NEFA's National Dance Project Announces Annual Awards

Over $38.5 million invested since 1996 to bring new dance works to communities across America

Ann Wicks
July 25, 2019
Original Article

(BOSTON, MA) The New England Foundation for the Arts (NEFA) has awarded $1,800,000 through the National Dance Project (NDP) to support the creation of 20 new dance works that will tour the United States. 

Now in its third decade, National Dance Project is widely recognized as one of the country’s major sources of funding and field building for dance, supporting both the creation and touring of new works. A panel of national dance artists, presenters, and arts administrators selected these projects out of 170 competitive applications. The choreographers and companies from around the country include 20 U.S. artists, 11 of which are first-time production grant recipients. Each project will receive $45,000 for the creation of the new work, as well as $10,000 in unrestricted general operating support. A total of $700,000 is allocated to support U.S. organizations to present these works.  

“As we strive to reach artists working in diverse forms from across the country, it's notable that over half of this year’s awardees are first-time recipients,” said NEFA executive director Cathy Edwards. “We are excited to see communities across the U.S. engage with all of these artists and acknowledge that this would not be possible without the continued support of our funders and partners.”

NDP has invested more than $38.5 million in funding to artists and organizations to strengthen partnerships and bring dance into communities across the U.S. To date, NDP has supported the creation of over 452 new choreographic works that have toured to all 50 states and Washington, DC, reaching over three million audience members.

“We have partnered with NDP since its founding, to help our foundation ensure our funds support contemporary dance artists across the country and connect with audiences in a wide range of communities,” said Maurine Knighton, program director for the arts at the Doris Duke Charitable Foundation.  “The people, projects, and places included in this group of grantees provide a glimpse of the breadth and depth of today's contemporary dance sector and are a wonderful testament to the vitality of dance.”

“The Mellon Foundation has supported NDP nearly as long as our esteemed colleagues at the Doris Duke Charitable Foundation. Over the past two decades NDP has consistently played a vital role in helping to amplify the national work of diverse and talented danceartists,” said Susan Feder, program officer for Arts and Cultural Heritage at The Andrew W. Mellon Foundation.“We are deeply grateful to the NEFA staff and panelists for their dedication in assembling this exceptional group from a highly competitive applicant pool, and look forward to their work being seen across the country.”

NEFA's National Dance Project is generously supported with lead funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with funding for special initiatives from the Barr Foundation, the Boston Foundation, and the Aliad Fund at the Boston Foundation.

The 2019 NDP Production grant recipients are:

To learn more about the grantees and their projects, visit the directory of NDP projects with tour support available on, look for the 2019 program publication available in early September 2019, or contact program staff at


The New England Foundation for the Arts invests in artists and communities and fosters equitable access to the arts, enriching the cultural landscape in New England and the nation.  NEFA accomplishes this by granting funds to artists and cultural organizations; connecting them to each other and their audiences; and analyzing their economic contributions. NEFA serves as a regional partner for the National Endowment for the Arts, New England’s state arts agencies, and private foundations. Learn more at

Jerome Hill Artist Fellowships Announced

Ashwini Ramaswamy receives Jerome Hill Artist Fellowship for new commission: 
Jerome Hill Artist Fellowships Announced

March 18, 2019
Original Article

The Jerome Foundation is pleased to announce the first recipients of the new Jerome Hill Artist Fellowships program. 60 Fellowships are being awarded (10 each in the disciplines of dance, film/new media, literature, music, theater/performance/spoken word, and visual arts) to early-career artists based in Minnesota and New York City.

Each Fellow will receive $40,000 over two years ($20,000 per year) in direct support to advance artistic or professional development and/or to create new work. Minnesota-based Fellows will also be offered individualized professional development guidance through Springboard for the Arts of St. Paul, while New York City artists will receive similar opportunities through the Multi-Arts Production (MAP) Fund of New York. An additional $10,000 per artist will be made available to select nonprofit organizations with which the Fellows are working during the grant period, bring the Foundation’s total investment to $3.2 million over two years.

The 2019-2020 Jerome Hill Artist Fellows are listed by discipline as follows:


Marjani Forté-Saunders (New York)

Jasmine Hearn (New York)

Raja Feather Kelly (New York)

Pedro Pablo Lander (Minnesota)

Dustin Maxwell (New York)

Leslie Parker (Minnesota)

Ashwini Ramaswamy (Minnesota)

Deneane Richburg (Minnesota)

Darrius Strong (Minnesota)

Andre Zachary (New York)

…. [For a full list of the selected artists, please click on the original article link above.]

Discipline-specific panels, composed of artists, curators, artistic directors and arts administrators, considered a total of 1,167 applicants before recommending the 60 Fellowships to the Jerome Board of Directors for approval. In their deliberations, panels considered samples of past works submitted by panelists; the applicant’s artistic goals, ambitions, motives and self-assessments of their own work; the proposed focus of the Fellowship period; and the ways in which applicants had learned from past interactions with audiences or the larger public. Applicants were also assessed in their fit with the Foundation’s core values of innovation, diversity and humility, defined by the Foundation as service to a larger aesthetic tradition and/or social community.

Approval of the panel’s recommendations was made by the Jerome Foundation Board of Directors at their January 2019 meeting. “We are so excited by the extraordinary social and aesthetic range of this cohort. The 2019 Jerome Fellows are taking risks that advance their practices and engage their communities in exciting ways. Over 80% identify as people of color or Native/Indigenous artists. Our only regret is that we did not have the funds available to offer even more fellowships to recognize the exuberant creativity and commitment we saw in this applicant pool,” said Board Chair Linda Earle. Additional Jerome Board members include Kate Barr of Minneapolis (Vice-Chair and Treasurer), Daniel Alexander Jones of New York (Secretary), Sarah Bellamy (St. Paul, MN), Lori Pourier (Rapid City, SD), and Elizabeth Streb, Mark Tribe and Ryan Wong, all of New York.

