Some instructors teach every year; some teach every other year. Below is the faculty over a two-year period.
Faculty in 2019 - 2020
Madeline Cantor (Director) received a B.A. from Barnard College and M.F.A. from the University of Michigan. She performed and choreographed as a member of Dance Conduit from 1980-89 and continues to work independently. She has been awarded grants for her choreography and is active as a guest choreographer with college and youth companies, community groups and professional companies, including Nimbus Dance Works which currently has three of her dances for young audiences in its repertory. At Bryn Mawr she teaches technique, composition, repertory, and praxis courses in arts teaching and dance appreciation and has received the College’s Rosalyn R. Schwartz teaching award. She directs the School Performance Project, a group which performs in Philadelphia schools, and is involved with reconstruction projects of historic modern dance. Outside of Bryn Mawr she directs Dance TAG (Teaching Artists Group), works with a school in Chester, PA on a project that combines dance and math, and serves on the national board of Dance and the Child International.
Lela Aisha Jones was awarded a Consortium for Faculty Diversity fellowship to be in residence at Bryn Mawr for two academic years. She is an active artist and an artist activist who intertwines personal history, diasporic movement, social commentary, and interdisciplinary methods. She has taught and performed in Africa with the Same Story Different Countries Project directed by Lynnette Overby and in New Zealand where she worked with artist and scholar Ojeya Cruz Banks. Lela is the founder of FlyGround where she cultivates her diasporic movement practice and artistry and, among other awards and honors, is a 2016 PEW fellow, a 2015 Leeway Foundation Transformation awardee, and an incubated artist at Headlong Dance Theater. She received an M.F.A. in dance from Florida State University and a Ph.D. from Texas Woman's University.
trained at Pittsburgh Ballet Theatre and the School of American Ballet. At 15 she was chosen by Jerome Robbins to perform a principal role in his original work, 2&3 Part Inventions
. Jennifer joined the New York City Ballet in 1994 where she would go on to perform a wide range of Balanchine and Robbins ballets, as well as originating roles for Christopher Wheeldon, Peter Martins and Mr. Robbins. After leaving the NYCB in 1998 Jennifer danced with Eliot Feld’s Ballet Tech, Suzanne Farrell Ballet and Pennsylvania Ballet. Jennifer has taught at Point Park College, Pittsburgh Ballet Theatre School, Ballet Hawaii, and Cape Cod Ballet. Most recently she has taught pointe and repertory at Swarthmore College. Jennifer earned a bachelors degree in political science from Hunter College graduating summa cum laude.
Melanie Cotton is a Philadelphia-based choreographer, dancer, and theater artist. Her work as a principal dancer and contributing choreographer for Montazh PAC and principal dancer with Rennie Harris Puremovement has shaped her unique approach to hip hop dance and her ability to combine the ingenuity and originality of hip hop culture to her work as a choreographer and theater artist. Melanie’s performance credits include Bill Irwin’s Happiness Lecture, 1812 Productions' It’s My Party: The Women in Comedy Project and Walnut Street Theater’s In The Heights. Melanie was a co-collaborator and performer for Pig Iron’s collaboration with Dr.Dog (band) for The Swamp is On. Choreographer credits include Red 40’s The Best Songs in the World for the Polyphone Festival and the Arden Theater’s productions of The Legend of Georgia McBride, and Touch Tones and most recently Lightning Rod Special's The Appointment featured as part of the 2019 High Pressure Fire Service series at Fringe Arts.
Denise Somrack D’Angelo, after her youth training in Cleveland, Ohio, came to Philadelphia on full scholarship to study with Lupe Serrano at the School of the Pennsylvania Ballet. Denise served as an apprentice for one year, then went on to dance professionally with the Pennsylvania Ballet from 1980-88, rising to the rank of soloist. Her favorite roles were from the classic ballets such as Swan Lake and Giselle, and the Balanchine ballets, including Jewels, Western Symphony, and Serenade. She has been teaching and choreographing locally since 1997 at the Metropolitan Ballet Academy founded by one of the Dance Program’s earlier instructors, Lisa Collins Vidnovic.
