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Leading a new era of international cultural exchange by exporting
American creativity and crafting global relationships.
May 2021

 Dance Dialogue Focus on: Seoul International Dance Festival by KIM Myonghyon on behalf of Mr. LEE Jong-Ho


Seoul International Dance Festival, known as SIDance, was launched in 1998 with the mission to improve the environment for dance creation as well as to introduce premium contemporary dance to Korean audiences. Coloring Seoul with dance in October for three weeks, SIDance programs from renowned contemporary dance companies to emerging choreographers from all around the world. For the last 23 years, artists who were invited to SIDance, such as Maurice Béjart, Phillippe Decouflé, Akram Khan, Mauro Bigonzetti, Susanne Linke, Angelin Preljocaj, Maguy Marin, Wayne McGregor, Russel Maliphant, Mette Ingvartsen, Cullberg Ballet, Ballet Flamenco de Andalucia, Marcos Morau and Ultima Vez to name a few, have mesmerized the Korean audiences with their artistic excellence and grossed the popularity of dance, subsequently.
Hosted by Seoul Section of CID-UNESCO under the leadership of Mr. LEE Jong-Ho, SIDance is a ground for international networking. As the sound platform for adventurous Korean choreographers, SIDance has advanced JEON MI SOOK Dance Company, Lee K. Dance Company, Modern Table, Art Project Bora, Ambiguous Dance Company, Goblin Party, SIGA, NONAME SOSU etc., to the prestigious global stages. The number of total advancements through SIDance accounts for 250 tours in 40 countries as of 2020. Furthermore, to enhance the mutual understanding of cultural difference and multidisciplinary experiments, SIDance has organized over 50 international collaborations, coproductions and residency programs with artists from 48 countries. Collaborations and residency programs now seem to be basic, but SIDance is proud of itself to be the initiative in Korea.
SIDance’s endeavor to fertilize the terrain of dance in Korea cannot not be limited in artistic experiments, but expand its scope for social praxis. The program titled ‘Dancing City’ was thrown into outdoor stages and parks to raise direct attention on dance from the public. ‘Evolution of Hip-Hop’ was planned to fuse street dances with concert dance to propose new perspectives on dance, and ‘Digital Dance Festival’ was organized to widen the spectrum of dance with digital technology. Community dance programs for the young, disabled, and aged were organized or invited to facilitate the public to experience a new lifestyle with dance. Starting in 2018, SIDance suggests bold programs with social issues such as refugee and violence to signify dance as social praxis. Besides, the academic and infra-structural efforts- lectures, workshops, forums and discussions in dance trends, dance education, cultural exchange and cultural policy cannot be left out.
Without doubt, SIDance is literally a portal for dancers, choreographers, festival organizers, educators, critics, and ideas engaging both global and local dance communities. SIDance will continue to expand its vision to widen the territory of dance and nurture the ecology of Korean Dance with its global friends.

Rapid Response Travel Subsidy Program Reinstated 

Rapid Response is a travel subsidy program to assist American dance companies and artists who receive invitations to perform, teach, or conduct creative research outside of the United States.

Any professional U.S. dance company can request Rapid Response support once the company or individual has received an invitation from an international programmer, festival, or venue. Rapid Response is intended to help artists say "yes" before a programmer's timeline gives out, and to provide leverage to raise additional travel funds. Amounts will generally range from $1,000-$2,500, and are paid as reimbursement. 

Requests for support are reviewed quarterly. Remaining deadlines for 2021 are:

August 1
November 1

Decisions will be generally announced within two weeks of each deadline.

Awards and Special Recognitions

Recognizing awards and special recognitions received by American artists both at home and abroad.
Click here to submit an award for inclusion

Kyle Abraham to join USC Kaufman as Endowed Professor in Dance

Photo by Steven Schreiber
The USC Glorya Kaufman School of Dance has named Kyle Abraham to the Claude and Alfred Mann Endowed Professorship in Dance. Starting fall 2021, Abraham will begin working with USC Kaufman. In addition to Abraham joining the USC Kaufman faculty, up to 10 members of his dance company, A.I.M., will teach a week-long intensive every December at USC Kaufman for BFA students, as well as professional and pre-professional dancers. Abraham will succeed multi-dimensional artist William Forsythe, whose appointment ends in spring 2021, as holder of the endowed professorship. The endowed professorship is a part-time faculty position for an internationally acclaimed artist with expertise in choreography, composition and concert dance. Abraham will spend six to 12 weeks in residence at USC Kaufman each year for the next five years. In addition to teaching dance technique, choreography, repertory and performance, and improvisation and composition, among other courses, he will stage and create work for students to perform at events and performances.

