2002 Dance Magazine Awards.
In 1973, at the age of 9, Nina Ananiashvili performed on ice an adaptation of Michel Fokine's solo The Dying Swan. Thus began a career that encompassed the world and many leading dance companies. Born in Tbilisi, now the capital of the Republic of Georgia, she began her dance studies at the State Choreographic Institute and transferred at age 13 to the Moscow Choreographic Institute at the Bolshoi Theater. There she studied with Natalia Zolotova, Marina Semenova, and Raisa Struchkova.
Ananiashvili won a Gold Medal at Varna at age 17, a First and Gold at the International Ballet Competition in Moscow, and a Grand Prix and Gold at the International Ballet Competition in Jackson, Mississippi, in 1986, where she forged a celebrated partnership with Andris Liepa.
In 1981 she entered the Bolshoi Ballet as a soloist. Her repertoire includes many standard classic roles (Giselle, Nikiya, Kitri, Juliet, Swanilda, Odette-Odile). She has danced with Britain's Royal Ballet, the Finnish National Ballet, the National Ballet of Portugal, The Kirov Ballet, American Ballet Theatre, and Houston Ballet. She performed with New York City Ballet in 1988, and then ABT for many seasons in classic and contemporary roles.
The daughter of a Mexican bullfighter and a Puerto Rican educator, Tina Ramirez was born in Venezuela and raised in New York City. Among early dance influences were Lola Bravo, Alexandra Danilova, and Anna Sokolow. As a young dancer, Ramirez appeared on Broadway (Kismet, Lute Song), television, toured extensively in Spain, and danced with John Butler's company at Spoleto's Festival of Two Worlds. Her founding in 1967 of Operation High Hopes, a dance program for inner-city children, saw Ramirez beginning to hit her real stride--teaching, performing, and helping hands that led to the founding of Ballet Hispanico in 1970. Since then, she has acquired for Ballet Hispanico a repertoire of more than seventy works by choreographers such as Alvin Ailey, Talley Beatty, Vicente Nebrada, Geoffrey Holder, Lynne Taylor-Corbett, Donald McKayle, Daniel Duell, Ramon Oller, David Rousseve, and Ann Reinking.
In tireless pursuit of her goal to establish dance as a lifeline for youngsters in need, Ramirez has evolved the nation's preeminent Hispanic-American dance company and school. She has helped to build, through dance, a better world of understanding, opportunity, and trust.
Jack Mitchell's photographs have recorded and preserved a half century of an art form known for its evanescence. Born in Florida, Mitchell was an army photographer in Florence and Venice in the mid-1940s before settling in New York in 1950. At the suggestion of American dance pioneer Ted Shawn, he began to concentrate on dance photography. He was photographer for American Ballet Theatre for a decade, but is known for his work in The New York Times and Dance Magazine, for which he has shot 165 cover portraits (more than any other photographer), beginning with Jose Limon in April 1956.
His photography can be seen in numerous collections: the Atlantic Center for the Arts, the Baltimore Museum of Art, Harvard University, the International Center of Photography, and Washington and Lee University. His photographic subjects have included such luminaries as Alvin Ailey, Mikhail Baryshnikov, Martha Graham, Carla Fracci, Tommy Tune, Dmitri Shostakovich, and Benjamin Britten.
His work is collected in four books: Icons and Idols, A Photographer's Chronicle of the Arts 1960-1995; Alvin Ailey American Dance Theater: Jack Mitchell Photographs; Dance Scene U.S.A., and American Dance Portfolio. A book of portraits is in the works.
An energetic leader, a determined high-level achiever, a defender of the Royal Danish Ballet's precious heritage of the ballets and technique of August Bournonville, Frank Andersen was born into a dance family in Copenhagen. He was admitted to the Royal Danish Ballet School in 1960, where the daily classes and company repertoire were then still in the Bournonville tradition. Joining the Royal Danish Ballet in 1971, he continued his studies in Paris, New York, and Leningrad with Vera Volkova, Stanley Williams, and Nora Kiss. He became a principal dancer at the RDB in 1977, was the originator of the Bournonville Group (a touring group composed of principals from the RDB), was artistic director for Nina Ananiashvili and International Stars, and artistic advisor to ballet companies in China and Japan. He directed the Bournonville Summer Academy from 1985-92. In 1992 he directed the second Bournonville Week festival.
From 1985 to 1994 Andersen was artistic director of the Royal Danish Ballet, where he brought the RDB and Danish business interests together in a mutually beneficial partnership, before assuming the artistic reins of the Royal Swedish Ballet from 1995 to 1999. Andersen returns in July as artistic director of the RDB.
Richard Philip has been an editor with Dance Magazine since 1970, was editor in chief for many years, and is known for his strong support of the arts. To read his Kickoff column on the Dance Magazine Awards and a full list of the award's recipients, visit our Web site, www.dancemagazine.com.
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|Article Type:||Brief Article|
|Date:||Apr 1, 2002|
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