Bethany Formica graduated with a B.F.A. from Mason Gross School of the Arts at Rutgers University in 1994 and since then has worked with several New York City-based companies including Sean Curran and Company, Pearson/Widrig Dance Theatre, and JoAnna Mendl Shaw, and Philadelphia-based choreographers and companies such as Megan Mazarick, Nichole Canuso Dance Company, Leah Stein Dance Co., Brian Sanders/JUNK, Melanie Stewart Dance Theatre, Myra Bazell, Kate Watson-Wallace, Group Motion Multimedia Dance, and Rennie Harris PureMovement. She has also danced in Poland with Dada Von Bzdulow Theatre and Koncentraa and with Melina Martin in Argentina among others. Bethany has received grants and fellowships for her own work as well including support from prestigious institutions such as the Independence Foundation and The Pew Center for Arts & Heritage through Dance Advance. Her work has been presented in Philadelphia, NYC as well as in Italy, Poland, Bulgaria and England. She has instructed or directed master classes and residencies in New York City and at MassMoca, University of the Arts, Temple University, Rowan University, Franklin and Marshall College, Bates College to name a few, and internationally in the Dominican Republic, Czech Republic, Sweden, Italy, Ireland, Poland, and England. She has also taught elementary and high school residencies and taught movement classes for schizophrenic patients at Greystone Park Psychiatric Hospital. She is currently a performer with Cardell Dance Theatre and the owner of Sawdust Siren creating beautiful wood-centric craft/arts.
, born and raised in Boston, started his dance training at the Roxbury Center for the Performing Arts and the Boston Arts Academy and received a B.F.A. from the Boston Conservatory. He is a featured dancer with the nationally renowned Philadanco and has also danced with Putty Dance Project, Dance IQUAIL, Waheed Works and continues as a guest performer with Anna Myer and Dancers and Prometheus Dance. He also works as a choreographer and Executive Artistic Director alongside May-Lisa Chandler of Jo-Mé Dance Arts Inc. Gonzalez has assisted in choreography at the Boston Conservatory with Anna Myer, at Rhode Island College with Adrianne Hawkins and companies and organizations with Tommie-Waheed Evans. Joe works in diverse styles from funk to contemporary. He has choreographed more than 15 original works that have been performed on national stages.
Yasmin Goodman trained extensively in gymnastics and in Shotokan Karate before turning to dance. She has studied at Temple University and with top area jazz teachers and has taught and performed in the greater Philadelphia area for 20 years. She founded and directed Yazzu Dance Company and was director at the Main Line YMCA Jazz Dance programs.
Patricia “Peaches” Jones
is a movement artist specializing in dances and rhythms of the African Diaspora. She has performed with Batoto Yetu, Les Ballet Shango and Troupe Dada and currently dances with artist-activist, Lela Aisha Jones’ | FlyGround and Kulu Mele African Dance and Drum Ensemble, Philadelphia’s premier African dance ensemble. She is a Program Associate for Young Artists of New Jersey and Eastern PA and is working to develop choreography, classes, workshops, and experiences that utilize the healing properties of diasporic rhythms and movement to cultivate physical, emotional, and spiritual well-being for individuals and community.
Katherine Kiefer Stark received her B.A. in dance in 2002 from Connecticut College and her M.F.A. in Choreography in 2009 from the University of North Carolina, Greensboro. Stark has performed with a number of choreographers including John Gamble Dance Theatre, Immediate Theatre directed by Katherine Ferrier, Loren Groenendaal/ Vervet Dance and Eleanor Goudie-Averill/Stone Depot Dance Lab among others. She has presented her own work in a variety of venues and festivals including Movement Research Open Performance in Brooklyn; American Dance Festival’s Acts to Follow and the Asheville Fringe Festival in North Carolina; Cultivate Dance Festival in New Hampshire; Fringe Wilmington in Delaware; and Last Mondays, Studio Series, and the Philly Fringe Festival in Philadelphia. She has set works, and taught in venues and universities in Philadelphia and throughout the US. She founded and is the artistic director of The Naked Stark, a Philadelphia- based contemporary dance company.
