Friday, Jan. 25 • 7:30 p.m.
Wesley United Methodist Church
114 W. Broadway Street
Winona, MN 55987
All tickets $30
Path of Miracles is a communal experience, and audience members will move to different locations throughout the church. Accommodations will be available for those with mobility or other limitations. Please contact us to ensure we are aware of your needs.
ODC/Dance: Path of Miracles
Immersive soundscapes. Inspired movement.
Inspired by the Camino de Santiago, an ancient pilgrimage route across northern Spain, ODC/Dance’s Path of Miracles brings artists and community together in a shared journey. Progressing through multiple spaces, this site-specific performance in Winona’s beautiful Wesley United Methodist Church explores the journey of the Camino, from spontaneous communal gatherings to individual reflection. The experience is enhanced by a live 17-voice choir featuring some of Minnesota’s leading vocal talent performing Joby Talbot’s score of the same name.
In the News
“Building Community through Performance” – Winona Daily News, January 18, 2019
Founded in 1971 by Artistic Director Brenda Way, ODC/Dance was one of the first American companies to incorporate a post-modern sensibility into a virtuosic contemporary dance language and to commit major resources to interdisciplinary collaboration and commissioned scores for the repertory.
ODC/Dance performs for more than 50,000 people annually. In addition to two annual home seasons in San Francisco (Dance Downtown and the much-loved holiday production of The Velveteen Rabbit), past highlights include numerous appearances at the Joyce Theater in New York and the Kennedy Center in Washington, standing room only engagements in Europe and Russia, and two USIA tours to Asia, most recently as part of the inaugural DanceMotion roster. In 46 years, ODC/Dance has performed for more than a million people in 32 states and 11 countries, with support from the NEA, the U.S. State Department, and many state and city arts agencies.
The company has been widely recognized for its rigorous form, technical clarity and numerous groundbreaking collaborations with, among others, composers Marcelo Zarvos, Bobby McFerrin, Zoë Keating, Zap Mama, Pamela Z, Jay Cloidt, and Paul Dresher; writer/singer Rinde Eckert; actors Bill Irwin, Geoff Hoyle, and Robin Williams; visual artists Andy Goldsworthy, Wayne Thiebaud, Jim Campbell, and Eleanor Coppola; welder/bike designer Max Chen and choreographer Kate Weare. Their creativity based outreach programs have been widely emulated and continue to fuel their deep engagement in communities across the country.
KT Nelson, choreographer
KT Nelson joined ODC/Dance in 1976 and partners with Brenda Way in directing the ODC/Dance Company. KT choreographed and directed the Company’s first full-length family ballet in 1986, The Velveteen Rabbit. The production has become a holiday tradition in the Bay Area engaging generations of dance goers, young and less so.
KT has been awarded the Isadora Duncan Dance Award four times: in 1987 for Outstanding Performance, in 1996 and 2012 for Outstanding Choreography, and in 2001 for Sustained Achievement. Her collaborators have included Bobby McFerrin, Geoff Hoyle, Amy Siewert, Na Hoon Park, Brenda Way, Kate Weare, Zap Mama, and Joan Jeanrenaud. In 2008, her work RingRounRozi, in collaboration with French-Canadian composer Linda Bouchard, was selected to be performed at the Tanzmesse International Dance Festival.
In addition to her work as a choreographer, Nelson ran the summer dance department for Center for Creative Youth at Wesleyan University 2003-2006, and founded the ODC Dance Jam in 1997. Over the last 25 years, KT has played a major role in defining and implementing ODC’s on-going and project-based outreach programs. She has mentored the Margaret Jenkins’ Chime Project and continues to mentor emerging artists in the Bay Area and abroad.
Dr. Kristina Boerger, conductor
Dr. Kristina Boerger, Augsburg University’s inaugural John N. Schwartz Professor of Choral Leadership and Conducting, received her formative musical training from pianist Annie Sherter and holds the doctorate in Choral Conducting and Literature from the University of Illinois. She has directed independent choirs in Urbana-Champaign and New York City, public-school choirs in Wisconsin and Illinois, and the choral programs at Carroll University, the University of Illinois, and the DePauw School of Music. Students under her direction have performed at the Obama White House, appeared in concert with Nine Horses and ETHEL, toured programs of ancient and newly composed, site-specific music through France and Italy, immersed themselves on location in Black South African choral communities, and shared global harmony traditions in performance with inmates of the Putnamville Correctional Facility.