Applicants were eligible to apply either individually or jointly to share a single award as part of a sustained collaborative. 27 Fellowships supporting 28 artists were awarded to Minnesota applicants, while 33 Fellowships supporting 34 artists were awarded to New York City-based applicants. An additional 141 were identified as Finalists by panels before their final full-day deliberations.

“A survey of more than 1,600 artists in 2016 emphasized the need for artists to have significant, flexible, multi-year support that could help them address both artistic and professional needs. This program responds directly to those most urgent needs as identified by early career artists themselves,” said Jerome Foundation President Ben Cameron.

“By providing a sustained source of flexible funding over the course of two years, in combination with individualized professional development, Jerome Foundation hopes to offer artists the resources to continue vibrant and sustainable careers,” added Program Director Eleanor Savage.

Applications for the 2021–2022 Jerome Hill Artist Fellowships will open in early 2020.

Read the full PDF press release here.


National Dance Project - Ashwini Ramaswamy

Ashwini Ramaswamy receives NEFA National Dance Project support for new commission: 
NEFA's National Dance Project Announces Annual Awards
Ann Wicks, NEFA
July 19, 2018
Original Article

(BOSTON, MA) The New England Foundation for the Arts has awarded $1,790,000 through the National Dance Project (NDP) to support the creation of 20 new dance works that will tour the United States. 

Now in its third decade, NDP is widely recognized as one of the country’s major sources of funding and field building for dance, supporting both the creation and touring of new works. A panel of national dance artists and presenters selected these projects out of 148 competitive applications. The choreographers and companies from around the country include 19 U.S. artists, 12 of which are first-time NDP Production grant recipients, as well as one international collaboration. Each project will receive $45,000 for the creation of the new work, and U.S. based artists will also receive $10,000 in unrestricted general operating support. A total of $700,000 is allocated to support U.S. organizations to present these works.  

“These new dance creations will connect powerfully with audiences across the United States in the years to come, and we are excited to invest in these artists. We have introduced new initiatives such as community engagement awards and travel grants that will support the success of these projects even further,” said NEFA executive director Cathy Edwards. “This would not be possible without the continued support of our funders and partners.”

NDP has invested more than $37 million in funding to artists and organizations to strengthen partnerships and bring dance into communities across the U.S. To date, NDP has supported the creation of over 432 new choreographic works that have toured to all 50 states and Washington, DC, reaching over 3 million audience members.

NEFA's National Dance Project is generously supported with lead funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with funding for special initiatives from the Barr Foundation, the Boston Foundation, and the Aliad Fund at the Boston Foundation.

The 2018 NDP Production grant recipients are:

  • A.I.M, Untitled D'Angelo Project, New York, NY

  • Alvin Ailey Dance Foundation, LAZARUS, New York, NY

  • Ashwini Ramaswamy, Let the Crows Come, Minneapolis, MN

  • Baker & Tarpaga Dance Project, When Birds Refused to Fly, Philadelphia, PA

  • Calpulli Mexican Dance Company, Calpulli Mexican Dance Company's Puebla: The Story of Cinco de Mayo, East Elmhurst, NY

  • Charles O. Anderson/dance theatre X, (Re)current Unrest, Austin, TX

  • Dance Theatre of Harlem, New Work by Claudia Schreier, New York, NY

  • Dohee Lee Puri Arts, MU/巫: 9 Goddesses, Oakland, CA

  • Embodiment Project, XXX rated planet: the epigenetics of femicide, San Francisco, CA

  • Invertigo Dance Theatre, Formulae and Fairy Tales, Los Angeles, CA

  • Jaamil Olawale Kosoko, Chameleon, New York, NY

  • Liz Lerman, Wicked Bodies, Baltimore, MD

  • Lucinda Childs, Wendy Whelan, Maya Beiser, the day, Beacon, NY

  • Movement Art Is (Jon Boogz & Lil Buck), LOVE HEALS ALL WOUNDS, Las Vegas, NV

  • Raphael Xavier, Sassafrazz: Roots & Mastery, Philadelphia, PA

  • Reggie Wilson/Fist and Heel Performance Group, POWER, Brooklyn, NY

  • RUBBERBANDance Group, Baumann Project (Working Title), Montreal, QC

  • Solo Magic, Black Like Me: An Exploration of the Word Nigger, Seattle, WA

  • Staibdance, fence, Avondale Estates, GA

  • Wideman Davis Dance, Migratuse Ataraxia, Columbia, SC


Ragamala Dance Company voted Best Dance Company - City Pages Best of 2018

Best of the Twin Cities 2018
City Pages
April 19, 2018
Original Article

Best Dance Company

Ragamala Dance Company

Ever innovative in advancing the 2,000-year-old South Indian temple dance bharatanatyam into 21st-century iterations that traverse boundaries, the 25-year-old Ragamala Dance Company reached an apotheosis with Written in Water. Ranee (mother) and Aparna and Ashwini (daughters) Ramaswamy are masters of their form, with individual inflections that differentiate their performances. This piece was based on the Indian board game Paramapadam (the forerunner of Chutes and Ladders) and the 12th-century Sufi poem “The Conference of the Birds,” which details a journey through the seven stages to Enlightenment. It also incorporated such multicultural, multidisciplinary influences as paintings by Keshav (from Chennai, India) projected on the floor, and live music led by Iraqi-American jazz artist Amir ElSaffar.