Rebecca Malcolm-Naib holds a B.A. in Dance from Mount Holyoke College, where she graduated with highest honors, and a M.F.A. from the University of Washington. She served as a faculty member at Kent State University and then the University of Washington before she joined the faculty of Bryn Mawr College. Becky has taught master classes at several colleges and universities and been a faculty member at Bates Dance Festival's Young Dancers Workshop. She has performed throughout the U.S. with several dance companies, including Battery Dance Company in NYC, ZeroMoving Dance Company, and Karen Bamonte Dance in Philadelphia, and Chamber Dance Company in Seattle as well as many independent choreographers. She was a co-founder and co-director of Travesty Dance Group from 1997-2010. Becky is a choreographer, writer, and dancer, trained in several techniques, and teaches modern dance as well as a course Practical Anatomy at BMC.
Linda Karash Mintze
r studied with Thomas Cannon and and performed with the Pennsylvania Ballet
from 1971 through 1982, interrupting her tenure to attend Harvard/Radcliffe for two years. She danced several leading roles with the company and after retirement worked there in public relations and special projects. She received a B.A. from NYU and attended Drexel University's Nesbitt College of Design Arts. In addition to her immersion in the Balanchine style, she is a certified Vaganova instructor. Mintzer is a faculty member at the highly regarded Pennsylvania Academy of Dance in Narberth.
Britt Fishel grew up in dancing in Lancaster, Pennsylvania. She received a B.F.A. in Dance Performance from East Carolina University, and an M.F.A. in Dance from the University of Michigan, specializing in Screendance studies and Choreography. She was Artistic Director of bnw:dance (2008-2012), a founding member of Atlanta Dance Collective, and the creator of Opine Dance Film Festival. She has presented work throughout New York City, Philadelphia, Washington D.C Richmond, Asheville, Charlotte, Chicago, Atlanta, and London. Her screen work has been seen in Greensboro Dance Film Festival, Y'allywood Film Festival, Detroit Dance City Festival, EnCore Dance on Film Festival, DanceBARN, Dance for Reel, as well as several gallery exhibitions across the country. Most recently, Fishel's 2017 film, billet-doux, was published in the biennial edition of Women CineMakers (Berlin) and research from her 2018 work, Epoch, was published in the 7th Issue of The Dancer-Citizen. She continues to make both live performance and dance film independently.
Faculty in 2018 - 2019
has studied dance and performed since childhood including in several regional and national competitions. She continued her dance education at the Philadelphia High School for Creative and Performing Arts, received a B.A. in Theatre Arts from Temple University, and received a M.Ed. degree in education from West Chester University. During one of her travels abroad to study, she discovered the art of salsa dancing and pursued further study with internationally renowned instructors in England, France, Sweden, and the United States. She is presently founder and Artistic Director of Salsa in the Suburbs
where she uses dance as a vehicle to help people gain confidence, learn, grow, and feel inspired and works to make Latin dance accessible to those not living in urban centers.
David Brick graduated from Wesleyan University with a double major in Dance and English with special emphasis on gender issues. He is Co-Artistic Director of Headlong Dance Theater, a critically acclaimed company that produces work in an environment of physical, intellectual, and choreographic collaboration. The company was awarded a ‘Bessie’ in NYC for their work and was listed in Philadelphia Magazine among its "50 rising stars." Headlong's work has been presented nationally and internationally, including Dance Theater Workshop (NYC), The Massachusetts Museum of Contemporary Art, P.S. 122 (NYC), The Philadelphia Museum of Art, The Portland Institute for Contemporary Art, and The Wilma Theater, among others, to a range of audiences. Prior to Headlong, David danced with the Richard Bull Dance Theater. David has guest taught and choreographed at numerous colleges and universities and has taught at Temple University and the University of the Arts. David is also a sign language interpreter. He has received a Pew Fellowship in the Arts, an Independence Fellowship, a creative artist fellowship from the Japan-US Friendship Commission, residencies at Dance Place in D.C. and at The Yard. More recently, David has co-directed The Quiet Circus, a series of river charrettes supported in part by Pew Center for Arts and Heritage —performances and audience participatory conversations—at various sites along Philadelphia's waterfronts, each involving a different artist or practitioner focusing on the particular site. He is also co-founder and dean of the Headlong Performance Institute, an intensive semester in hybrid performance in Philadelphia.
