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LECTURERS
TAPS LECTURERS
eflatmo@stanford.edu | Memorial Hall Room 238
dfrank1@stanford.edu | (650) 725-9330 | Roble Hall Room 111A
ahayes1@stanford.edu | (650) 725-9330 | Roble Hall Room 111B
Aleta Hayes lived and worked in New York City for fifteen years, choreographing solo and group dance pieces, in which her performances often interpolated acting and singing. Highlights include: Hatsheput, presented at the Place Theater, London and St. Marks Church, New York; Tarantantara, presented at Jacob’s Pillow; and La Chanteuse Nubienne (written by playwright Daniel Alexander Jones), performed for Movement Research at Judson Church. Ms. Hayes collaborated, as choreographer and dance/vocal soloist, with the poet Yusef Komunyakaa and composer William Banfield, on Ish-Scoodah, a chamber opera with dance about the nineteenth century African American sculptor, Edmonia Lewis. She also had leading roles in major works by other artists such as Jane Comfort (the trip-hop dance/opera Asphalt, with a book by Carl Hancock Rux) and Robert Wilson (the opera The Temptation of St Anthony, with gospel and other African American spiritual music forms and libretto by Bernice Johnson Reagon). Ms. Hayes has continued to perform in the subsequent international presentations of The Temptation of St Anthony.
In 2004, Ms. Hayes returned to Stanford on a Ford Foundation Resident Dialogues Fellowship through the Committee on Black Performing Arts, for which she created The Wedding Project, a performance piece of multiple genres illustrating the evolution of American social dance through the narrative of African American wedding traditions. She extended this "theater of mixed forms" (the critic Anna Kisselgoff’s term) into community dialogue when she was a 2005 Peninsula Community Foundation Artist-in-Residence at Eastside Preparatory School in East Palo Alto. That residence culminated in The ReMix Project, where she collaborated with students to create and perform a montage of music, monologue, and movement examining student aspirations in a low-income, racially-mixed neighborhood.
Since 2005, Ms. Hayes has had many leading roles as a dancer, singer and actor including, most notably: Suzan-Lori Park’s In the Blood, directed by Prof. Harry Elam, (2005): In the spring of 2006, she choreographed, danced, spoke, and sang a multimedia solo piece, Deianeira (an adoption of Sophocles’ Women of Trachis) created for Ms. Hayes and directed by Drama and Classics Professor Rush Rehm: She created a solo piece, Califia, which developed out of a residency at the Djerassi Resident Artist Program (2007), and a Stanford Humanities Lab Grant/Fellowship (2006) in collaboration with CCRMA-Center for Computer Music and Acoustics (involving human computer interaction): She wrote, sang, acted, and co-directed an original work in the Stanford Drama Department based on T.S. Eliot’s The Waste Land titled, The Waste Land in Black and White (2009).
The Chocolate Heads Movement Band, founded by Hayes in 2009 to the present, is a platform for performers of many genres. The troupe’s name is a descriptor for a “movement driven band” comprised of dancers, musicians, visual artists, performance poets and writers—referencing both dance and social movement as motivating forces for the work. In 2011, the Chocolate Heads were invited to perform at STAN: Society, Technology, Art and Nature—a prototype TED X talk at Stanford University.
Hayes’ latest dance-music performance installation, ‘Singing the Rooms-Performance of the Everyday’, is a collaboration with New York based composer, performer and multi-instrumentalist, Cooper Moore—a dramatic song cycle to be performed by her and collaborators in different domesticated spaces.
hazas@stanford.edu | Memorial Hall Room 210
She has taught in the BA/BFA programs in Drama at UC Irvine and in a range of programs for screen and stage actors in New York. She received a BA in Comparative Literature and Spanish from Smith College, an MA in Performance Studies from the NYU Tisch School of the Arts and an MFA in Acting from UC Irvine. "Hazas" rhymes with the Spanish “casas.”
aketley@stanford.edu | (650) 721-3890 | Roble Hall Room 111A
In 1998 he left the San Francisco Ballet to co-found The Foundry in order to explore his deepening interests in choreography, improvisation, mixed media work, and collaborative process. With The Foundry he has been an artist-in-residence at many leading art institutions including Headlands Center for the Arts (2001 and 2007), Yerba Buena Center for the Arts (2002), The Yard (2003), the Santa Fe Art Institute (2004 and 2006), the Taipei Artist Village (2005), ODC Theater (2006), and the Ucross Foundation (2007). The Foundry has produced fifteen full evening length works that have received extensive support from the public, funders, and the press, as well as a number of single-channel video pieces that have screened at international video festivals.