Ranee and Aparna Ramaswamy awarded 2018 Guggenheim Fellowship

Official Press Release

Ranee Ramaswamy Fellowship Profile

Aparna Ramaswamy Fellowship Profile

For immediate release
April 5, 2018

2018 Fellows—United States and Canada

On April 4, 2018, the Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of 173 Guggenheim Fellowships (including two joint Fellowships) to a diverse group of scholars, artists, and scientists. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of almost 3,000 applicants in the Foundation’s ninety-fourth competition.

The great variety of backgrounds, fields of study, and accomplishments of Guggenheim Fellows is one of the unique characteristics of the Fellowship program. In all, forty-nine scholarly disciplines and artistic fields, sixty-nine different academic institutions, thirty-one states, and three Canadian provinces are represented in this year’s class of Fellows, who range in age from twenty-nine to eighty. Sixty Fellows have no academic affiliation or hold adjunct or part-time positions.

Edward Hirsch, president of the Foundation, is enthusiastic about the Fellows in the class of 2018: “It’s exceptionally satisfying to name 175 new Guggenheim Fellows. These artists and writers, scholars and scientists, represent the best of the best. Each year since 1925, the Guggenheim Foundation has bet everything on the individual, and we’re thrilled to continue to do so with this wonderfully talented and diverse group. It’s an honor to be able to support these individuals to do the work they were meant to do.”

Since its establishment in 1925, the Foundation has granted more than $360 million in Fellowships to over 18,000 individuals, among whom are scores of Nobel laureates, Fields Medalists, poets laureate, members of the various national academies, and winners of the Pulitzer Prize, Turing Award, National Book Awards, and other important, internationally recognized honors.

The Guggenheim Fellowship program remains a significant source of support for artists, scholars in the humanities and social sciences, and scientific researchers. New and continuing donations from friends, Trustees, former Fellows, and other foundations have ensured that the John Simon Guggenheim Memorial Foundation will be able to continue its historic mission. The Dorothy Tapper Goldman Foundation is once again underwriting the Fellowship in Constitutional Studies, and a grant from the Aaron Copland Fund for Music is supporting supplemental grants for composers. For more information on the Fellows and their projects, please visit the Foundation’s website at


Ragamala featured in MinnPost's "25 best things we saw and heard in 2017"

The 25 best things we saw and heard in 2017: A year in the arts
Pamela Espeland, MinnPost
December 21, 2017
Original Article

Before looking back at art we loved, a moment to remember artists we lost.

Maestro Stanislaw Skrowaczewski died on Feb. 21; a memorial service was held in his honor at Orchestra Hall in March. Soul singer Sonny Knight died on June 17, felled by lung cancer; after an earlier try at a music career in the 1960s and ’70s, he had found fame and success in his 60s. When we spoke with him at the Monterey Jazz Festival in 2015, he was the sweetest, most humble man.

Poet, performance, artist, teacher, mentor and bluesician J. Otis Powell‽ died on Aug. 28. Songwriter, drummer and Hüsker Dü co-founder Grant Hart passed away on Sept. 13 after an illness. He gave what would be his final performance at the Hook and Ladder on July 1, surprised that so many of his friends had shown up.

Let’s all be good to each other, and more kind. Even online.

In Minnesota and in the Twin Cities, we live among an embarrassment of arts riches. It’s tough to choose just 25 events and call them the best. But these are the ones that stood out and stayed with us, that made us think, feel and see things differently.

Pekka Kuusisto and the SPCO: “Time Machine” at the Ordway Concert Hall.The warmth and joy of this concert, the excellence of the playing and Kuusisto’s charisma made this a perfect start to the New Year.

Andrew Schneider’s “Youarenowhere” at the Walker. A torrent of words, ideas, digressions, fast moves and trickery, delivered by a bare-chested man. We were never so happy to be fooled.

Ragamala Dance Company: “Written in Water” at the Cowles. An ambitious and satisfying evening of original music, Hindu myth, imagery, and the sensuous storytelling of classical Indian dance.

“Penumbra Theatre at 40” at the History Center. Sets, costumes, scripts, clips and props were glimpses into the history and soul of the largest African-American theater in the U.S.

Maria Schneider Orchestra: “The Thompson Fields” at the O’Shaughnessy. Lush, gorgeous, nature-inspired, picture-painting music by a jazz composer, bandleader and multiple Grammy winner born and raised in Windom.

Minnesota Orchestra: “Future Classics: Emerging Composers Spotlight.” New works by seven young composers, performed by the orchestra under Osmo Vänskä’s baton. One quipped, “It’s safe to say it’s all downhill from now on for all of us.”

“Merce Cunningham: Common Time” at the Walker. Eight galleries of costumes, set pieces, props, backdrops, films, music, manuscripts, and more, plus a slew of live performances. Mega-Merce.

“Twisted Apples: Stories from Winesburg, Ohio” at Nautilus Music-Theatre.Moving tales of small-town life and loneliness, reborn as chamber opera in an intimate space.

Kidd Pivot/Electric Company Theatre: “Betroffenheit” at Northrop. A journey through trauma and grief, told in words, music and virtuosic dance. We were awestruck and destroyed.

Rennie Harris and Michael Sakamoto: “Flash” at Intermedia Arts. Hip hop met and merged with butoh in an astonishingly beautiful evening of physical conversation, collaboration and revelation.