Felicia V. Cruz started her training at age three in Allentown PA. She later went on to study at various summer programs including the Rock School of Philadelphia and later received a scholarship at the Richmond Ballet of VA. After high school Felicia studied at Steps on Broadway in NYC. She joined Jay-T Jenkins’ company Jete’ Performance Company while completing studies for a B.F.A. in ballet performance from University of the Arts. She has performed with Carbon Dance Theater (2010-2013) under the direction of Meredith Rainey and is a founding member as well as an Assistant Director and resident choreographer for Dancespora.
Alberto del Saz
was a long-time dancer with Alwin Nikolais and is the reconstruction director of the Nikolais/Louis repertory, staging the repertory on university and professional dance companies around the world. He has been with the Nikolais/Louis Foundation for 30 years, at present focusing on preserving the Nikolais/Louis technique, repertory and legacy through his teaching and directing. As a dancer he also appeared as a solo or guest artist in the works of Ushio Amagatsu, artistic director of Sankai Juku; Hanya Holm; Maureen Fleming; Sara Pearson; Cleo Parker Robinson and others. In 1997 he danced Rudolph Nureyev’s role in Moments,
a work created by Murray Louis. Representing the Nikolais Dance Theatre, he appeared in the Kennedy Center Honors celebration and telecast and in the PBS American Masters series, Nik and Murray. He has also represented the United States on a State Department tour of India, appeared at the Paris Opera Garnier in an homage to Alwin Nikolais and at the Next Wave Festival with Bill T. Jones and Arnie Zane Dance Company. Beyond dance, del Saz' work has been funded by NYSCA in collaboration with Ice Theater of New York. His skating work has appeared on Ice-Wars, Grand Slam and the Professional World Championships televised on CBS, FOX and ABC networks as well as the official openings of Rockefeller and Bryant Park. Del Saz set Alwin Nikolais’ classic work, Tensile Involvement
, on BMC and HC students.
Corinne Karon has studied tap extensively and currently performs with and is assistant artistic director of the highly celebrated Tap Team Two & Company. She has also studied Irish step dancing in Ireland. She has successfully tapped on every continent in the world, including Antarctica! Corinne also teaches on a regular basis at Rowan University, University of the Arts, Chester Valley Dance Academy, and Wissahickon Dance Academy. She is the founder and artistic director of Uniting Colleges Through Tap.
earned a B.A. in Dance and Spanish Studies at Kenyon College, and an M.F.A. in Dance from the University of Iowa. She was an adjunct Assistant Professor at the University of Iowa and was also on faculty for its Youth Ballet and Community Dance School. She was a recipient of an Iowa Arts Fellowship. She performed with independent choreographers in NYC for four years and since coming to the Philly region in 2016 her work as been presented at several venues.
Lauren Putty White received her B.F.A. from University of the Arts in Philadelphia in 2005, winning both the UArts Choreography Prize and Outstanding Performance in Modern Dance award. She has performed with companies such as Washington Reflections, Rebecca Davis Dance Company, the Opera Company of Philadelphia, Parsons Dance Company in NYC and most recently with award-winning Philadanco. She has also performed with Waheed Works and Stone Depot Dance Lab in the Philly Fringe Festival, as a guest artist with Carbon Dance Theater, and with the legendary Sun Ra Arkestra. Lauren has set work on Washington Reflections Dance Company, BalletX, and has created solo and group work for Putty Dance Project, a company she directs with her husband and jazz musician/composer Brent White. Proficient in ballet, modern and jazz, she has taught master classes at various colleges and universities and is currently teaching as well at Stockton University.
