Summer 2019 Dance Residency


Residency I: May 28 - June 14, 2019
Residency II: June 17 - July 3, 2019

This dance program is based on strong technical training, achieved by concentrating on the healthy and efficient use of the body to realize each person’s physical potential, and the development of the imaginative and creative elements of each individual. To this end, we integrate the instruction from Tisch’s permanent faculty of master teachers with that of major guest artists and company members.

Each residency is for the intermediate-to-advanced NYU and visiting dance student.

Residency I
DANC-UT 1400 (4 units)
NCRD-UT 5004 (Noncredit tuition is $4,063)

Residency II

DANC-UT 1401 (4 units)
NCRD-UT 5005 (Noncredit tuition is $4,063)


Each visiting company presents a lecture/demonstration on the first day of its residency and teaches a week of contemporary technique and, in the afternoons, repertory. Students also have the opportunity to observe open rehearsals, showings of works-in-progress, and public performances. Together, the companies provide a multileveled, kinetic, and aesthetic experience. Students are expected to arrive at 9:00 a.m. the first day of each residency.

The director will discuss program policies/procedures and placement class.  Students will also receive a packet which includes information about Summer Residency performances. Each three-week workshop meets Monday through Friday, typically from 9:30 a.m. through 3:30 p.m. The day begins with a one-and-three-quarter-hour ballet class focused on alignment, strength, balance, line, and coordination and continues with a one-and-a-half-hour class in contemporary dance.

Rehearsal space is available to students who wish to pursue their own personal choreographic interests, and informal showings of these works can also be held.

All instruction is held at the Tisch School of the Arts, Department of Dance, 111 Second Avenue.

Residency I
May 28 - 31 - Gibney Dance Company
June 3 - 7 - Netta Yerushalmy
June 10 - 14 - Kendra Portier, Jasmine Hearn, and MK Abadoo

Residency II
June 17 - 21 - Bill T. Jones/Arnie Zane Dance Company
June 24 - 28 - David Dorfman Dance
June 30 - July 3 - Ephrat Asherie Dance


Gibney Dance Company
May 28 - 31, 2019

Artistic Director: Gina Gibney
Co-Directors: Amy Miller and Nigel Campbell
Artistic Associates: Zui Gomez and Leal Zielińska

Gibney Dance Company (GDC) is a creation-based repertory company based in NYC that performs the work of Founder Gina Gibney as well as internationally renowned guest choreographers. With an unrelenting focus on artistic excellence and social integrity, GDC co-creates an environment where dancers are activated towards their full artistic, entrepreneurial, and socially-minded selves. GDC's full-time dancers, known as Artistic Associates, perform in New York City and around the world; facilitate hundreds of movement workshops each year for survivors of intimate partner violence; offer healthy relationship dance assemblies to students throughout New York City; and develop programming that addresses pressing issues in the dance field.

GDC's vision is to not only cultivate the next leaders of the field, but to also provide a concrete example of the wide-reaching relevancy of artists in our society. GDC supports our Artistic Associates with 52-week contracts, health insurance and paid vacations.

Netta Yerushalmy
June 3 - 7, 2019

Netta Yerushalmy is an award winning dance artist based in New York City since 2000. Her work aims to engage with audiences by imparting the sensation of things as they are perceived, not as they are known, and to challenge how meaning is attributed and constructed.

Netta received a Fellowship in Choreography from the John Simon Guggenheim Foundation, as well as a Jerome Robbins Bogliasco Fellowship, a Fellowship from the New York Foundation of the Arts, and a Six Points Fellowship.

She is currently a participant in the Lower Manhattan Cultural Council’s Extended Life program, and an Artist In Residence at Movement Research. Other 2016-17 residencies include Jacob’s Pillow’s CDR, Baryshnikov Arts Center, Watermill Center, and Harkness Dance Center.

Past residencies include the Djerassi Arts Program, Gibney Dance Center DiP, the Institute for Cultural Inquiry Berlin, Baryshnikov Arts Center, Tribeca Performing Arts Center, the Yard, and LMCC's Swing Space.

