December 6th: 2024 Idea Capital Grant, December 20th: Ajkun Ballet Theatre, December 20th: Emergence Artist Residency, December 31st: Studio Essentials Grant, February 28th: National Dance Project Travel Fund, April 30th: South Arts Individual Artist Career Opportunity Grant, April 30th: South Arts: Professional Development & Artistic Planning Grants, April 30th: South Arts: Express Grants, September 16th: The Awesome Foundation Micro Grants, September 16th: New England States Touring (NEST 1 and 2), September 30th: New England Presenter Travel Fund, September 30th: Amplifi Napa Valley - Emerging Artists Grant, September 30th: Central Pennsylvania Youth Ballet Scholarship, September 30th: 24 Seven Dance Convention, September 30th: National Theater Project Presenter Travel Grant, September 30th: Bethany Arts Community Residency
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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
By Brandy McDonnell
20 March 2020
Oklahoma City Ballet is postponing its “(e)motion(s): A Triple Bill,” which is to include the world premiere of a new short ballet commemorating the 25th anniversary of the Oklahoma City bombing, to new dates and times in the midst of the coronavirus pandemic.
The venerable dance company was originally to perform “(e)motion(s): A Triple Bill” April 17-19 at the Civic Center. Since the weekend corresponds with the 25th anniversary of the April 19, 1995, bombing of the Alfred P. Murrah Federal Building, OKC Ballet Artistic Director Robert Mills said in an autumn interview that he wanted to create a new work not just to memorialize the tragedy but also to celebrate Oklahoma City’s resilience.
As previously reported, the world premiere piece, titled “A Little Peace,” will be set to music by Oklahoma native and Country Music Hall of Famer Vince Gill.
“I remember his music from that time. I was a fan. He was huge. He pretty much won a Grammy every year in the ’90s. … Most elementally, he’s a beautiful lyricist and an incredible singer,” Mills said in the interview. “I wanted to create something that used the classic ballet idiom in a contemporary way, but something that was extremely unexpected in how it visually looked on the stage.”
Read the full article here.
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