Meredith Rainey began dancing at age 15. In 1985 he joined the Milwaukee Ballet, and then joined the Pennsylvania Ballet where he was promoted to soloist in 1999 until his retirement in 2006. He also guested with the Dance Theatre of Harlem and Alvin Ailey Dance. He has performed works by famous 20th century choreographers including George Balanchine, Alvin Ailey, Paul Taylor, Lar Lubovitch, José Limón, John Cranko, and William Forsythe. He also originated roles choreographed by Robert Weiss, Jorma Elo, David Parsons, Trey McIntyre, Kevin O’Day, Dwight Rhoden and Matthew Neenan. Upon retiring from performance, he turned to choreography, participated in several residencies, directed his own company, Carbon Dance Theatre from 2009-2014, and is now collaborating with other artists in PITCH. Meredith has created works for Pennsylvania Ballet, Incolballet (Ballet Clásico Nacional de Colombia), BalletX, Hubbard Street 2, and others. His work has been performed throughout North and South America and Europe. He has taught ballet and choreographed for higher learning institutions throughout the Mid-Atlantic region. He has won support from numerous institutions including the PA Council on the Arts, the Mid Atlantic Arts Foundation, the Independence Foundation Fellowship in the Arts, and a Dance Advance grant. Meredith has taught ballet and been commissioned by higher learning institutions throughout the Mid-Atlantic region, including Bryn Mawr College, Swarthmore College, and Muhlenberg College and currently is an adjunct professor at Drexel University and a Master Lecturer at The University of the Arts.
Ramaa Ramesh began studying classical Indian dance at the age of six and her principal mentor was the renowned artist of the Bharathanatyam style, Citra Visweswaran. She has been performing since the age of 12 and has danced in India, Europe, the Middle East, and the U.S. She pursued her doctoral studies at Temple University and she presently directs the Nardhana Academy of Dance. Ms. Ramesh teaches an introduction to Bharathanatyam.
Lauren Ouano Yeremian
Donna Reinhart and Bob Butryn were co-directors of Swing Connection Dance company for several years and they have continued teaching and performing Lindy, Swing and other contemporary and historical social forms together and with other partners. They placed in many competitions along the East Coast and teach in various venues throughout the city. Donna continues to dance and teach, while Bob tours his dance music program, Crazy Rhythm/Fancy Feet and is also a sought-after musician in the Philadelphia area.
has been dancing hula and Tahitian dance for ten years at Aloha Style dance studio in Narberth, PA. She continues to take classes at the studio, at area workshops given by "kumus" who visit from Hawaii and Tahiti, and when she, herself, visits Hawaii. She has been teaching adult and children classes at Aloha Style
for three years.
Other distinguished instructors and choreographers in the last few years include Megan Mazarick, Olive Prince, Colby Damon, Chandra Moss Thorne, Shannon Murphy, Kyle 'Just Sole" Clark, Marie Brown, K. C. Chun Manning, and Michelle Stortz.Emeriti Faculty
Linda Caruso Haviland is a Professor Emerita at Bryn Mawr College and the founder and Director of the Dance Program, and served as the Alice Carter Dickerman Chair for the Director of the Arts. Prior to her roles at Bryn Mawr, she founded the dance program at SUNY/Westchester CC and taught in several colleges and universities. She also teaches in and directed Bryn Mawr College’s critical thinking and writing program for first year students and has received the College’s Rosalyn R. Schwartz teaching award and was the faculty recipient of the College's McPherson Award for Excellence. She received her undergraduate degree in dance from Adelphi University, continued studying technique in NYC, and went on to complete her doctorate in the areas of dance and philosophy at Temple University. She has performed with companies in New York and Philadelphia, principally with ZeroMoving Company under the direction of Hellmut Gottschild, and continues to dance and choreograph. Her professional activities include panel presentations, interdisciplinary arts collaborations, and projects focusing on mediating the multiple perspectives that arise from the observation of and writing about dance. Her scholarly research has included preserving the work of significant Philadelphia dance artists through oral histories and video documentation. Her recent writing projects include a focus on the rise of a professional class of dancers in turn of the century Philadelphia and the role of bodiedness in both historiography and the archive, including co-editing, with Bill Bissell, The Sentient Archive: Bodies, Performance and Memory.