Based in New York from 2000 to 2009, Boerger served nine years as Artistic Director of the Cerddorion Vocal Ensemble, one of New York’s most highly regarded volunteer choirs. With this group she commissioned several new works, performed at the 2006 Eastern divisional convention of the American Choral Directors Association, collaborated with the Christopher Caines Dance Company, and recorded on John Zorn’s new-music label Tzadik. Also in New York, she served three seasons as Music Director of AMUSE and two seasons conducting the Collegiate Chorale. All three groups under her direction received critical acclaim in the New York Times, whether for early vocal polyphony, contemporary chamber works, Baroque opera, or nineteenth-century symphonic choral repertoire
Boerger’s guest conductorships include the Rose Ensemble, the Madison Early Music Festival, the Kalamazoo Bach Festival, the Syracuse Schola Cantorum, the Chicago Children’s Choirs, the Christopher Caines Dance Company, Alarm Will Sound, and Chanticleer. She has also served as guest conductor/clinicial/adjudicator at festivals throughout the United States, in Quebec City, and in Mar del Plata (Argentina). As a soprano she concertizes regularly with the Manhattan-based Renaissance ensemble Pomerium and with Manhattan’s Vox Vocal Ensemble, also having toured in three seasons with The Rose Ensemble of Saint Paul. Boerger’s self-published choral arrangements are performed widely, and her treble-chorus settings of poetry by Sarah White are published by Boosey & Hawkes. Her SSATBB setting of Yeats’ “The Second Coming,” was commissioned by The X24 Chamber Choir of York, UK.
For more information, please visit: www.kristinaboerger.com.
NATASHA ADORLEE JOHNSON is from Overland Park, Kansas and graduated from UC Berkeley with a BA in English. She has trained with American Ballet Theatre and was an inaugural member of Alonzo King’s LINES Ballet training program. She performs with the San Francisco Symphony, is a former member of Robert Moses’ KIN, and was a guest artist with Kate Weare Company (New York). In 2018, Natasha received an Emmy for her work in the TV special Baseballet 2: Into the Game, as a composer and performer. In 2014 she was the recipient of an Isadora Duncan Dance Award for her performance in Two if by Sea, choreographed by Kimi Okada. Natasha is the Founder and Artistic Director of Concept o4. Through Co4, she directed, choreographed, and danced in the film Take Your Time (2017), which became an official selection of the Mill Valley Film Festival and the recipient of six awards including “Best Short” by the San Francisco Dance Film Festival, Red Rock Film Festival, and Valley Film Festival. She has been a member of ODC/Dance since 2011.
BRANDON FREEMAN better known as “Private,” is an ODC veteran, having danced with the company for 15 years, but ventured out in 2008 for an artistic “Walkabout.” In the Bay Area, Private has had the privilege of working with many dance artists/companies, Amy Seiwert’s Imagery among them and he was a principal dancer in the movie The Matrix II: Reloaded. He also was a guest artist with the Colorado Ballet, performing in Glen Tetley’s Le Sacre Du Printemps in 2013. Nominated multiple times, Private received Bay Area Isadora Duncan Awards for Ensemble Performance in 2002 with Brian Fisher, in 2012 with Katie Faulkner, and in 2014 with Katherine Wells. In addition to teaching ballet and modern dance technique (including Dance for Parkinson’s Disease), he is a sailor, a poet, a woodworker, oil painter, and was formerly an Artillery and Military Police Sergeant in the Army National Guard. He gratefully acknowledges all who have influenced his dance career, specifically Brenda, KT, Sonya, Amy, and Randy.
JEREMY BANNON-NECHES was born in Brooklyn, NY, and grew up in Augusta, GA, where he received his initial training at the Augusta Ballet School. In 2005, he graduated with honors from the North Carolina School of the Arts, where he performed leading roles in The Nutcracker, Don Quixote, and Lynn Tailor Corbett’s Lost and Found. Jeremy then danced with Nevada Ballet Theater, performing principal roles in George Balanchine’s Rubies and Serenade, Mathew Neenan’s At the Border, along with works by Twyla Tharp, Val Caniparoli, James Canfield, and Frederick Ashton. Since moving to San Francisco in 2012, he has worked with Robert Moses’ KIN, Post:Ballet, Zhukov Dance, DawsonDanceSF, and Hope Mohr Dance. He joined ODC/Dance in 2015.
