| Instructor/ Choreograhper Bios |
 |  |  |  |  |  |  |  |  |
Bill Young
Dance Center of Columbia College Chicago since 2005.a Ph.D. in Culture and Performance Studies (also from
Dance Center of Columbia College Chicago since 2005.a Ph.D. in Culture and Performance Studies (also from
UCLA). He has been a full-time faculty member at the Dance Center of Columbia College Chicago since
2005.UCLA). He has been a full-time faculty member at the Dance Center of Columbia College Chicago since
2005.
Dance Center of Columbia College Chicago since 2005.a Ph.D. in Culture and Performance Studies (also from
UCLA). He has been a full-time faculty member at the Dance Center of Columbia College Chicago since
2005.UCLA). He has been a full-time faculty member at the Dance Center of Columbia College Chicago since
2005.
| as Artistic Director of Chicago's Muntu Dance Theatre, where she has been the principal architect of the |
Page award from the Chicago Music and Dance Alliance for her first full-length dance, "Moody Hollow." She is a
recent recipient of a Cliff Dwellers Award for her choreographic work. Some of her recent commissions include both
Angeles for the Dance Moving Forward Festival. Inspiration comes from many sources, and certainly the sweetest
invitations to Jacob's Pillow and Vail International Dance Festival. In the 2005-06 season Lauri created works for
both Atlanta Ballet, and the Joffrey Ballet Chicago. Lauri recently collaborated with the dance community of Los that
are the richest treasures of her world.Angeles for the Dance Moving Forward Festival. Inspiration comes from many
sources, and certainly the sweetest comes from the glorious individuals that are the richest treasures of her
world.comes from the glorious individuals that are the richest treasures of her world.
recent recipient of a Cliff Dwellers Award for her choreographic work. Some of her recent commissions include both
Angeles for the Dance Moving Forward Festival. Inspiration comes from many sources, and certainly the sweetest
invitations to Jacob's Pillow and Vail International Dance Festival. In the 2005-06 season Lauri created works for
both Atlanta Ballet, and the Joffrey Ballet Chicago. Lauri recently collaborated with the dance community of Los that
are the richest treasures of her world.Angeles for the Dance Moving Forward Festival. Inspiration comes from many
sources, and certainly the sweetest comes from the glorious individuals that are the richest treasures of her
world.comes from the glorious individuals that are the richest treasures of her world.
tutelage of Dorothy Vislocky (a pioneer in kinesiology for dance), I was led to understand that there was
tutelage of Dorothy Vislocky (a pioneer in kinesiology for dance), I was led to understand that there was
a way to more correctly use the body. Getting on top of one's legs (as the expression goes) was
supposed to improve coordination and skill, and make the body move more efficiently. This was the
beginning for me of an understanding of anatomy and kinesiology, but there was an empty spot here -
there was somehow no "me" -the process was missing. I still could not figure out how to get those
shapes, forms and movement that I loved so much to work on my body - I needed something else. In
1977 I began my studies at the Susan Klein School of Dance. I was not "fixed", placed, or corrected for
many weeks. I began to relax inside myself. I was no longer just a body that needed to conform, but a
person with an individual style of learning. I was a person with a spirit. I realized I could now actually
begin to learn, to figure out how to move, to have movement sequence through MY body. I understood,
on a body level, that learning was a process, and that everyone needed to find their own, with
guidance, AND respect, as well as with attention to mechanics. My coordination became better, as did
my technical skill and flexibility. That was truly the beginning for me. My interest in choreography
parallels this journey. I constantly look to "invent" new movement, and as there truly is no new
movement I create new relationships and juxtapositions. For me the movement creates both the
personality and the structure of the dance. It is what allows the dance to manifest itself. My passion is
the solo dance, which I create both for myself and others. My work with Susan Klein has laid a
foundation for me: a foundation of support, of groundedness and body felt understandings. My
teaching, as well as my contributions to this work (Klein Technique) reflect this experience. I began
teaching classes in 1979, and daily class 1984-2004. I currently teach workshops throughout the
U.S.teaching classes in 1979, and daily class 1984-2004. I currently teach workshops throughout the
U.S.