Claudia Rankine’s “Citizen: An American Lyric” at Intermedia Arts. Stephen Sachs adapted Rankine’s meditation on race for the stage; Frank Theatre brought it to life with conviction and quiet power.

Bedroom Community and Friends at the American Swedish Institute. Neither the loss of a featured vocalist (visa issues) nor the threat of rain derailed Liquid Music’s splendid concert on the grounds of the Turnblad Mansion.

Full Circle Theater Company: “A 2017 Remix of 46 Plays Selected from ‘365 Days/365 Plays’ ” at the Penumbra. The multiracial company founded by Rick Shiomi et al. nailed this collage created from Suzan-Lori Parks’ magnum opus. What’s next, Full Circle?

BrownBody Presents “CoMotion” at the Charles M. Schultz Highland Arena.Stories of African-American history and culture, told on ice by figure skaters of color.

“Don Giovanni” at the Woman’s Club. Skylark Opera set Mozart’s opera in Prohibition-era 1932, ran us around the Woman’s Club, fed us small bites and sang in our ears.  

McCoy Tyner and Joshua Redman in Mears Park. The standout set in a strong Twin Cities Jazz Festival paired a living legend on piano with a boundless talent on saxophone.

“Black Magnesia” at the Southern. Three nights of improvisation by almost 20 area musicians, conceived and curated by Joe Horton. This was hard-core but so rewarding.

“Romeo and Juliet” at the Guthrie. There was real chemistry between the star-crossed lovers in this fresh, youthful production. Mercutio was played by a woman, and the set was magical.

Savion Glover and Marcus Gilmore at the Dakota. The superstar tap dancer and in-demand drummer held an hour-long dialogue in rhythm, and we hung on every beat.

“Speechless” at the Lab Theater. In a time of many words – often angry, cruel and divisive — the Moving Company gave us a wordless evening of beauty, hope, grace and lovingkindness.

“The Rise of the Minneapolis Sound” at the Fitzgerald. The Current’s Andrea Swensson turned her debut book release into a concert spanning 65 years of Twin Cities soul music. The finale was a tribute to Sonny Knight.

BRKFST Dance: “Seconds” at the Southern. A dazzling night of dance by seven fearless dancers schooled in hip hop, martial arts and contemporary dance. We can’t wait to see more.

Fat Kid Wednesdays at Icehouse. A night of transcendant improvised music before a hushed, rapt crowd in a room that also hosts the SPCO.

“Miss Bennet: Christmas at Pemberley” at the Jungle. The first holiday show in the Jungle’s history was witty, romantic and a big hit, so we can expect to see it again.

Benny Green at the Dunsmore Room. A living encyclopedia of jazz, Green payed homage to past masters including Cedar Walton and played a zillion notes on the Dunsmore’s Steinway.

BONUS: We have to add one more because it’s so good and it’s still going on (through Dec. 31).


Preview - Written in Water at Cal Performances

Ragamala Dance Company’s Artistic Masterpiece ‘Written in Water’ to Be Showcased in Berkeley Dec. 2
India-West Staff Reporter
November 16, 2017
Original Article

A performance by the dancers of the Minneapolis, Minnesota-based Ragamala Dance Company, co-founded by Ranee and Aparna Ramaswamy, an Indian American mother-daughter duo, who are “dissolving the very boundaries of their art forms, creating performances that cut across cultures and disciplines, accepted definitions of classical and contemporary, and even time and space,” has been added to the lineup of Cal Performances at UC Berkeley’s 2017-18 season, titled, “Berkeley Radical.”

The performances of “Written in Water,” scheduled for Dec. 2 at 8 p.m. and Dec. 3 at 3 p.m. at Zellerbach Playhouse at the University of California, Berkeley, represent the theme of “Berkeley Radical – Blurring Boundaries.”

Rooted in the classical south Indian Bharatanatyam dance form, “Written in Water” draws on ancient influences and practices to explore the cultural complexities of the modern world.

The full-length work is choreographed by Ranee and Aparna, also the artistic directors of the dance company, and danced to live music, with an original score commissioned from Iraqi American trumpeter and composer Amir ElSaffar and Indian composer Prema Ramamurthy.

Now in its 25th season, Ragamala, according to its founders, embodies the spirit of the “Blurring Boundaries” programming strand in both its mastery of, and bold relationship to, tradition. “The company’s dedication to innovation and openness to collaboration have led it deeper into the essence of the Bharatanatyam art form, to find ways of organically introducing new genres and ideas into a centuries-old practice,” the duo stated in a press release.

The company has toured extensively, highlighted by performances at The Joyce Theater, the American Dance Festival, Lincoln Center, Kennedy Center, Music Center of Los Angeles, Chicago Museum of Contemporary Art, International Festival of Arts and Ideas, University Musical Society at the University of Michigan, Just Festival in Edinburgh, U.K., Bali Arts Festival in Indonesia, Sri Krishna Gana Sabha in Chennai, India, and National Centre for Performing Arts in Mumbai, India.

Ranee is a 2014 recipient of the Doris Duke Performing Artist Award. Among her many honors are 14 McKnight Artist Fellowships for Choreography and Interdisciplinary Art, a Bush Fellowship for Choreography, a 2011 McKnight Distinguished Artist Award, and a 2012 United States Artists Fellowship.

“Written in Water” unfolds over three movements, each showing markedly different shifts in character: the first movement draws on the ancient Indian board game Paramapadam (also known as Snakes and Ladders) to explore life’s travails; the second movement looks at the tension between good and evil through the Hindu myth Ksheerabthi Madanam, which tells of the churning of the seven seas; and the final movement pursues the divine, and ideas of transcendence, through the epic Sufi poem, “The Conference of the Birds,” which tells of birds who travel through seven valleys to achieve immortality.