As a choreographer independent of his work with The Foundry, Alex Ketley has been commissioned to create original pieces for companies and universities throughout the United States and Europe. For this work he has received acknowledgement from the Hubbard Street 2 National Choreographic Competition (2001), the International Choreographic Competition of the Festival des Arts de Saint-Saveaur (2004), the National Choo-San Goh Award (2005), the inaugural Princess Grace Award for Choreography (2005), the BNC National Choreographic Competition (2008), three CHIME Fellowships (2007, 2008, and 2012), two Maggie Allesee National Center for Choreography Residencies (2007 and 2009), the Gerbode-Hewlett Choreographer Commissioning Award (2009), and the National Eben Demarest Award (2012). His pieces and collaborations have also been awarded Isadora Duncan Awards in the categories of Outstanding Achievement by an Ensemble (2009), Outstanding Achievement in Choreography (2011), and Outstanding Achievement by a Company (2011 & 2012).
For 2011, in addition to commissions from Ballet Leipzig and the Juilliard School, his AXIS Dance Company work “To Color Me Different” was presented on national television through an invitation from the show So You Think You Can Dance. With The Foundry in 2012, he was deeply engaged in a new project entitled “No Hero” which explored what dance means and how it is experienced by people throughout more rural parts of the United States. The video projection Alex created for No Hero was nominated for a 2012 Isadora Duncan Award for Outstanding Achievement in Visual Design.
In early 2013, he was a visiting professor and artist at Florida State University, where he taught ballet, created a new work, and served as an advisor to the MFA students in their choreography. He was also awarded the first Princess Grace Foundation Choreography Mentorship Co-Commission Award (CMCC), which he is using to work on a collaborative project with Miguel Guiterrez in 2014.
Along with his direction of The Foundry and his various independent projects, he helped Summer Lee Rhatigan create The San Francisco Conservatory of Dance in 2004, an organization where he still serves as an advisor, teacher, and the Resident Choreographer. Stemming from a classical foundation, the school is deeply invested in advanced students learning and growing though the engagement of contemporary choreography.
kleinimp@stanford.edu | (650) 736-8387 | Memorial Hall Room 201
KAYKOST@stanford.edu | (650) 736-7817 | Memorial Hall Room 202
Kay is a singer and actress who has performed in many Bay Area and regional theaters, including A.C.T., the Magic Theatre, the San Francisco and California Shakespeare Festivals, and Stanford Repertory Theatre. She has additional credits in voiceover, film, and television. Kay leads her own jazz ensemble, Black Olive Jazz. She draws from her acting background and her Mediterranean heritage to establish a unique sound in Jazz, bringing this vision to audiences all around the San Francisco Bay Area. Featuring Kay on vocals with master musicians from the local jazz scene, Kay performs songs from film and the Broadway stage to jazz standards, along with groundbreaking offerings from the “world music” genre. www.blackoliveazz.com
Kay teaches seminars in the "jazz mindset" and the skills that go along with it which are essential in business settings today. She has also taught private seminars for live and on-line presentation for Twitter, Genentech, Cisco, Hitachi, Lippincott, Ernst and Young, First Republic, Stanford’s Executive Program for Women and Women in Entrepreneurship Program, eBay’s Global Women’s Conference and Women In Cable Telecommunications. Her work has been featured in “O” magazine, and she has been featured on NPR’s Philosophy Talk radio program for her work on understanding facial emotions in the treatment of Autism.
