes reconstructions, and was featured in the ground-breaking ballet Billboards, with music by Prince.  Ms. Duffy is also a director and repetiteur for the Gerald Arpino Foundation, staging the ballets of Robert Joffrey and Gerald Arpino around the world. She teaches at Barnard College and Steps on Broadway, co-founded New York Dance Project, and was on faculty at the Harlem School of the Art and Marymount Manhattan College. She holds a BA from Columbia University and a Master’s degree from NYU in Dance and Art History, and her writing has been published by Dance Informa, Eye on Dance and the Arts, the Massachusetts Review, and Esferas. Ms. Duffy loves teaching the Ballet Hispanico company, and her new role as advisor and faculty at the Ballet Hispanico School of Dance. 

For the past 22 years, Jonathan Porretta has been employed at Pacific Northwest Ballet, where  he was a principal dancer for 14 years. After retiring from a 20-yearlong performance career in  2019, Jonathan was immediately appointed to principal faculty member at Pacific Northwest  Ballet School (PNBS), where he currently teaches technique, pas de deux and conditioning to all  levels, in addition to teaching current and archived company repertoire to PNBS Professional  Division students. In addition to his role with the school, Jonathan is also a regular teacher for  PNB's Company Class.   Jonathan Porretta is from Totowa, New Jersey. He trained on full scholarship at the School of  American Ballet. Mr. Porretta joined Pacific Northwest Ballet as an apprentice in 1999. He was  promoted to corps de ballet in 2000, soloist in 2002, and principal in 2005. Jonathan Porretta  retired from Pacific Northwest Ballet in June 2019.   Mr. Porretta has danced leading roles in George Balanchine’s Agon, Coppélia (Franz),  Divertimento from “Le Baiser de la Fée”, The Four Temperaments, A Midsummer Night’s Dream (Oberon, Puck), Prodigal Son, Rubies, Slaughter on Tenth Avenue (Morrisine), Square Dance,  Symphony in C, and Symphony in Three Movements; Peter Boal’s Giselle (Peasant pas de deux);  Todd Bolender’s Souvenirs; Val Caniparoli’s The Bridge, Lambarena and Torque; Alejandro  Cerrudo’s Memory Glow; David Dawson’s A Million Kisses to My Skin; Ulysses Dove’s Red Angels and Serious Pleasures; Nacho Duato’s Rassemblement; Molissa Fenley’s solo State of Darkness;  William Forsythe’s Artifact II, In the Middle, Somewhat Elevated, New Suite, One Flat Thing,  reproduced, and The Vertiginous Thrill of Exactitude; Marco Goecke’s Mopey; Ronald Hynd’s  The Sleeping Beauty (Carabosse, Gold and Silver pas de trois, Bluebird pas de deux); Jiri Kylian’s  Forgotten Land; Jean-Christophe Maillot’s Roméo et Juliette (Mercutio); Peter Martins’ Fearful  Symmetries; Annabelle Lopez Ochoa’s Cylindrical Shadows; Mark Morris’ A Garden and  Kammermusik No. 3; David Parsons’ Caught; Kirk Peterson’s Amazed in Burning Dreams; Marius  Petipa’s Paquita; Crystal Pite’s Emergence; Alexei Ratmansky’s Concerto DSCH, Don Quixote (Sancho Panza), and Pictures at an Exhibition; Jerome Robbins’ Circus Polka, The Concert,  Dances at a Gathering, and Fancy Free; Kent Stowell’s Carmina Burana, Cinderella (Prince,  Jester), Hail to the Conquering Hero, Nutcracker (Prince), Silver Lining, Swan Lake (Jester), and  The Tragedy of Romeo and Juliet (Mercutio); Susan Stroman’s TAKE FIVE…More or Less; Richard  Tanner’s Ancient Airs and Dances; Lynne Taylor-Corbett’s The Ballad of You and Me and  Mercury; Glen Tetley’s The Rite of Spring and Voluntaries; Twyla Tharp’s Afternoon Ball, Brief  Fling, In the Upper Room, Nine Sinatra Songs, and Waterbaby Bagatelles; and Christopher  Wheeldon’s Polyphonia. In 2004, Mr. Stowell choreographed Dual Lish for Mr. Porretta and  Noelani Pantastico. He also originated leading roles in Andrew Bartee’s arms that work, Nicolo  Fonte’s Almost Tango, Kiyon Gaines’ Kiyon Gaines’ Do. Not. Obstruct., “Folly” á deux and Sum  Stravinsky, Goecke’s Place a Chill, Kevin O’Day’s [soundaroun(d)ance], Victor Quijada’s  Suspension of Disbelief, Christopher Stowell’s Quick Time and Zaïs, and Tharp’s Opus 111 and  Waiting at the Station, and a featured role in Dominique Dumais’ Time and other Matter.  Mr. Porretta has also danced with Dances Patrelle in New York and performed as a guest artist  with Central Pennsylvania Youth Ballet, Oregon Ballet Theatre, and San Francisco Opera Ballet.