The score, performed live by ElSaffar and four additional musicians, combines American jazz, traditional Iraqi maqam, and Indian Carnatic music.

Several public programs are planned in conjunction with the performances. Ragamala artists will host a participatory Snakes and Ladders workshop Dec. 1 at 5 p.m. onstage in Zellerbach Playhouse. Company dancers will lead participants in playing the ancient Indian board game Paramapadam, a central inspiration for “Written in Water.”

Participants are invited to explore the moral and psychological implications of the game in this introduction to the conceptual underpinnings of the work, and learn how Ragamala creates complex, multidisciplinary, and culturally complex dances. Tickets are $5, and capacity is limited; pre-registration is required at

A public forum is also planned with the Ramaswamys, ElSaffar, and Cal Performances associate director Rob Bailis Dec. 3 at 1 p.m. at Zellerbach Playhouse. The talk is free and open to the public.

Tickets for “Written in Water” on both days are priced at $58 (prices subject to change). Half-price tickets are available for UC Berkeley students. Tickets are available through the ticket office at Zellerbach Hall at (510) 642-9988, at, and at the door.

For more information or discounts, visit


MN Monthly - Family Dynasties

October 2017

Andrew Stark & Erik Tormoen, MN Monthly

Dancer and choreographer Ranee Ramaswamy created a space for classical Indian performance in Minnesota after she moved here from India with her three-year-old daughter, Aparna, in 1978. In the mid ‘80s, one of India’s premier dancers visited the Twin Cities and took Ranee and Aparna under her tutelage. Around 1992, the year she founded Minneapolis’ Ragamala Dance Company, Ranee started adapting her centuries-old art for mainstream audiences. Since then, as co-artistic director and artistic associate, Aparna and her younger sister, Ashwini, respectively, have worked alongside their mother to maintain Indian cultural integrity while achieving global accessibility.

“It’s hard for people to get their minds around the fact that we do create work together. I think especially when it’s me and my mother, people often think: Ranee started it, now Aparna’s throwing it on. But it’s only when they hear our story that they understand how we are partners. She is not grooming the next generation. We’ve always been one generation. And I’ve been observing this my whole life, so it feels natural to slip into the mix. And now Ashwini’s joining us. It’s a mother, one daughter, and then another daughter...The fact that we have this perspective that comes from different ages and different experiences and different immigrant stories is really valuable to our work.”
- Aparna Ramaswamy


MN Monthly Cover.jpg
MN Monthly - Ramaswamys.jpg

Written in Water premieres at Opening Nights at Florida State University

The premiere performances of Written in Water received two consecutive standing ovations at Opening Nights Performing Arts at Florida State University in Tallahassee. A production four years in the making, Written in Water combines music, dance, and large-scale projections to convey the metaphysical and philosophical consequences within the ancient Indian game of Snakes and Ladders and the 12th-century Sufi text The Conference of the Birds.

"It was an honor for us to be an integral part in the creation of 'Written in Water' as well as presenting the world-premiere," said Christopher Heacox, Director of Opening Nights Performing Arts and a commissioner of the work.  "Its amazing visuals, captivating choreography, and original score with live music left audiences eager to experience it agai

FSU College of Fine Arts News
October 13, 2016

Since its inception in 1921, Opening Nights Performing Arts has become a venue for performing artists to dazzle audiences at Florida State University. Thanks to Maggie Allesee National Center for Choreography (MANCC), the Tallahassee community was treated to a performance that did just that.

It was a packed house for the world premiere of Written in Water on October 5th, 2016 with an encore performance the following evening on October 6th, 2016. Audiences were treated to an experience that was equal parts as interesting as it was beautiful. The dancers appeared to transition seamlessly between each musical nuance giving it the appearance of one never ending spectacle. Dressed in elegant and eye catching attire, each stood apart from the nearly complete darkness surrounding the stage along with the projections of snakes and incredible artwork. Overall, this performance was a magical experience for all who attended.



Aparna Ramaswamy Receives Doris Duke Artist Award

Twenty-one Performing Artists Receive $275,000 Each as Recipients of Doris Duke Artist Awards, A Landmark Program That Has Supported 101 Artists With a Total of $27.7 Million Since 2012
May 3, 2016
Press Release
Aparna's Artist Profile


NEW YORK, NY — The Doris Duke Charitable Foundation (DDCF) announced today the recipients of the fifth annual Doris Duke Artist Awards. Appointed in recognition of their creative vitality and ongoing contributions to the fields of dance, jazz and theater, awardees will each receive $275,000 in flexible, multi-year funding as well as financial and legal counseling, professional development activities and peer-to-peer learning opportunities provided by Creative Capital, DDCF’s primary partner in the awards.

With the 2016 class, DDCF will have awarded approximately $27.7 million to 101 noteworthy artists through the Doris Duke Artist Awards.