Learn more here

Excerpt taken from announcement from USC
The John Simon Guggenheim Memorial Foundation Announces 2021 Fellows for Choreography

Created in 1925 by Senator Simon and Olga Guggenheim in memory of their son John Simon Guggenheim, the Foundation has offered fellowships to exceptional individuals in pursuit of scholarship in any field of knowledge and creation in any art form, under the freest possible conditions. The Guggenheim Memorial Fellowship is a grant to selected individuals made for a minimum of six months to a maximum of twelve months. The fellowship grant amount varies but ranges from $30,000 to $45,000.

Tommie-Waheed Evans

Photo Credit: German Ayala Vazquez


Tommie-Waheed Evans is a queer black dance maker, born and raised in Los Angeles, California, amidst racial divide, gang warfare, and earthquakes. His work explores blackness, spirituality, queerness and liberation. He began his formal training with Michelle Blossom, Ujazi Calomee, and Karen McDonald before receiving a fellowship at the Ailey School, and a Master of Fine Arts in Choreography from Jacksonville University. He has toured and performed nationally and internationally as a company member of Lula Washington Dance Theater, Complexions Contemporary Ballet and Philadanco. Since 2004, waheedworks, his Philadelphia based dance company, has been his primary vehicle for his creative research.  His work  brings together urban street dance styles and contemporary dance vocabulary through bold and raw movements propelled by gospel music and polyrhythmic sounds. 

Maureen Fleming

Photo Credit: Christopher Odo


Maureen Fleming is renowned for her original form of visual theater realized through choreography for photography, video, and live performance. With the discipline of a classicist and the imagination of an iconoclast, Fleming connects cultures and art forms in an interdisciplinary celebration of femininity and the universality of the soul’s journey. A Fulbright Scholar to Ireland, S. Korea, Colombia, and Latvia, she has received fellowships from Asian Cultural Council, Japan-US Friendship Commission, Sacatar Foundation, and New York Foundation for the Arts. Her evening-length works  have been presented spanning five continents.

Christopher L. Huggins

Photo Credit: Balbaldi


Christopher L. Huggins is a visionary, dance innovator. He is an Alvin Ailey disciple, and historian; developing multilayered, storytelling through dance. Christopher attended Purchase University, the Julliard School and was a merit scholar at the Ailey School. He’s a former soloist of the Alvin Ailey American Dance Theater and Aterballetto of Reggio Emilia, Italy. His work is rooted in research that memorialize our darkest history. This is found in his ballet THE LIST, a story about the systemic genocide of a Jewish family and those in concentration camps. His ballet NEW FRUIT, inspired by Nina Simone’s music, documents terror lynching. Through his dance initiative, he provides access to emerging dancers and choreographers to study abroad with him. He works around the globe and held residencies at over 25 universities and colleges.

Helen Simoneau

Photo Credit: Olly Yung/Eli Gray


Helen Simoneau is the artistic director and choreographer of Helen Simoneau Danse. Originally from Québec, she earned a BFA at the UNC School of the Arts and a MFA from Hollins University, under the direction of Donna Faye Burchfield. Her commissions include The Juilliard School, Oregon Ballet Theatre, the American Dance Festival, BalletX, The Yard, Springboard Danse Montréal, The Ailey School, the University of the Arts (PA), and the Swiss International Coaching Project (SiWiC) in Zurich. Her work has toured nationally and internationally.