Valerie Madonia began her dance training at age four with Maris Battaglia at the American Academy of Ballet in Buffalo, NY and starting at fourteen with Canada’s National Ballet School, graduating in 1979. While at the National, she was a recipient of the prestigious Peter Dwyer Award for Dance Excellence and was invited by school Founder and Director, Betty Oliphant, to participate in the first USAIBC, it was there that she first caught Robert Joffrey’s eye. She danced professionally for more than 20 years, first with the National Ballet of Canada from 1979-1981 (under the direction of Alexander Grant), at American Ballet Theatre 1981-1986 (under Mikhail Baryshnikov) and at the Joffrey Ballet 1987-1997 (under Joffrey and Gerald Arpino).  Starting as a member of the corps de ballet and progressing into soloist work with American Ballet Theatre, Madonia eventually established herself as a leading ballerina with the Joffrey Ballet. She worked closely with highly acclaimed choreographers; Sir Anthony Tudor, Twyla Tharp, Sir Kenneth McMillan, Natalia Makarova, Peter Schaufuss, Alonzo King, Karole Armitage and Arpino. She had the honor of dancing as a company member for various seasons with Baryshnikov and Company, Alonzo King’s Lines Ballet, Armitage Gone! Dance, Complexions Contemporary Ballet, and as a guest artist with Alaska Dance Theatre, Russian Ballet Theatre, Lemon Sponge Cake Contemporary Ballet, and at Le Gala des Etoiles numerous times in Montreal and Greece. She performed the role of the Princess in Stravinsky's L'Histoire du Soldat at the Santa Fe Chamber Music Festival in 2001 and with the New York Philharmonic in 2005, directed by Doug Fitch, conducted by Alan Gilbert and accompanied by Pinkus Zuckerman. Madonia appeared in six PBS Dance in America Specials and is featured in four dance books, most prominently in, Classical Ballet Technique, by G.W. Warren.  Madonia organized performances to tour Southwestern Colorado with other professional dancers and established her own project-based company, Alpine Dance, Inc. from 1994-2001. In 1997, Madonia co- produced and directed a five-year performance residency between the Joffrey Ballet and the Telluride Society for Performing Arts. In 2002 she produced the Washington Ballet and Momix summer residencies in Telluride.  She has been teaching for over 25 years and is ABT National Teacher Certified. She taught for the Joffrey Ballet School from 1996- 2004, served on faculty at the New School University in NYC from 2000- 2003, directed and co-founded the Joffrey School South Workshop in Georgia from 2003-2010. She teaches biannually at the Yokohama Ballet Intensive in Japan and is a guest teacher at New York Dance Project, The Four Corners Dance Experience and for the Regional Dance America Festivals. She was an adjudicator and master teacher for the Youth American Grand Prix (2012-2017). Madonia has been a guest teacher and rehearsal director for The Joffrey Ballet of Chicago, Alaska Dance Theatre, Louisiana Delta Ballet, Mississippi Metropolitan Ballet, Colorado Ballet, Boulder Ballet and since 2021 with American Ballet Theatre.  Madonia founded the non-profit Telluride Dance Academy in 1998, served as its Artistic Director and lead teacher from 2006-2010. From 2011-2013, she began teaching and directing the newly formed Palm Arts Dance. She was the Academy Director, Summer Intensive Director and the Pre- Professional Division Founder all at the same time for Colorado Ballet from 2013-2017. She currently teaches master classes worldwide.  Her choreographic credits include full-length productions of Cinderella, The Nutcracker, Polar Express, Appalachian Spring, solo works for the NYC Dance Now Festival, Ballet West and Dayton Ballet. She is a repetiteur for the Arpino Foundation, setting Light Rain for Colorado Ballet, Ballet AZ, and Italian Suite for the Mannes School of Music. She choreographed, “Shapeshift” for Boulder Ballet, “Frolic” for dancers at Colorado Ballet, “Caged Eyes” for Colorado Ballet’s Pre-Professional Division and “Soirée” (2022) for the JBS NYC Ballet Trainee Spring Performance. She has received numerous choreographic grants and commissions for performances in non-traditional dance venues such as the Denver Art Museum, The Telluride Transfer Warehouse and, in 2022, a new multi-disciplinary performance on an outdoor life size chess board in Southwestern, Colorado.   

