Continued from LADF Homepage

Artistic Identity and Career Development,” is published this spring in NDEO’s publication Dance in Practice. A former soloist with the Martha Graham Dance Company, Homsey performed on Broadway, toured domestically and internationally, originated roles with Rudolph Nureyev and Margot Fonteyn, and was featured on Great Performances: Dance in America and Live From Wolf Trap. For 20 years, she served as chair of dance and arts advisory board member for the Princess Grace Foundation USA and served on panels including NEA, NEFA, United States Artists, and California Arts Council. Homsey received her MFA from University of California, Irvine, where she received the Chancellor’s Fellowship.

 

Brittany Bradford (Group 47, drama) is an actor, producer, and teaching artist who appeared on Broadway in Bernhardt/Hamlet. Off-Broadway, she has appeared in Macbeth (Hunter Theater Project) and Fiasco Theater’s Merrily We Roll Along(Roundabout); other New York and regional appearances include Fefu and Her Friends (Theatre for a New Audience); Guys and Dolls (The Muny); Flyin’ West(Westport Country Playhouse); Family Resemblance (Eugene O’Neill); The Profaneand The Taming of the Shrew (Chautauqua Theater Company); A Midsummer Night’s Dream (Ten Thousand Things Theatre); Neighbors, Avenue Q, and Next to Normal (Mixed Blood Theatre); and Ragtime and Stick Fly (Park Square Theatre). She will be seen in the upcoming HBOMax series Julia, about world-renowned chef Julia Child. Bradford was a line producer of African American Policy Forum’s Say Her Name, a company member of Classix, and a co-founder of HomeBase Theatre Collective.


Juilliard faculty member Emi Ferguson (BM ’09, MM ’12, flute; MM ’11, historical performance) can be heard live in concerts and festivals with groups including the Handel and Haydn Society, American Modern Opera Company, New York New Music Ensemble, and Manhattan Chamber Players. Ferguson’s recordings for Arezzo Music, Fly the Coop: Bach Sonatas and Preludes With Ruckus (2019) and Amour Cruel (2017) were among the top 10 albums on the classical and world music Billboard charts and showcase her fascination with reinvigorating music and instruments of the past for the present. She has spoken and performed at several TEDX events and has been featured on media outlets including the Discovery

An Action Plan
for the Covid-19 Setting
by Bonnie Oda Homsey

 

Resource Suggestions

 

 

Copyright by Bonnie Oda Homsey 2020

Channel, Amazon Prime, and Vox discussing how music relates to our world today. Born in Japan and raised in London and Boston, Ferguson resides in New York City. For more information, visit emiferguson.com.

 

Soprano Susanna Phillips (BM ’03, MM ’04, voice) continues to establish herself as one of today’s most sought-after singing actors and recitalists. A recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award, Phillips has sung at the Met Opera for 12 consecutive seasons, in the roles of Musetta, Pamina, Donna Anna, Rosalinde, Antonia/Stella, Donna Elvira, Fiordiligi, Clémence, Micaëla, and most recently Countess Almaviva. Highly desired by the world’s most esteemed orchestras, Phillips has appeared with the Royal Stockholm Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony, Philadelphia Orchestra, and Santa Fe Symphony. Other career highlights include Stella in Previn’s A Streetcar Named Desire opposite Renée Fleming, Birdie in Blitzstein’s Regina, and singing at the Washington Performing Arts in a program co-curated by uth Bader Ginsburg. Phillips co-founded Twickenham Fest, a chamber music festival in her native Huntsville, Alabama, with bassoonist and Huntsville native Matthew McDonald.

 

Lincoln Center’s emerging artist of 2019, and Detroit native Endea Owens (MM ’18, jazz studies) is a vibrant bassist whose mentors include Marcus Belgrave, Rodney Whitaker, and Ron Carter. She has toured and performed with Jennifer Holliday, Rhonda and Diana Ross, Jazzmeia Horn, Dee Dee Bridgewater, Steve Turre, and Lea DeLaria from the Netflix Original Series Orange Is the New Black. Owens has participated in music exchange programs in Cuba and Trinidad and Tobago and performed in numerous other countries. She is the bassist with Juilliard Creative Associate and alumnus Jon Batiste’s Stay Human, which is the house band for The Late Show With Stephen Colbert. She has been featured on ABC News (New York) with Sandy Kenyon, as well as ABC’s Here and Now. She has also been featured on The Indie Beat with the Manhattan Neighborhood Network. Owens has graced the cover of the Japanese magazine The Walkers and been featured in the Wall Street Journal and Billboard magazine. In June 2020, she founded the Community Cookout, an organization dedicated to distributing hundreds of hot meals and free music concerts to neighborhoods in NYC.

 

Evan Yionoulis, an Obie award-winning theater director and nationally recognized teacher of acting, is the Richard Rodgers dean and director of the drama division. She has directed new plays and classics in New York, across the country, and internationally, including Adrienne Kennedy’s He Brought Her Heart Back in a Box(world premiere) and Ohio State Murders (Lortel Award, best revival) for Theatre for a New Audience, Richard Greenberg’s The Violet Hour (Broadway), Three Days of Rain (Manhattan Theatre Club), and Everett Beekin (Lincoln Center Theater), and, during her 20 years as a resident director at Yale Repertory Theatre, productions including Richard II, Cymbeline, Brecht’s Galileo, Ibsen’s The Master Builder, and Guillermo Calderón’s Kiss. She serves as president of the executive board of the Stage Directors and Choreographers Society.

WomenArtsRound_Vertical_Logo_16K.jpg

NEWS

An Action Plan for Artistic Identity and Career Development

Bonnie Oda Homsey          Click Right Button for Article

This article presents career development concepts, tools, and exercises used in courses I teach to college dance majors. The focus is to introduce sustainable practices that withstand the inevitable internal and external influences shaping a dance career. Educators are encouraged to incorporate the applicable exercises into existing coursework to support their students’ transitions into the professional workforce.

I attended a dance conservatory program for college, but at that time there was no course in career development. Fortunately, many dance programs now offer this type of dedicated course or provide similar information within other courses. In this article, I introduce tools and exercises originated for use in the career development courses I teach, taking as a jumping-off point my what if attitude to surviving a forty-year career

dotted with both highs and missteps. I encourage educators to select the applicable tools and exercises I discuss in this article to enhance students’ proficiencies in existing coursework such as dance production, senior project, directed or independent study, project-related dance courses, or even better, to institute a career development course.