Summer 2020 Dance Residency

Summer 2020 courses will be offered for remote instruction.


Residency I: May 26 - June 12, 2020
Residency II: June 15 - July 3, 2020

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 $4,180)

Residency II

DANC-UT 1401 (4 units)
NCRD-UT 5005 (Noncredit tuition is $4,180)


Each visiting company will present technique and improvisational remote learning along with guest artist Q&A. Yoga and virtual physical therapy sessions will also be a part of the training. During the first three-week residency, adjunct professor Jolinda Menendez will teach a remote ballet class from 9:00 a.m. - 10:30 a.m.

All instruction for summer 2020 will be held remotely.

Residency I 
David Dorfman Dance - May 26 - 29, 2020, 10:30 a.m. - 12:30 p.m. EDT
Gina Gibney Dance Company - June 1 - 5, 2020
Tiffany Mills Dance Company - June 8 - 12, 2020, 10:30 a.m. - 12:30 p.m. EDT

During Residency I, Donald Shorter will teach a Dance and Technology course that will be centered around providing the students with the tools and resources to create their own webpages and dance reels.

Residency II

Fran Kirmser - The Business of Dance - June 15 – July 3, 2020

Tisch Dance teacher Giada Matteini will lead a remote ballet course entitled "Ballet is for everyBODY".

Guest artists will provide two-hour Q&A sessions:

Ian Robinson, Batsheva Dance Company
Bill T Jones/Arnie Zane Company
Christal Brown, Inspirit Dance Company
Johannes Wieland, Berlin
Judith Sanchez Ruiz, Berlin

The Business of Dance

In addition to rigorous physical and artistic training, emerging dancers must also learn the practical realities of making a career in dance. The goal of this course, is to provide the student with the fundamental tools and information toward a successful life in dance. The Business of Dance is a multi-week course created and taught by Fran Kirmser who has taught at universities, conservatories and service organizations across the country. Fran is a Tony Award-winning Producer, co-author of A Life In Dance, and has served in Development for companies such as the Martha Graham Dance Company, Shen Wei Dance Arts, Doug Varone and Dancers, Francesca Harper Project, and Donna Uchizono.

Course schedule:

The Business of Dance will meet Monday and Tuesday via Zoom from 1:00 p.m. to 3:00 p.m. Additional Q & A sessions and project assignment walk-throughs will take place Wednesday through Friday plus development and individual follow-up with each student to review and shape assignment materials including resumes, business plans, financial literacy material, networking lists, etc.

Ballet is for everyBODY

The three week course’s physical practices and research are geared to allow the students for greater freedom in their approach to ballet technique by promoting confidence and a more positive sense of self. Special emphasis is placed on the distinction between movement that is imitated versus movement generated from a deliberate and deeply personal practice; the dancer’s body is recognized as an instrument carrying all their experiences and directly feeding into their unique understanding of ballet technique and artistry. 

As a result of participating in “Ballet is for everyBODY”, you will be able to re-evaluate and re-create your own story with ballet training by practicing positive strategies, both in the kinesthetic and theoretical setting, which will enhance and encourage your experience as ballet practitioners. You will learn to debunk the idea of ballet’s elitism and verticality and to disenthrall yourselves from ballet’s often negative conditioning of a one-dimensional, narrow and limiting viewpoint. You will practice positive affective and cognitive body image strategies in the context of ballet training, reaffirming your self-esteem, self-acceptance and reframing negative behaviors in the classroom. You will acquire a sense of ownership and belonging within the ballet vocabulary and structure and learn how to use your ballet training for your own personal development as an artist.

At the end of the course we will assemble a manual which will serve both as a welcoming guide for incoming students who may feel displaced by the conventions of ballet as well as as an individualized snapshot of your class and as a broader representation of the landscape of American ballet training.


David Dorfman Dance
May 26 - 29, 2020
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.