This year’s Doris Duke Artists are:

  • Kyle Abraham (Dance)
  • Sharon Bridgforth (Theater)
  • Dave Douglas (Jazz)
  • Faye Driscoll (Dance)
  • Janie Geiser (Theater)
  • Miguel Gutierrez (Dance)
  • Fred Hersch (Jazz)
  • Wayne Horvitz (Jazz)
  • Taylor Mac (Theater)
  • Dianne McIntyre (Dance)
  • Jason Moran (Jazz)
  • Mark Morris (Dance)
  • Lynn Nottage (Theater)
  • Thaddeus Phillips (Theater)
  • Will Power (Theater)
  • Aparna Ramaswamy (Dance)
  • Matana Roberts (Jazz)
  • Jen Shyu (Jazz)
  • Wadada Leo Smith (Jazz)
  • Morgan Thorson (Dance)
  • Henry Threadgill (Jazz)

Read more

Ranee, Aparna, and Ashwini Ramaswamy on the cover of Dance Teacher Magazine

An Indian Dance Matriarchy in Minneapolis

Rachel Rizzuto, Dance Teacher Magazine
February 1, 2016
Original article

It’s a Sunday morning at the Gibney Dance Center in New York City, where Ranee Ramaswamy and her daughters Aparna and Ashwini are preparing for a photo shoot. Chattering and interrupting each other, they flit about as they text, drink coffee and appraise one another’s appearance. Ranee proudly shows photos of her grandsons, “Aparna’s boys. Twins. Such big eyes!” This could be a friendly group of women, anywhere. But once in front of the camera, the members of Ragamala Dance Company instantly snap into focus—they are consummate performers who take the spotlight with grace and authority.

Ranee and her older daughter Aparna founded the Minneapolis-based Ragamala in 1992 as co-artistic directors, and it’s that intergenerational factor that gives the company its unique dynamic. The women perform in the classical South Indian dance form, bharata natyam, that Ranee studied as a child growing up in India. But theirs is not a story about a mother passing on a cultural tradition to her daughters. In fact, it was Aparna who paved the way for her mother to have the kind of career Ranee never dreamed possible.

A Return to Her Roots

Despite her upbringing, Ranee assumed dance would have no place in her new life in the U.S. Back in South India, her parents had denied her the traditional recital at the end of her bharata natyam training. “At 17, I was engaged to be married—an arranged marriage,” she says. “They said, ‘All that money we can spend on dowry.’” But once she and her husband arrived in Minnesota in 1981 (she was 26), she was asked to perform at a community ballet function. She cobbled together what steps she could remember and played a tape of Indian music. “I found that I still had a big love for the artform.”   

After the concert, several families asked if she could teach their children. “Aparna was a young child,” says Ranee. “I wasn’t teaching her. Because these people were paying me, I thought, ‘I owe it to them, not my daughter.’ Then one day I looked—she knew everything I was teaching the other children!”

Aparna’s natural talent was confirmed when famed bharata natyam dancer and teacher Alarmél Valli (“She’s like the Baryshnikov of India,” says Ranee) performed in Minneapolis, and both mother and daughter took her advanced master class.

“Nobody could do anything,” says Ranee. “But Aparna was able to learn everything Valli taught. At the end, Valli said, ‘Aparna’s like a computer.’” When she suggested that Ranee bring Aparna to India for further instruction, Ranee didn’t hesitate. “Two months later, Aparna and I were already landed in India,” she says. “I said, ‘Can I also learn? I’ll work so hard.’ So I started from step A with Aparna—we became colleagues.” That partnership eventually grew into Ragamala, founded when Aparna was only 17.

An American Influence

Ranee’s second daughter, Ashwini, followed a strikingly different path. Twelve when her sister and mother formed Ragamala, Ashwini danced in many of the company’s productions through college but never approached it with the drive of her mother and sister. “I did dance as one activity among many,” she says. “I’m very much an American kid.” But after working after college as a publicist for Penguin Books, she realized something was missing. “There was something not fulfilling that I couldn’t put my finger on,” she says. “So in 2007 I returned home. Every year, I get more pulled in.”

A talented soloist in her own right (“Now I’m meticulous; I’m practicing hours a day”), Ashwini also handles the company’s publicity. Though she admits she sometimes regrets not focusing on bharata natyam as a child, she thinks developing an interest later in life has made her a better performer today. “All those experiences have made my dancing what it is,” she explains. “What we’re always taught is to bring our personalities onstage, using the choreography, because bharata natyam is an externalization of internal emotion.”

Blending Cultures

When the Ramaswamy women describe their artform, the rigor and training sound similar to ballet, despite the obvious visual differences. Though bharata natyam precedes ballet by about 2,000 years—it’s taken from the four scriptures that exist in the Hindu religious tradition—it shares with ballet a dual focus on rhythm and expression. “From your eyebrows to your toes, every part of the body integrates the rhythm,” says Ranee. “It’s very complex.” But one difference is an element of personal interpretation. “When a dancer has fully absorbed the technique, the musicality, the spirituality, she is then able to internalize the idiom and make spontaneous decisions onstage—especially with live music,” says Ashwini. “If you practice, practice, practice with your musicians, you have the freedom to use different steps or rhythmic choices or explore different nuances of expression. It happens in the moment, but only after years of practice and confidence.”

And because they live in America, the Ramaswamys bring a new dimension to the traditional bharata natyam form. For instance, Ranee and Aparna have taken what is primarily a solo form of dance and expanded it for a group, often including other Western influences, like jazz music and improvisation“If the link is perfect—if there is a connection between these things—we try to bring it all together in a conversation,” she says. “We keep bharata natyam very pure. But it has to change in ways, because it’s meeting with other music and cultures.”

The Next Generation

Though their particular way of interacting with one another—interrupting, offering unsolicited opinions—might suggest otherwise, all three women insist that there’s rarely discord among them. Ranee credits this to the time she and Aparna studied together in India with Valli. “Even though I am the mother, we became students at the same time,” she says. “I have never dismissed her as young, and she has never dismissed me as old.” Though Aparna agrees with her mother about their rapport, she admits the dynamic can be challenging. “The line between family and work has always been blurred for me, because my mom and I started this journey when I was very young,” she says. “Sometimes it can feel overwhelming,” adds Ashwini. “But it’s also extremely satisfying and emotionally enriching to work together.”

