Born in Mobile, Alabama, Nikki Hefko trained at Mobile Ballet (Mobile, AL), Ballet Hysell (New Orleans, LA), New Orleans Ballet Ensemble (New Orleans, LA), and the Dance Theatre of Harlem School (New York City). She was a company member with the Dance Theatre of Harlem, under the direction of Arthur Mitchell. While at DTH, she toured the states and abroad dancing a full repertoire of classical, neo-classical, and contemporary ballets. Additionally, Nikki danced with Les Grands Ballet Canadiens, The Metropolitan Opera, and other national companies as a free-lance artist.
All posts tagged ballet
Alexa Valentine is in her last year at Tisch School of the Arts working on her MFA. She is in the beginning stages of showing work in New York, and is currently am working on a dance film in collaboration with a student filmmaker and composer.
Morgan McEwen, ballerina turned artistic director launched MorDance in January of 2013. MorDance premiered at Manhattan Movement and Arts Center on May 3rd, 2013 and recently had the opportunity to perform at Socrates Sculpture Park as part of Dance at Socrates produced by Norte Maar.
Exciting news! Norte Maar (Brooklyn, NY) joins forces with The Broadway (Barking, UK) to present the 2nd edition of CounterPoint an important series, which originated as a collaboration with Brooklyn Ballet to present a forum for women choreographers working with the pointe shoe to show and discuss their work. The series will run at The Broadway June 17, 18, 19 at 8pm all tickets £10. The series is curated by Julia K. Gleich.
October 26, 2012. Aegis Live Arts performed with Albion Baroque Orchestra in an evening of Musick in Britain: The Italian Heritage. Conductor and Director, Miguel Esteban, founder of Albion Baroque, invited Aegis to dance alongside the orchestra to Charles Avison’s concerto grosso no.11 in G major. Dancers, Michelle Buckley, Chiara Favaretti and Fenella Kennedy, negotiated the aisles of the church in choreography by Julia K Gleich, and the concert was followed with dessert, Gingerbread from an Eighteenth Century recipe. In a review of the event, Prasanthi Matharu of the British Society for Eighteenth-Century Music, cheered this inaugural performance!
Norte Maar in collaboration with Brooklyn Ballet presents CounterPointe a new performance series featuring emerging and established women choreographers making new work on pointe. Series will run three nights at The Actors Fund Arts Center (160 Schermerhorn Street, Brooklyn, NY), Fri, Sept 28 + Sat, Sept 29 at 7:30pm and Sun, Sept 30 at 4pm. General admission: $20 / students+seniors $15.
CounterPointe, is dedicated to presenting the latest experimental, innovative, risk-taking choreography that shows a depth of investment in ballet by women dance makers working with the pointe shoe. In response to the continual neglect of representation of women ballet choreographers in major ballet companies (notably, the Royal Ballet has not commissioned a work from a female choreographer for the Opera House stage since 1999) this series offers a performances ripe with the latest curated works by women who make dances with the pointe shoe.
Investigating new and old territory the series highlights new work, opening up discussion, and creating a forum for women, young or old, emerging or established, to take risks.
It is hard to believe that Norte Maar’s original ballet The Brodmann Areas has finished its final run at the Center For Performance Research. With a cross-genre, multi-media collaborative approach to developing the original ballet – and its accompanying visual and audio components – the countdown to opening was highlighted in the advance press:
Bushwick Daily featured a preview that included a conversation with choreographer Julia Gleich, which can be found here. Joined by director Jason Andrew, as well as the Brodmann‘s crew of dancers, Gleich also spoke with WNYU’s CityWide arts and culture program. CityWide stopped by during the last day of rehearsal to get the details on what host Lucas Green calls “a particularly visceral collaborative product.” For audio, please click here.
Norte Maar thanks all who attended, and appreciates the overwhelmingly positive reviews of the project. As ARTINFO‘s Benjamin Sutton commented after attending opening night, “the resulting brain (and eye) candy forms a wildly varied but consistently nourishing whole that manages to integrate contemporary ballet, classical and modern (and postmodern) music, visual and performing art wonderfully.”
Critic James Panero of The New Criterion also found plenty to ponder in this brainy performance. His review of Brodmann Areas in the May Issue of the publication offers a comparison with last years ballet:
“With visual artists, sound artists, and dancers all coming together, last year was something of a celebratory free-for-all, a sprawling jam session with one guitar hero after the next compounding the awesomeness until your thoughts turned to the line at the Porta-John. “Brodmann,” in contrast, took on the subject of cognition and didn’t dance around the big thoughts. Tight, far more spare than a year before, the performance brought the dance up front while still collaborating with Bushwick artists such as Paul D’Agostino, who created rapid projections out of his triptych cardboard collages. This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.”
Panero ends with a nod to the collaboration between director/choreographer Julia Gleich and neural scientist Denis Pelli on peripheral vision. Panero’s complete review can be found here. For Panero’s review from last year’s production, In the Use of Others for the Change click here.
Dancin’ in the Streets
Seven Days – July 27, 2005
Jason Andrews of Norte Maar says his arts organization wants to “bring ballet back to the masses.” They’ve staged performances in parks and on bridges. On Saturday, dancers in white tutus and pink tights, directed by London-based choreographer Julia Gleich, will perform scenes from the classical 18th century ballet Coppelia, in the most egalitarian of settings – a Wal-Mart parking lot. They tried this tactic for the first time last year. Not surprisingly, Andrews says the free performances attracted attention. Most shoppers stopped to watch, intrigued. He recalls one little girl, who asked her father what the dancers were doing. “He said, ‘They’re freaking people out, that’s what they’re trying to do. Now get in the truck.’”
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