Tiffany Mills Dance Company
June 8 - 12, 2020


Tiffany Mills is a choreographer and Artistic Director of the New York City-based Tiffany Mills Company. Mills moved to New York City in 1995 and formed Tiffany Mills Company in 2000, earning early praise from The New York Times: “Mills is making a name for herself as a young modern dance innovator.” Over her 25 years as a dance artist, Mills has created 20+ dances both for her company and commissions across the country. Recent NYC seasons include: The Flea Theater as a Resident Artist (2018 & 2019); La MaMa Moves! Dance Festival (2016); BAM/Kennedy Center’s Professional Development Program, which culminated in a NYC season at the BAM Fisher (2013). The company’s work has been presented at: PICA’s TBA Festival (OR), Wexner Center (OH), Contemporary Dance Theater (OH), Jacob’s Pillow Dance Festival Residency (MA), Dance Place (Washington D.C.), Austin Dance Festival (TX), Guggenheim Museum Works & Process Series, Duke on 42nd Street, Symphony Space Dance Sampler, Lincoln Center Out-of-Doors, Dance Now at Joe’s Pub, Dancing in the Streets, Joyce SoHo, Baryshnikov Arts Center, Danspace Project’s City/Dans Series, Dance Theater Workshop Fresh Tracks, PS 122 Avant-Garde-Arama, Movement Research at Judson Church, Tribeca Performing Arts Center, HERE Art Center, and in Russia, Italy, Mexico, and Canada. The company holds seasonal pop-up workshops, plus an annual Summer Partnering Intensive in NYC (2006–present). Mills’ guest teaching includes: Trisha Brown Studios, Dance New Amsterdam, Gibney Dance Center, Peridance, The Playground, Earthdance (MA), Velocity (WA), Conduit (OR), ACDA, universities and festivals nationally and internationally. Mills has received awards and residencies from: NYU’s Tisch Summer Dance Festival (2015, 2020), National Center for Choreography at The University of Akron working with AXIS and Dancing Wheels (2019), CUNY Dance Initiative, (2014–15, 2017), BAM PDP (2012–13), the Joyce Theater’s Mellon Anchor Tenant Program (2011–16), Baryshnikov Arts Center (2010), LMCC Swing Space (2008–09, 2012), HERE Art Center (2002–03), University of Oregon Alumni Award & Boekelheide Creativity Award (2005 and 2006), Bogliasco/Jerome Robbins Foundation Fellowship, Italy (2007), and Bates Dance Festival’s Emerging Choreographer Award (1998). Mills has received funding from the Asian Cultural Council, Mertz Gilmore (via La MaMa), Evelyn Sharp Foundation, Harkness Foundation (via HERE), New York City Department of Cultural Affairs, Brooklyn Arts Council, Bossak/Heilbron Foundation, Sorin Charitable Trust, Puffin Foundation, Meet the Composer, American Music Center, O’Donnell Green Foundation, and New Music USA. Mills received a BA in Dance from the University of Oregon and an MFA in Choreography from Ohio State University.


The NYC-based Tiffany Mills Company is currently celebrating its 20th Anniversary. Known as an ensemble built upon risk-taking partnering and excavating the human psyche, the company performs nationally and internationally with a “fearless sense of freedom and exhilaration” (Washington Post). Formed in 1995 and incorporated in 2000 as a 501(c) 3 not-for-profit organization, the company has performed at leading presenting organizations such as: BAM Fisher, Danspace Project, La MaMa, Duke on 42nd Street, and Baryshnikov Arts Center, among others. National performance highlights include: PICA’s TBA Festival (OR), Wexner Center (OH), Contemporary Dance Theater (OH), Jacob’s Pillow Dance Festival Residency (MA), Dance Place (Washington D.C.), and Austin Dance Festival (TX). Internationally, the company most recently returned from a tour to Russia, performing and teaching at Festival “Isadora”.

Mills’ process of creation is ensemble-based and multidisciplinary — working with contemporary composers, writers, theater directors, designers, and filmmakers. She collaborates to blur lines between mediums and to discover layered and innovative methods of constructing dances, drawn from partnering, improvisation, and somatic modalities. The work often focuses on the vulnerability of being human through investigating themes of communication, connection, relationship, exposure, breakdown, and transformation. Mills celebrates differences amongst the performers, who investigate highly physical movement to build layered material with emotional and psychological resonance. She challenges the audience to be in an active role — to participate, experience, absorb and respond. 

The company is an Anchor Partner at The Flea Theater (2018-present). Their most recent work, Not then, not yet (The Flea, 2019), captures “wild phantasmagorical energy” (NYU News), in a collaboration with dramaturge Kay Cummings, Puerto Rican composer Angélica Negrón, French vocalist/composer Muriel Louveau, and six dancers. This evening-length work examines states of transition, drawing inspiration from the liminal space between endings and new beginnings. Ruminating on what it means to be in between, the collaborators look at portals and passageways through a 21st Century lens. Negrón’s blend of electro-acoustics mixed with classical instrumentation and found sounds, Louveau’s extreme vocal registers and neoclassical influences, and Mills’ raw and unhinged movement create a kinetically charged world that speaks to the subconscious. Eva Yaa Asanewaa writes in InfiniteBody: "Strongly directed, the performers display physical vibrancy and vivid expressiveness — traits I've come to expect from Mills ensembles.”