Attila Joey Csiki began his dance training at the Canadian Dance Company in Toronto subsequently to join the National Ballet of Canada. Upon receiving a scholarship to the School of American Ballet, Attila relocated to New York City and thereafter joining the New York City Ballet. Other companies include Peridance Contemporary Dance Company, Du Capital ballet of Toulouse France, Lar Lubovitch Dance Company, Christopher Wheeldon’s Morphoses and Ballet Concierto de Puerto Rico. Attila received the Princess Grace Award in 2010 for his extensive work with Lar Lubovitch. Attila partnered with ballet legend and Prima Ballerina Alessandra Ferri for her return to the stage in “The Piano Upstairs”. Since 2013 Attila created and appears in Christopher Wheeldon’s original Broadway production of An American In Paris winning 4 Tony awards, 7 drama desk awards and 6 outer critic awards. Most recently Attila has been seen in the revival of Brigadoon the musical at City Center, an Encores production.

Jose Manuel Carreño was born in Cuba, where he received his training at the Provincial School of Ballet and the National Ballet School. He won the Gold Medal at the New York International Ballet Competition in 1987, and the Gran Prix at the International Ballet Competition in Jackson, Mississippi, in 1990. He has appeared extensively in Europe, Latin America and the United States. Carreño joined the English National Ballet in 1990, where his repertoire included Solor in "The Kingdom of the Shades" from La Bayadère, the Prince in Cinderella, Franz in Coppélia, Albrecht in Giselle, the Prince and the Gopak in The Nutcracker, Romeo in Romeo and Juliet, Petruchio in The Taming of the Shrew, and roles in a number of one-act ballets and pas de deux including A Stranger I Came, Etudes, Graduation Ball, and Prince Igor. Carreño joined The Royal Ballet as a Principal Dancer in 1993, where his repertoire included the Bluebird in The Sleeping Beauty, Basilio in Don Quixote, Oberon and Puck in The Dream, a leading role in Herman Schmerman, and the leading role in Matthew Hart’s Caught Dance. Carreño joined American Ballet Theatre as a Principal Dancer in June 1995. His repertoire with the Company includes the title role in Apollo, the leading role in , Solor in La Bayadère, Franz in Coppélia, Conrad, Ali, the Slave and Lankendem in Le Corsaire, Basilio in Don Quixote, the third sailor in Fancy Free, Albrecht in Giselle, Fate in HereAfter, Danilo in The Merry Widow, and the Cavalier in The Nutcracker.

CHOREOGRAPHER - EDUCATOR  - PHOTOGRAPHER - VISUAL ART DESIGNER He was born And raised In Kwang-Ju, Korea where he trained Classical Ballet, Modern, Korean traditional Dances. He Graduated from Dankook University in Seoul, Korea. In 1996, He Received The Best Individual Artist Award From The Bagnolet International Dance Festival In Paris, France. After moving to New York City he started working with Contemporary Ballet companies. He Was A Principal Dancer At Ballet Hispanico and Complexions Contemporary Ballet. Also has Worked With Shen Wei, Zvi Gotheiner, Igal Perry, Jessica Lang. In 2009 he received The Princess Grace Award For excellence In choreography. For the past 20 years, He Worked With Complexions Contemporary Ballet Served as Associate Artistic Director (2011-2018),  Ballet Master & Artist in Residence (2007-Present), a Resident Choreographer(2008-Present). He created many ballets for Complexions and All works premiered at one and only The Joyce Theater, New York City. “Tears” (Rachmaninoff) in 2007, “Surface” (Debussy) in 2008, “Atmosphere”(Bach) in 2009, ”Flight" (Bach) in 2012 , ”Recur"(Richter,Silverstrov) in 2013. “Goodnight” (Arvo Pärt) in 2017.  In 2016 he created a New Work “Circular” (Denisov, Handel) for Ailey II - Alvin Ailey American Dance Theater. In 2017 Jae Man Joo was invited to create a New work for Jacob's Pillow 85th Anniversary season and his new work "Canvas” which world premiered at the prestigious Jacob’s Pillow Inside/Out stage. In 2018 He Created a Brand new work "Intermezzo" for Wise Ballet Theater and premiered in Seoul, Korea.  in 2019 for the second time Jacob's Pillow invited him to create a new work for the Contemporary Program. The title "Dive & Unfold " premiered at the prestigious Pillow Inside/Out stage. Recently he created a full-length Evening Ballet "Vita" (music of Antonio Vivaldi) a second ballet creation for Wise Ballet Theater Korea (Oct 2021). "Vita" received a  2021 Korea Dance Critics Choice Award and the year 2022 History has been made.  Dance Art never won in Korea Art Culture award from 6 different Art categories and Joo's ballet “Vita” Received the prestigious Korea Edaily CULTURAL GRAND PRIZE. Recently he premiered a new ballet "Serenity"  which is the 7th creation for Complexions opened at the Joyce theater. In 2022 Joo was Appointed to a Full-Time Ballet Faculty at Point Park University /Conservatory of Performing Arts.