In the US, Netta’s work has been commissioned and presented by venues such as the Joyce Theater, Danspace Project, American Dance Festival, New York Live Arts, La Mama, Harkness Dance Festival, and Movement Research. In Israel, she has been presented by numerous festivals including Curtain-Up, Jerusalem International Dance Week, Intimadance, International-Exposure, and Different Dance. Her work was also performed at the International Solo-Dance-Theater Festival (Stuttgart).

Her collaborations with philosopher David Kishik include The Work of Dance in the Age of Sacred Lives, produced by HAU Hebbel am Ufer in Berlin, and Critique of Pure Movement - an evening of theory and performance at the ICI Berlin.

Commissions for repertory companies include the Ririe-Woodbury Dance Company (Salt Lake City), Zenon Dance Company (Minneapolis), Same Planet Different World (Chicago), Philadelphia International Festival of the Arts, Of Moving Colors (Baton Rouge),  and Misgav Dance Workshop.

As Guest Artist and visiting faculty, Netta has worked with students at the Juilliard School, NYU Tisch School of the Arts, Rutgers University, University of the Arts, University of Utah, American Dance Festival, Alvin Ailey School, SUNY Brockport, Barnard College, Purchase College, University of Texas at Austin, James Madison University, and Long Island University. As part of her work with Doug Varone, Netta taught around the USA, Russia, and the Dominican Republic and staged Varone’s work at University of Michigan and Point Park University.

As a performer Netta has worked with Joanna Kotze, Doug Varone and Dancers (2007-2012), Karinne Keithley, Nancy Bannon, Mark Jarecki, Noemie LaFrance, Ronit Ziv, and the Metropolitan Opera Ballet.

Netta was born in South Carolina, where she had her first dance performance at age 3 (see above). She moved to the Galilee in Israel soon after and trained at the Misgav Dance Workshop, the school of the Kibbutz Dance Company in Ga’aton, and Bat-Dor studios in Tel-Aviv. In 1996 she relocated to New York to earn a BFA in Dance from Tisch School of the Arts.

Kendra Portier, Jasmine Hearn, and MK Abadoo
June 10 - 14, 2019

Photo of Kendra Portier

Kendra Portier

Kendra Portier

Portier is an NYC-based maker, teacher, and performer. The projects she takes on are primarily dance works; drawing heavily upon her visual art practice and love for mathematics, science, somatic curiosities, and music. Originally from Ohio, Portier trained at BalletMet, received a BFA with Honors in Dance from the Ohio State University and an MFA from the University of Illinois Urbana-Champaign. Her work, housed under the moniker BAND (BAND|portier, BAND|kp), has been presented and supported nationally, including DanceNow (NYC), Art for the People (NJ), Dance New Amsterdam (NY), Gibney (NY), NYS DanceForce (NY), Dixon Place (NY), Gowanus Arts+Production (NY), CRAWL / the People Movers (NY), Tisch Dance (NY), Zenon Dance (MN), and Bates Dance Festival (ME). She was awarded the Harkness Choreographer in Residence 2012 (NYC), Bates Dance Festival Emerging Choreographer Award 2013 (ME), Mary Elizabeth Hamstrong Award 2016 (IL), and the Wand M. Nettl Prize for Choreography 2018 (IL). Portier has performed in the work of Lisa Race/Race Dance, Sara Hook, Alexandra Beller Dance, Nicole Wolcott Dance, Vanessa Justice Dance, and tenure with David Dorfman Dance. Portier has held numerous guest artist and faculty positions, including those at Gibney Dance Center, Mark Morrris Dance Center, Bates Dance Festival, and Peridance. Currently, Portier is hustlin' in and between NYC and DC as faculty at Gibney Dance Center (NYC), Artist in Residence at the University of Maryland, and in-process with her new work Burnish (Magenta #04).

Photo of Jasmine Hearn

Jasmine Hearn

Jasmine Hearn

Jasmine Hearn is a Bronx-based choreographer, performer, and dancer. A native Houstonian, she graduated magna cum laude from Point Park University with her B.A. in Dance. Jasmine travels around the world to showcase her choreographic work and to participate in multidisciplinary collaborations. Receiving a 2017 Bessies Award for her performance as part of the Skeleton Architecture, she is currently a collaborator with Alisha B. Wormsley, David Dorfman Dance, and Tara Aisha Willis. ​

Photo of MK Abadoo

MK Abadoo
Photo by C. Stanley Photography

MK Abadoo

MK Abadoo’s creative work exist at the crux of dance theater, undoing racism, cultural organizing, and critical education studies. Combining classical American modern and postmodern dance vocabularies, neo-traditional Ghanaian movement, and social Funk styles,  Abadoo draws from the "tradition of black literature and art that unites past and present in unsparing dialog."