One of Ranee’s favorite things to say is that she gets to take her kids with her to work every day. “Continuing this lineage through my children is tremendously meaningful to me,” she says. Aparna, on the other hand, says that because her children are boys (6-year-old twins), she doesn’t have the same need to pass the bharata natyam torch to them. “I was so happy that they weren’t girls,” she says, “who would have to carry on the tradition. I feel like I’m experiencing a real childhood through my kids.”

All three women do pass on the bharata natyam tradition via their school, where they teach class to 40 dancers, ages 7 through adult. Having studied under and with one another for so many years, none of them takes this responsibility lightly. “In India, the teacher is one of the most important people in your life,” explains Ranee. “It’s mother, father, teacher, god. Mother gives you birth; father educates you; teacher shows you the path to knowledge. That’s the highest.” 

Ashwini Ramaswamy featured in Minneapolis Star Tribune's Top Dance of 2015

Top dance of 2015: Dazzling moments here, there and everywhere

Sheila Regan, Star Tribune
December 20, 2015
Original Article

This year proved again how lucky the Twin Cities is to have such a robust dance scene. With venues that bring in high-caliber troupes from all over the world; homegrown companies that deliver high-quality work season after season; a booming infrastructure that nurtures up-and-coming choreographers, and audiences and funders that support the ecosystem, our dance scene dazzled almost every weekend of 2015. Here are some of the most magical moments:

Out-of-towners: We lucked out this year, with the likes of Camille Brown and Lula Washington bringing their work to the Twin Cities, and New York-based Joanna Kotze working with Zenon and James Sewell Ballet to stage exciting works. The highlight was Maureen Fleming, whose elastic talents in the astonishing “B. Madonna” at the O’Shaughnessy made for a transcendent night.

Local choreographers: They more than held their own, with TU Dance, Sewell, Minnesota Dance Theatre, Zenon, Arena Dances, Ananya Dance Theatre and Stuart Pimsler among the companies that reliably brought a mix of new works and old favorites.

Recognition: Many local artists won acclaim outside the Twin Cities. Minneapolis choreographer Chris ­Schlichting, whose intricate and breathtaking “Stripe Tease” started the year off right at Walker Art Center, went on to receive kudos from the New York Times and Washington Post. Ashwini Ramaswamy of Ragamala Dance also received a New York Times rave, and the company made the Chicago Tribune’s year-end Top 10. TU Dance artistic directors Toni Pierce-Sands and Uri Sands of TU Dance were named USA Fellows, winning $50,000, and Minnesota companies bopped around the world, from southern France (Zenon) to Ethiopia (Ananya).

Fresh spaces: There was plenty of dance outside the theaters, too. Morgan Thorson set her five-hour endurance piece “Still Life” inside the Weisman Art Museum’s galleries, while BodyCartography Project traveled around the Twin Cities with its “closer” project, bringing individualized dances to audience members before mounting a full-length work at Red Eye. Ragamala hosted a cultural festival in the Hindu tradition called Navarathri, where dance was just part of the celebration, and Hennepin Theatre Trust brought in guest curators April Sellers and Laurie Van Wieren to launch a dance series in indoor public spaces in downtown Minneapolis.

In retrospect: Minnesota Dance Theatre staged a moving tribute to founder Loyce Houlton; Joanie Smith nodded to early feminism with her piece “Tableau Vivant,” and Karla Grotting’s “Lost Voices in Jazz,” presented with Eclectic Edge Ensemble, honored the choreographers and dancers lost to the AIDS crisis. Mathew Janczewski, from Arena, also took reflected on past works for the company’s 20th anniversary.

New talents: Emerging choreographers such as Pramila Vasudevan and Kaleena Miller carved out their own spaces, while Divya Maiya owned the Minnesota Fringe Festival for the second year in a row with her exuberant, wonderful Bollywood dance troupe.

Song of the Jasmine helps Cleveland Museum of Art win award for 'Adventurous Programming'

Performing Arts Series at Cleveland Museum of Art wins award for 'Adventurous Programming'

Zachary Lewis, Cleveland Plain Dealer
December 15, 2015
Original Article

CLEVELAND, Ohio – Christmas has come a few days early for the Performing Arts Series at the Cleveland Museum of Art.

On Monday, the series announced its receipt of a 2016 CMA/ASCAP Award for Adventurous Programming, an honor bestowed annually by Chamber Music America and the American Society of Composers, Authors and Publishers.

The award recognizes outstanding commitment to the music of the last 25 years, on the part of both performers and presenters, as well as the ability of winners to attract audiences.

"You never expect this sort of thing, but I've always had a keen eye on it," said Tom Welsh, director of the Performing Arts Series. "It shows great respect [for the museum] in the field nationally, and we take that as an honor."

The museum won in the mixed repertory division of the "Large Presenters" category, a group that includes other art museums as well as universities and independent performing arts centers. The category also includes a jazz division.

Specifically, Welsh said, the award acknowledges six performances or series of events on the museum's 2014-15 season: the Calder Quartet, the Oberlin Contemporary Music Ensemble, Ragamala Dance Company and Rudresh Mahanthappa, the Mivos Quartet, Roomful of Teeth, and Wu Man.

Welsh also said the award entails a small honorarium and a presentation at Chamber Music America's national conference Jan. 10 in New York.

As it happens, this is not the first time the museum has received a CMA/ASCAP Award. The museum also won in 2005, during the tenures of longtime former curator of music Karel Paukert and former assistant curator Paul Cox.