The company holds a weeklong annual Summer Partnering Intensive (2006-present), as well as pop-up workshops throughout NYC. Mills and company members also teach regularly at Gibney Dance Center in NYC. Dedicated to education, the company teaches extensively on tour at schools, universities, dance centers, and festivals. At home in NYC, the company holds a quarterly free Salon Series to provide an opportunity for the community and company to dialogue about dancemaking.

The company receives funding from foundations, corporations, and the government. Most recent grants include: Asian Cultural Council, Mertz Gilmore (via La MaMa), New York City Department of Cultural Affairs, Brooklyn Arts Council, Meet the Composer, O’Donnell Green Foundation, and New Music USA.

Gibney Dance Company
June 1 - 6, 2020
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.

Christal Brown/INSPIRIT Dance Company

INSPIRIT was founded in 2000 by Christal Brown with the sole purpose of bringing together and showcasing emerging  African-American female artists and choreographers. Since its inception, INSPIRIT has grown to be an incubation tank; providing training in executive, artistic, and educational skills.  In addition to having performed in various venues across the United States the company has also been in residence at several colleges and universities while also creating strong ties with various communities of young women nationwide through Project: BECOMING.

INSPIRIT’s mission includes providing a forum for collaboration among emerging female artists and choreographers, promoting public appreciation of contemporary dance works, educating the general public about dance by sponsoring affordable and accessible performances in community based venues, encouraging interest in dance among youth through outreach and within public schools, developing the technical abilities and overall talent of young and unrecognized artist of all genres, races, and gender.

INSPIRIT challenges the structure of traditional collectives and repertory companies by producing the work of choreographers within the company and collaborating on work driven by an artistic theme and an artistic director.  These differences allow each company member to forge a deep commitment to the company’s mission; to infuse one another with ideas, to encourage rich collaboration and to invigorate audiences everywhere.

Christal Brown

Christal Brown is the Founder of INSPIRIT, Project: BECOMING, the creator of the Liquid Strength training module for dance, the Chair of Dance at Middlebury College and the Lead Life Strategist for Steps and Stages Coaching, LLC.   Brown is a native of Kinston, North Carolina, where she remembers cleaning up on Saturday mornings as a child to the music of the Chi-Lites, Marvin Gaye, and Shirley Caesar.  These rituals innately produced a strong desire in her to make all work melodic, sensual, meaningful and set to music.  Brown has danced since she was released from the confines of piano lessons at age 9.  By navigating her way through narrow corridors of segregated understandings onto the stages of beautiful theaters, community centers, churches, classrooms, and cultural epiphanies, Brown has found the true meaning of grace.  Her path of self- discovery has been influenced by trailblazers such as Chuck Davis, Bill T. Jones, Andrea E. Woods, Liz Lerman, and Jawole Willa Jo Zollar, Penny Campbell, and Bebe Miller.  Each of these conduits of movement matter gave Brown the opportunity, permission, and responsibility to move and move others.  Brown is a mover, a warrior of change and transformation; living out experiences her double amputee father recounted from his war-ridden dreams.  The melodies in her body are melancholic and brought to life through the music; seen rather than heard in her choreography. Brown combines her athleticism, creativity, love for people, and passion for teaching to create works that redefine the art of dance and the structure of the field.

Ricarrdo Valentine

Ricarrdo Valentine uses art as a vehicle for activism. Ricarrdo’s education includes Urban Bush Women: Summer Leadership Institute, Bates Dance Festival and Earl Mosely Institute of the Arts. He has presented his choreography at Bates Dance Festival, Brooklyn Museum, El Museo de Barro and LaGuardia Community College. Ricarrdo continues to collaborate and work with Christal Brown/INspirit, Edisa Weeks/Delirious Dance, Paloma McGregor, Dante Brown/Warehouse Dance, Malcolm Low/Formal Structure, Jill Sigman/Thinkdance, Ni'Ja Whitson-Adebanjo/NWA project, Andre Zachary/RPG, Emily Berry/B3W and Barak ade Soliel. He is the co-founder of Brother(hood) Dance! In addition, Ricarrdo is the 2015 Dance/USA DILT mentee and 2015/16 Dancing While Black Fellow.