TEGAN SCHWAB grew up in Miami, FL. She graduated summa cum laude from New World School of the Arts College, and earned a BFA in dance from the University of Florida. In Miami, Tegan began her professional career in 2005 as a dancer/puppeteer, with choreographer Katherine Kramer and the acclaimed marionette/visual artist Pablo Cano. After graduating in 2008, she moved to San Francisco and has had the pleasure of dancing principal roles as a company member with Dance Through Time, Hope Mohr Dance and Garrett+Moulton Productions. Tegan joined ODC/Dance in 2015.
DANIEL SANTOS was born in Manila, Philippines. He began his formal dance training at the age of 16 with State Street Ballet under the tutelage of Rodney Gustafson, and later received a full scholarship from the San Francisco Ballet School. Santos danced with ODC/Dance for 10 years, winning an Isadora Duncan Award for Individual Performance. In 2012, Santos temporarily left dance to explore his outdoor interests, studying at the Mountain Training School and learning to guide in three disciplines: Alpine Mountaineering, Back Country Skiing, and Rock Climbing. But after 4 years in the great outdoors, the stage was calling: Santos rejoined the company in 2016.
RACHEL FURST is from Baltimore, MD, where she trained at the Baltimore School for the Arts. She graduated summa cum laude with a B.F.A. in Dance and a minor in psychology from Alonzo King LINES Ballet B.F.A Program at Dominican University of California. In 2012, she was nominated for and received the Dizzy Feet Foundation Award. She has been a company member of Amy Seiwert’s Imagery since 2012 where she felt her dancing transformed under the mentorship of Amy Seiwert. She has guested with Dawson Dance SF and performed as a guest artist and company member with Smuin Ballet. Rachel joined ODC/Dance in 2016.
LANI YAMANAKA is from Carlsbad, California and graduated from UC Irvine with two Bachelor’s of Fine Arts in Dance Performance and Choreography. At UCI she was able to work closely with the late Donald McKayle as a member of his Etude Ensemble, creating new works and learning many of his world renowned repertoire. Lani has danced professionally with Entity Contemporary Dance, touring to Singapore and Hong Kong, Shaun Boyle and Artists, and was an original member of Pearl, a multimedia production directed and choreographed by Daniel Ezralow. She has trained with Hubbard Street Dance Company, BodyTraffic, San Francisco Conservatory of Dance, Unity Dance Ensemble and San Shi Judo Dojo, earning a brown belt in Judo. Lani joined ODC/Dance as an apprentice in 2016 and was promoted to company dancer in 2017.
JAMES GILMER of Pittsburgh, Pennsylvania was trained at Pittsburgh Ballet Theatre School and the Pittsburgh School for the Creative & Performing Arts. After graduating in 2011, he joined Cincinnati Ballet’s Second Company and joined the main company the following season. James danced with the Cincinnati Ballet for six seasons being promoted to Soloist in 2015, he has performed works by Septime Webre, Ohad Naharin, Val Caniparoli, George Balanchine, Annabelle Lopez-Ochoa, Edwaard Liang, Jennifer Archibald, Trey McIntyre, Adam Hougland, Amy Seiwert, and Victoria Morgan to name a few. He has also been a member of Amy Seiwert’s Imagery, performing with the company since the summer of 2013. Looking to branch outside of the classical ballet realm, he moved to San Francisco to join ODC/Dance in August 2017.
MIA J. CHONG grew up in San Francisco, California. She received scholarships and training from the Kirov Academy of Ballet, the Ailey School, Alonzo King LINES Ballet, Hubbard Street Dance Chicago, Sidra Bell Dance New York, the School at Jacob’s Pillow, Tisch School of the Arts at New York University and ODC School, where she trained for over a decade. Mia has danced professionally with Robert Moses’ KIN Dance Company, Post:Ballet and Dance Theatre of San Francisco. She was nominated for Isadora Duncan Dance Awards for Outstanding Achievement in Individual Performance, as well as Company Performance. Mia joined ODC/Dance as an apprentice in 2016 and was promoted to company dancer in 2018.
KENDALL TEAGUE was raised in the mountains of western North Carolina and attended the South Carolina Governors School for the Arts and Humanities in Greenville,SC. He started his professional career in the Bay Area in 2008 as a corps de ballet member at San Francisco Ballet. He has since worked with North Carolina Dance Theatre, Complexions Contemporary Ballet under Dwight Rhoden, Ballet San Jose, and most recently with Alonzo King Lines Ballet. Kendall joined ODC in 2018.
The presentation of Path of Miracles was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.
This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Minnesota State Arts Board and the Crane Group.