Christopher Williams

Photo Credit: Andrew Jordan


Christopher Williams, hailed as “one of the most exciting choreographic voices out there" (The New York Times), is a choreographer, dancer, and puppeteer who has created over thirty original works in NYC and abroad since 1999. In addition to touring internationally in France, England, Italy, Spain, Holland, Colombia, Malawi, Indonesia, and Russia, as well as nationally in Los Angeles, Philadelphia, Pittsburgh, Kaatsbaan Culture Park, and Jacob’s Pillow, his works have been presented in many local venues including City Center, Lincoln Center, Dance Theater Workshop, Danspace Project, and P.S. 122.  He earned a BA from Sarah Lawrence College and a diploma of study from the École Internationale de Théâtre Jacques Lecoq in Paris, and has since performed for Tere O’Connor, Douglas Dunn, Rebecca Lazier, Basil Twist, and Dan Hurlin, among others. 

To read the full bios and learn more, click here.
International Association Of Blacks In Dance Receives Funding From The Andrew. W. Mellon Foundation and The Ford Foundation
The International Association of Blacks in Dance (IABD) has announced the receipt of grants from The Andrew W. Mellon Foundation and the Ford Foundation in further support of the Comprehensive Organizational Health Initiative | Managing Organizational Vitality and Endurance (COHI | MOVE). These grants continue relationships that began in 2017 and 2018, respectively.The $3,138,500 Mellon Foundation grant will permit distribution of $1,775,000 in MOVE grants to 30 member companies beginning in 2021. Five member companies, recognized as the INFLUENCERS Cohort, will each receive $150,000 over the next three years, while the remaining 25 companies, recognized as the COLLECTIVE Cohort, will receive more than $40,000 per company over the next three years.

In partnership with the Nonprofit Finance Fund, IABD will offer access to financial coaching so that companies may receive strategic feedback and guidance as they seek to apply the learnings to their organizations. IABD will also underwrite access to discrete consulting engagements over the course of the three-year period.

Through the Ford Foundation, IABD will facilitate broadened access to the COHI | MOVE program resources through the launch of an extension called Building Up: Integrated Learning and Development (BUILD) and distribute of $375,000 to a cohort of 25 additional member companies. The BUILD cohort will have access to the financial and organizational health resources developed during the 2018-2021 COHI | MOVE program. From 2021-2024, the BUILD cohort will engage in virtual and in-person convenings designed to address critical issues and industry-wide concerns; have opportunities for continued professional development, networking opportunities and peer-to-peer engagement; and gain access to vital resources including emergency preparedness planning, emergency relief funding, and fiscal sponsorship. Participating companies will receive $15,000 each over a three-year period.

Ford Foundation funding will also permit distribution of $100,000 towards the continuation of support to each of IABD's founding member companies: Cleo Parker Robinson Dance (Denver, CO); Dallas Black Dance Theatre (Dallas, TX); Dayton Contemporary Dance Company (Dayton, OH); Lula Washington Dance Theatre (Los Angeles, CA); and PHILADANCO! The Philadelphia Dance Company (Philadelphia, PA).

Excerpt taken from article in Broadway World
Stuart Pimsler Dance Theater receives a Creative Support for Organizations grant from the Minnesota State Arts Board to offer a series of Caring for the Caregiver℠ Workshops

For over three decades, SPDT has presented its groundbreaking Arts & Health programs. The company has partnered with leading healthcare organizations both nationally and internationally, reaching a diverse range of caregivers from medical students and physicians to family members of individuals living with cancer.

SPDT, co-directed by Suzanne Costello and Stuart Pimsler, has been at the forefront of the Arts & Healthcare field since introducing Caring for the Caregiver℠ in 1992. In this newest initiative, SPDT will engage Minnesotan caregivers through both live and virtual programming. They will employ the arts to address the acute needs of caregivers, including compassion fatigue, despair, and grief. Their community partners include Jewish Family Service of St. Paul, Hennepin Healthcare, Love Labor Project, Gilda's Club Twin Cities, and the Mayo Clinic in Rochester. 