She is an assistant professor in the Department of Dance and Choreography at Virginia Commonwealth University (VCU), and a lead faculty member in the Racial Equity, Arts, and Culture Core of VCU's ICubed, the Institute for Inclusion, Inquiry & Innovation. She is considered a "Breakout star of 2018," as a member of Dance Magazine's annual 25 to Watch list of "rising stars" in the dance field. In 2017 she was honored as a Forty Under 40 awardee by Prince George's County Social Innovation Fund for her leadership and achievement in the arts, and commissioned by the John F. Kennedy Center for the Performing Arts to create a new work for their Millennium Stage season. As a 2016-2017 U.S. Fulbright Fellow, she recently conducted eight months of intensive creative research at the Noyam African Dance Institute in Dodowa, Ghana, and with the National Dance Company of Ghana, deepening fourteen years of collaboration with Ghanaian contemporary dance colleagues.

Bill T. Jones/Arnie Zane Company
June 17 - 21, 2019

The Bill T. Jones/Arnie Zane Company was born in 1982 out of an 11-year collaboration between Bill T. Jones and Arnie Zane (1948–1988). During this time, they redefined the duet form and foreshadowed issues of identity, form and social commentary that would change the face of American dance. The Company has performed worldwide in over 200 cities in 40 countries on every major continent and is recognized as one of the most innovative and powerful forces in the dance-theater world.

The repertory of the Bill T. Jones/Arnie Zane Company is widely varied in its subject matter, visual imagery and stylistic approach to movement, voice and stagecraft and includes musically-driven works as well as works using a variety of texts. The Company has been acknowledged for its intensely collaborative method of creation that has included artists as diverse as Keith Haring, Cassandra Wilson, The Orion String Quartet, the Chamber Society of Lincoln Center, Fred Hersch, Jenny Holzer, Robert Longo, Julius Hemphill and Daniel Bernard Roumain, among others. The collaborations of the Bill T. Jones/Arnie Zane Dance Company with visual artists were the subject of Art Performs Life (1998), a groundbreaking exhibition at the Walker Art Center in Minneapolis, MN.

Some of its most celebrated creations are evening length works including Last Supper at Uncle Tom’s Cabin/The Promised Land (1990, Next Wave Festival at the Brooklyn Academy of Music); Still/Here (1994, Biennale de la Danse in Lyon, France); We Set Out Early… Visibility Was Poor (1996, Hancher Auditorium,Iowa City, IA); You Walk? (2000, European Capital of Culture 2000, Bolgna, Italy); Blind Date (2006, Peak Performances at Montclair State University); Chapel/Chapter (2006, Harlem Stage Gatehouse); and Fondly Do We Hope… Fervently Do We Pray (2009, Ravinia Festival, Highland Park, IL). The ongoing, site-specific, Another Evening was last performed in its seventh incarnation as Another Evening: Venice/Arsenale (2010, La Biennale di Venezia).

The Company has also produced two evenings centered on Bill T. Jones’s solo performance: The Breathing Show (1999, Hancher Auditorium, Iowa City, IA) and As I Was Saying… (2005, Walker Art Center, Minneapolis, MN).

The Company has been featured in many publications and one of the most in-depth examinations of Bill T. Jones and Arnie Zane’s collaborations can be found in Body Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane (1989 – Station Hill Press) edited by Elizabeth Zimmer.

The Company has received numerous awards, including New York Dance and Performance Awards (“Bessie”) for Chapel/Chapter at Harlem Stage (2006), The Table Project (2001), D-Man in the Waters (1989 and 2001), musical scoring and costume design for Last Supper at Uncle Tom’s Cabin/The Promised Land (1990) and for the groundbreaking Joyce Theater season (1986). The Company was nominated for the 1999 Laurence Olivier Award for “Outstanding Achievement in Dance and Best New Dance Production” for We Set Out Early… Visibility was Poor.