tutelage of Dorothy Vislocky (a pioneer in kinesiology for dance), I was led to understand that there was
a way to more correctly use the body. Getting on top of one's legs (as the expression goes) was
supposed to improve coordination and skill, and make the body move more efficiently. This was the
beginning for me of an understanding of anatomy and kinesiology, but there was an empty spot here -
there was somehow no "me" -the process was missing. I still could not figure out how to get those
shapes, forms and movement that I loved so much to work on my body - I needed something else. In
1977 I began my studies at the Susan Klein School of Dance. I was not "fixed", placed, or corrected for
many weeks. I began to relax inside myself. I was no longer just a body that needed to conform, but a
person with an individual style of learning. I was a person with a spirit. I realized I could now actually
begin to learn, to figure out how to move, to have movement sequence through MY body. I understood,
on a body level, that learning was a process, and that everyone needed to find their own, with
guidance, AND respect, as well as with attention to mechanics. My coordination became better, as did
my technical skill and flexibility. That was truly the beginning for me. My interest in choreography
parallels this journey. I constantly look to "invent" new movement, and as there truly is no new
movement I create new relationships and juxtapositions. For me the movement creates both the
personality and the structure of the dance. It is what allows the dance to manifest itself. My passion is
the solo dance, which I create both for myself and others. My work with Susan Klein has laid a
foundation for me: a foundation of support, of groundedness and body felt understandings. My
teaching, as well as my contributions to this work (Klein Technique) reflect this experience. I began
teaching classes in 1979, and daily class 1984-2004. I currently teach workshops throughout the
U.S.teaching classes in 1979, and daily class 1984-2004. I currently teach workshops throughout the
U.S.
Ping Chong is an internationally acclaimed theatre director, playwright, video and installation artist. Since
1972, he has created over 50 multidisciplinary works for the stage, which have been presented at major
venues including the Brooklyn Academy of Music, the Lincoln Center Festival, the Spoleto USA Festival,
the Kennedy Center, La MaMa ETC, the Barbican Centre , the Setagaya Public Theatre and the Vienna
Festival. Cathay: Three Tales of China, created in collaboration with the Shaanxi Folk Art Theater of Xian,
China, was chosen as one of the Top 10 productions of the 2005 season by NY Theatre Wire, and was
nominated for 4 Henry Hewes Design Awards by the NY Theatre Wing. He has created over 35 works in his
Undesirable Elements series of community-based oral history projects in the United States and around the
world. Theatre Communications Group published The East /West Quartet, a collection of his plays
Deshima, Chinoiserie, After Sorrow and Pojagi in 2005. Mr. Chong is the recipient of numerous awards
and honors including Bessie and Obie awards for Sustained Achievement. In December 2006, Ping Chong
was honored the USA Prudential Fellowship by the United States Artists Foundation.
1972, he has created over 50 multidisciplinary works for the stage, which have been presented at major
venues including the Brooklyn Academy of Music, the Lincoln Center Festival, the Spoleto USA Festival,
the Kennedy Center, La MaMa ETC, the Barbican Centre , the Setagaya Public Theatre and the Vienna
Festival. Cathay: Three Tales of China, created in collaboration with the Shaanxi Folk Art Theater of Xian,
China, was chosen as one of the Top 10 productions of the 2005 season by NY Theatre Wire, and was
nominated for 4 Henry Hewes Design Awards by the NY Theatre Wing. He has created over 35 works in his
Undesirable Elements series of community-based oral history projects in the United States and around the
world. Theatre Communications Group published The East /West Quartet, a collection of his plays
Deshima, Chinoiserie, After Sorrow and Pojagi in 2005. Mr. Chong is the recipient of numerous awards
and honors including Bessie and Obie awards for Sustained Achievement. In December 2006, Ping Chong
was honored the USA Prudential Fellowship by the United States Artists Foundation.