Virtual U.S. Dance Presentations of Note

Threads Dance Project 

A selection of top dances by Artistic Director Karen L. Charles. May works include: Memories (2011), Mother God (2018), and Emancipation? - Part 2 (2014)

May 17-30, 2021

 $1-$1,000, pay-as-able

   Register Here

BodyVox In this limited series, BodyVox asks the questions: "What will happen when artists and innovators working at the peak of their profession immerse themselves in a craft they've never considered?" and "How does the creative mind adapt to working with various restrictions: communicating via a computer screen, staying removed from the dancers?"
Episode 1 Premiered April 15, final episode premieres May 13

$50 for all 5
Purchase Tickets Here

Zikr Dance Ensemble Zikr offers audiences a new opportunity to experience Lifting the Veil. Filmed without an audience in a stunning multi-camera video recording, Lifting the Veil Virtual Cinema will be presented in a limited one-week engagement. Date:
May 1-6, 2021

Purchase Tickets Here

Yaa Samar!
Dance Theatre
In 12 short films with original music by Lou Tides, 12 artists from around the globe share a journey of transformation that deeply marked their lives. These personal accounts of parenthood, loss, race, exile, dreams both realized and abandoned, all find expression through a common choreography for body and camera, offering an intimate glimpse into the performers’ inner and outer worlds. Date:
Now - June 1

View Film Here

Kansas City Ballet New Moves: the broadcast series has been extended an additional 6 weeks due to popular demand! All original works filmed in beautiful iconic settings throughout the greater Kansas City area.

April 15-May 20, 2021


More Information Here

Welcome to Campfire "The Pigeon & The Mouse: The Film" is the latest iteration of a work that saw Ingrid Kapteyn and Tony Bordonaro through the difficulties of the last year, a performance that can be shared across Covid barriers. Made in collaboration with filmmaker Daniel Robinson, the film also features original work by visual artists Olya Dubatova and Levon Petrosyan and an original song by Daniel Henri Edmond.

May 4-30, 2021

$15.99 for a 24hr rental


Get Tickets Here

La Mezcla Join La Mezcla for an afternoon of virtual dance performances, live music and interactive movement workshops! La Mezcla will be sharing some original rhythmic Tap dance choreography, excerpts from their show Pachuquísmo, and a sneak peek of new material.

May 8, 2021, 3pm EST

Pay what you can

Sign up Here

Valerie Green/Dance Entropy Time Capsule: A Physical Documentary is a dance film, directed and choreographed by Valerie Green, in collaboration with cinematographer/editor Alex Lopez, composer Mark Katsaounis, and the dancers of Valerie Green/Dance Entropy. Eight solos physically trace emotional experiences of the COVID-19 pandemic, woven together with a score of vocal reflections and incidental sound from the diverse sampling of New York City landscapes in which each dancer was filmed. 

May 20-30, 2021


   Purchase Tickets Here

Upcoming Events and Opportunities

Visit American Dance Abroad's Events & Opportunities page for all the latest deadlines. Contact to submit an opportunity for inclusion.

Esplanade – Theatres on the Bay
Open Call for Research Residency Program
Due: May 31, 2021
Learn more
Prospettiva Danza Teatro International 
Open Call for Festival Applications
Due May 10, 2021
Learn more
Solo Dance Contest 2021
Open Call for Submissions
Due: May 31, 2021
Learn More
Nice Dance Film Festival
Open Call for Video Submissions
Due June 21, 2021
Learn more
International Contemporary Dance Festival of Mexico City
Open Call for Festival Applications
Due: August 31, 2021
Learn more
Casa Na Ilha
Residency Program
Rolling Applications
Learn more
*The inclusion of an opportunity or event posted on American Dance Abroad's newsletter should not be interpreted as an endorsement of that opportunity. American Dance Abroad has created this listing in an effort to increase access to and knowledge about international opportunities.

News From the Field  

American Dance Abroad brings you links to relevant COVID-19 articles of international importance. Please send us your suggestions for new links to include next month.

During the pandemic, dance freelancers have been among the groups worst affected. The founder of an initiative designed to keep them employed speaks about creating a new way of working and the importance of collaboration
Limitations and boundaries have always focused me,” Pam Tanowitz says from Australia. “I like rules, but also like to break them — and quarantine is a rule I can’t break.”

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

These questions are confronting arts and entertainment producers of every genre and size, from hole-in-the-wall black box theaters to flagship institutions. 
In SOCIAL!, an hour-long work now up at Manhattan’s Park Avenue Armory, participants in a cavernous drill hall find their groove—and a little catharsis.
In light of the recent rise in AAPI hate crimes, Dance Spirit wanted to help amplify the voices of AAPI dancers. They asked six to share their thoughts about anti-Asian racism and how it appears in the dance world. 
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