The Company celebrated its landmark 20th anniversary at the Brooklyn Academy of Music with 37 guest artists including Susan Sarandon, Cassandra Wilson and Vernon Reid. The Phantom Project: The 20th Season presented a diverse repertoire of over 15 revivals and new works.

During the Company’s 25th anniversary season in 2007, Ravinia Festival in Highland Park, IL offered the Company its most significant commission to date: to create a work to honor the bicentennial of Abraham Lincoln’s birth. The Company created three new productions in response:100 Migrations (2008), a site-specific community performance project; Serenade/The Proposition(2008), examining the nature of history; and Fondly Do We Hope… Fervently Do We Pray (2009), the making of which is the subject of a feature-length documentary by Kartemquin Films entitled A Good Man, broadcast on PBS American Masters in 2011.

The Company has distinguished itself through extensive community outreach and educational programs, including partnerships with Bard College, where company members teach an innovative curriculum rooted in the Company’s creative model and highly collaborative methods; and with Lincoln Center Institute, which uses Company works in its educator-training and in-school repertory programs. University and college dance programs throughout the U.S. work with the Company to reconstruct significant works for their students. The Company conducts intensive workshops for professional and pre-professional dancers and produces a broad range of discussion events at home and on the road, all born from the strong desire to “participate in the world of ideas.”

David Dorfman Dance
June 24 - 28, 2019
Artistic Director: David Dorfman

Since its founding in 1987, David Dorfman Dance (DDD) has performed extensively throughout North and South America, Great Britain, Europe, and Central Asia. DDD has regularly performed in New York City at major venues including The Joyce Theater, The Kitchen, Danspace Project/St. Mark’s Church, La Mama Theater, The Duke on 42nd Street, The Met Breuer, and the 92nd St. “Y”/Harkness Dance Festival. David Dorfman, the company’s dancers, and DDD’s artistic collaborators have also been honored with eight New York Dance and Performance (Bessie) Awards. Dorfman’s work has enjoyed broad and diverse audiences nationally and internationally by sustaining a vision to create innovative, inclusive, movement-based performance that is radically humanistic.

DDD’s creative projects include: Aroundtown (2017); Come, and Back Again (2013); Prophets of Funk (set to the music of Sly and the Family Stone); Disavowal (inspired by radical abolitionist John Brown); underground (inspired by The Weather Underground); Older Testaments (2005, set to music by composer/trumpeter Frank London of The Klezmatics); Lightbulb Theory (2004, original commissioned score by Michael Wall); Impending Joy (2004, original commissioned score by Chris Peck); and See Level (2003, original commissioned score by Chris Peck and visual design by Samuel Topiary).

DDD is company-in-residence at Connecticut College, has its own summer intensive at the college, a winter intensive in Manhattan, New York, and appears annually at the Tisch School of the Arts Summer Dance Residency Program at NYU.

For thirty years, DDD has effectively engaged audiences worldwide, with community-based projects playing an important role, particularly in the 1990’s. In Out of Season (The Athletes Project) and Familiar Movements (The Family Project), the members of the company rehearsed and performed with groups of volunteer athletes or family members selected in the communities to which the company toured.  In No Roles Barred, DDD examined the personal roles assumed, formed, and interwoven in our modern social construct, engaging groups ranging from corporate executives and “at-risk” youths to college administrators, doctors, carpenters, and social dance enthusiasts. The company’s three community projects have been presented over 30 times in 18 states and two foreign countries.

In March 2016, DDD performed at the opening day of the Met Breuer Museum in New York City, dancing to an original live score by Ken Thomson throughout the day in the Sunken Garden. The company embarked on a landmark tour to Athens, Greece in the summer of 2016, working with community athletes, dancers, and mixed ability movers to animate the new Stavros Niarchos Foundation Cultural Center for their Metamorphosis Festival. DDD’s newest evening-length work, Aroundtown had its World Premiere at Bates Dance Festival in July 2017, and its NY Premiere at BAM’s Next Wave Festival in November 2017. In May 2018 DDD partnered with USAID El Salvador to bring dance to youth in El Salvador. Together they pledged to use their bodies for peace rather than gang warfare. All of these efforts help DDD promote its mission of Kinetic Diplomacy: the idea that if you’re dancing, you’re probably not hurting another human being.