Kay is an MFA graduate of American Conservatory Theatre, where she taught acting and directed student projects as a core faculty member of A.C.T.’s Advanced Training Program. She taught “Acting for Teachers” at Dominican University and acting and directing at City College of San Francisco, American Musical Theatre of San Jose, and DeAnza College. She served as Education Director at The California Shakespeare Festival. At Stanford, Kay performed multiple voices in “Encountering Homer’s Odyssey,” an online classics program through the Stanford/Princeton/Yale Alliance. She has directed and performed in educational and centennial projects for Stanford’s Continuing Studies Program, including the Emily Dickinson, William Saroyan, Charles Darwin, and Robert Frost centennials.
laxmik@stanford.edu | Memorial Hall Room 236
patryan@stanford.edu |
Ryan Madson has taught “Design Improv” for the School of Engineering and was a Guest Lecturer for Engineering 145, Stanford Technology Ventures Program. She teaches regularly for the Esalen Institute, and has given workshops for Sun Microsystems Japan Division, the California Institute for Integral Studies, the Institute of Transpersonal Psychology, the National Association of Drama Therapists, the Western Psychological Association, Duke University East Asian Studies Center, and the Meaningful Life Therapy Association in Japan. Ryan Madson combines her work in improvisation with work as a counselor using an Eastern approach to problem solving known as Constructive Living. Dr. David K. Reynolds certified her as a Constructive Living Instructor in 1987 at the Health Center Pacific on Maui. Additionally, she has been the American Coordinator of the Oomoto School of Traditional Japanese Arts in Kameoka, Japan. There she has studied tea ceremony and calligraphy.
Ryan Madson’s published writings include a chapter on constructive living in the 1995 anthology Mindfulness and Meaningful Work, edited by Claude Whitmyer (Parallex Press), as well as chapters in the SUNY Press books Plunging Through the Clouds and Flowing Bridges, Quiet Waters. Her first book, Improv Wisdom: Don’t Prepare, Just Show Up was published by Random House (Bell Tower) in 2005, and named “One of the Best Spiritual Books of 2005” by Spirituality and Health. Improv Wisdom is also published as an Ebook and as an Audiobook read by the author. It has been translated and published into nine languages.
vintage@stanford.edu | (650) 725-0739 | Roble Gym Room 147
Powers was selected by the Centennial Issue of Stanford Magazine as one of Stanford University’s most notable graduates of its first century. In 1999 he was awarded the Lloyd W. Dinkelspiel Award for distinctive and exceptional contributions to education at Stanford University.
ronnie.reddick@gmail.edu | Roble Gym Room 147
In the entertainment world, Reddick has worked with such artists as Michael & Janet Jackson, Deborah Cox, Paula Abdul, Kristine W., Tony, Toni, Tone, Jody Watley, Santana, Kelly Price, RuPaul, Robin Thicke, Snoop Dogg, Overtone Band and M.C. Hammer along with many corporations like Sony, Sony PlayStation, Intuit, Prudential, Gap, Macy’s, MAC Cosmetics, Nordstrom, Starbucks, API, Apple Computer, Google, Yahoo, Xilinx, Sun Micro Systems, BEBE, Univision Television, E*Trade, Coca Cola, and Microsoft.
In addition to teaching at Stanford, Reddick teaches at Santa Clara University and has taught master classes around the world, including Princeton University, Japan, South Korea, Mexico and Canada. He continues to work with, train, and inspire dancers that are now dancing around the world. Reddick also teaches dancers about the business of dance and how to work in today's world as a professional commercial dancer.
“Technique is only the beginning of what makes a memorable dancer, and we don’t start dancing to end up doing chorus," says Reddick. “You have got to have that extra something.” It is through his experience and selfless devotion that Ronnie Reddick is inspiring a new generation of talent.
tshayne@stanford.edu
cstrayer@stanford.edu | (650) 723-9112 | Memorial Hall Room 130A
Connie is a practicing union make-up artist, working for San Francisco Opera, San Francisco Ballet, and Mark Morris Dance Group as well as various films, and fashion photography. Her most memorable experience was participating in a project photographed by Annie Liebowitz about women living with HIV.
Connie is a full time Senior Lecturer at Stanford University and teaches in the area of Design. She is a member of United Scenic Artists of America, Local #829.