David Dorfman

ARTISTIC DIRECTOR of David Dorfman Dance since 1987, has been Professor of Dance and was the Department Chair at Connecticut College from 2004-2017. Dorfman is the 2007 recipient of The Martha Hill Fund for Dance’s Mid-Career Award and a 2005 Guggenheim Foundation fellowship to continue his research and choreography in the topics of power and powerlessness, including activism, dissidence, and underground movements. This research culminated in underground, performed by David Dorfman Dance and 25-50 additional dancers around the world. He appeared on several episodes of A Chance to Dance, a reality show on OvationTV starring Dorfman’s pals, the BalletBoyz who invited David Dorfman Dance to make a three minute video for RandomAct/Channel 4UK. We Don’t Own a Dog came out of that invitation.

Dorfman has been honored with four fellowships from the National Endowment for the Arts, three New York Foundation for the Arts fellowships, an American Choreographer's Award, the first Paul Taylor Fellowship from The Yard, and a New York Dance & Performance Award ("Bessie") for David Dorfman Dance's community-based project Familiar Movements (The Family Project). Dorfman's choreography has been produced in New York City at venues ranging from the Brooklyn Academy of Music, The Joyce Theater, The Kitchen, Dance Theater Workshop, The Duke on 42nd Street, Danspace Project/St. Mark's Church, P.S. 122, and Dancing in the Streets. His work has been commissioned widely in the U.S. and in Europe by Bedlam Dance Company (London), d9 Dance Collective (Seattle), Eisenhower Dance Theatre (Detroit), and the Prince Music Theater in Philadelphia for the musical Green Violin, for which he won a 2003 Barrymore Award for best choreography. Dorfman toured an evening of solos and duets, Live Sax Acts, with friend and collaborator Dan Froot, most recently in New York City and at the Harare International Festival of the Arts in Zimbabwe, and a half-evening duet, Menne Awn Frauen, created with Stuart Pimsler.

Dorfman has been a guest artist at numerous institutions across the country and abroad. As a performer, he toured internationally with Kei Takei's Moving Earth and Susan Marshall & Co. Dorfman holds a BS in business administration from Washington University in St. Louis, and an MFA from Connecticut College ('81). With love, David thanks long-time mentors Martha Myers and the late Daniel Nagrin, his late folks Jeanette and Oscar, and his in-house family project Lisa Race and Samson Race Dorfman.

Ephrat Asherie Dance
June 30 - July 3, 2019
Artistic Director: Ephrat Asherie

Ephrat “Bounce” Asherie, a 2016 Bessie Award Winner for Innovative Achievement in Dance, is a New York City based B-girl, dancer and choreographer. As artistic director of Ephrat Asherie Dance (EAD) she has presented work at the Apollo Theater, FiraTarrega, Jacob’s Pillow, New York Live Arts, Summerstage, and the Yard, among others. Ephrat has received numerous awards to support her work including a Mondo Cane! commission from Dixon Place, a Creative Development Residency from Jacob's Pillow, Workspace and Extended Life Residencies from the Lower Manhattan Cultural Council, a Travel and Study Grant from the Jerome Foundation and two residencies through the CUNY Dance Initiative. Her first evening length work, A Single Ride, received two Bessie nominations in 2012 for Outstanding Emerging Choreographer and Outstanding Sound Design by Marty Beller. Most recently Ephrat received a National Dance Project award to support the development and touring of her newest work, Odeon. Set to premiere in the summer of 2018, the creation of Odeon was also made possible by Jacob's Pillow Dance, Mass MoCA, Works & Process at the Guggenheim, and the Jacob's Pillow Fellowship at the Tilles Center for the Performing Arts at LIU Post.   Ephrat is a regular guest artist with Dorrance Dance and has worked and collaborated with Doug Elkins, Rennie Harris, Bill Irwin, David Parsons, Gus Solomons Jr and Buddha Stretch, among others.

Ephrat has been on faculty at Wesleyan University and set pieces for students at Smith College, SUNY Brockport, Alvin Ailey Dance Center, University of Texas Rio Grande and Texas Tech University.  Ephrat teaches at Broadway Dance Center and is a founding member of the all-female house dance collective, MAWU. She earned her BA from Barnard College, Columbia University in Italian and her MFA from the University of Wisconsin-Milwaukee where she researched the vernacular jazz dance roots of contemporary street and club dances.