"There's a long precedent here," Welsh said, "and it's a tip of the hat to the kind of programming we do."

Chicago Tribune Names 'Song of the Jasmine' a Top 10 Dance Event of 2015

Dance Top 10 for 2015: Women had an outsized role on this year's list

Laura Molzahn, Chicago Tribune
December 10, 2015
Original Article

With shows by Wendy Whelan in January, Carrie Hanson in March, Onye Ozuzu in August, Twyla Tharp in November, and the female choreographers of Hubbard Street's winter program this weekend — well, 2015 has proved the year of the woman. That shouldn't be remarkable, because women predominate in dance, but it is. You'll find an unusually high number of additional picks by women in my chronological list below of the top 10 dance works of the last year — along with some fine representatives of the other sex.

"Song of the Jasmine," Ragamala Dance, April at the Museum of Contemporary Art: Minneapolis-based mother-daughter team Ranee and Aparna Ramaswamy, collaborating with innovative composer-saxophonist Rudresh Mahanthappa, commingled jazz, carnatic music and bharata natyam dance in this synergistic, utterly contemporary evening-length piece. As a performer, Ramaswamy elicited the essence of the feminine; moving precisely, delicately, she used her hands and face so wholeheartedly you could smell heavenly jasmine yourself.

"A Streetcar Named Desire," Scottish Ballet, May at the Harris Theater: In a brilliantly structured reimagining of the Tennessee Williams classic, choreographer Annabelle Lopez Ochoa, aided by theater and film director Nancy Meckler, wasted not a moment or a step as she created empathy with Blanche (no easy task) and with the story's gay lovers (unseen in the play). In this lush, emotional work — Lopez Ochoa's first full-length narrative ballet — the sparing use of point work gave it all the more impact. The Scottish Ballet dancers, making their Chicago debut, were wonderful.

"Clover," The Cambrians, June at the Preston Bradley Center: In the decayed grandeur of a 1926 Masonic hall, Chicago artists Benjamin Holliday Wardell, Michel Rodriguez Cintra and Melinda Jean Myers presented the charismatic final version of their jointly created and performed "Clover." In a departure from earlier "Nexus Project" works, this piece had more structure, more dancing, and fewer spoken texts and jokes. The result was a stronger connection between the dancers and with the audience — and a real emotional wallop.

"Don Quixote," Royal Ballet, June at the Auditorium Theatre: Carlos Acosta's boisterous 2013 staging proved marvelously comic, carrying its three hours with ease and concluding with a sunny, beneficent vision of the good and beautiful. The Royal Ballet, which hadn't performed here in 37 years, met all expectations, and on opening night Acosta as goodhearted, rowdy Basilio and Marianela Nunez as his eager lover were at once convincing flesh-and-blood people and superhuman dancers. Thankfully, this 19th-century ballet lived and breathed.

"Supreme Love," Tapman Productions and M.A.D.D. Rhythms, September at the Athenaeum Theatre: This 50th-anniversary tribute to John Coltrane's album "A Love Supreme" featured live music by the Rajiv Halim Quartet and some stirring, nuanced tap dancing. One of the great joys of the true-blue American forms of jazz and tap is what they reveal of the individual artist, revelations fostered here by the intimate space and well-balanced sound. Though the slim narrative was a bit clumsy, its heart was in the right place.

"Bloodlines," Stephen Petronio Company, October at the Dance Center of Columbia College: A program of three works, including Merce Cunningham's "RainForest" and Trisha Brown's "Glacial Decoy," provided the absolute best kind of education — that is, the fun kind. Though Petronio's troupe struggled a bit with the Cunningham dance, it was good to see the leap from this pathfinder's work to that of Brown and her successor, Petronio. His "Non Locomotor," however, proved the most delicious of the bunch. Generous use of the spine and an experimental hip-hop score by Clams Casino suggested an intelligent night at the club.

Hubbard Street Dance Chicago, October at the Harris Theater: It was a feat (and a treat) to present three William Forsythe works on one bill, only one of which, "Quintett," was already under the company's belt. The other two required vastly different skill sets: While the 14 dancers of "One Flat Thing, reproduced" had to be acrobats, basically, to negotiate a grid of 20 large steel tables, the four dancers of "N.N.N.N." needed to be quiet, to listen, to respond sensitively, all while maintaining a sense of humor. As wonderful as Gustavo Ramirez Sansano's new "I am Mister B" was in March, the Forsythe program was the year's most astonishing feat.

"Jewel Tones: Spectrum," October at Links Hall: You didn't have to be a Buddhist to love the concluding performance of Jessica Marasa's improvised "Jewel Tones" series, mining the Buddha's teachings on light. The eighth and final show, "Spectrum," brought together three of Chicago's top experimental jazz musicians — Mike Reed, Jason Roebke and James Falzone — with four marvelous dancers: elegant mischief-maker Ayako Kato, sly Adriana Durant, powerful Onye Ozuzu and joyous Marasa. Getting seven distinctive improvisers to come to a conclusion was like herding cats, with no one to do the herding, but the end proved thrilling, satisfying.

Jessica Lang Dance, November at the Harris Theater: This exquisite company made its Chicago debut with a program distinguished by Lang's strong sense of design, extending to both the look of the stage and the crisp lines of her choreography. Her intellectual curiosity — evident in "Tesseracts of Time," a collaboration with architect Steven Holl, and in the moving "Thousand Yard Stare," for which she did extensive research on veterans — added depth and interest to a smart, unique evening.

"The Nutcracker," Joffrey Ballet, December at the Auditorium Theatre: Earlier in the year the Joffrey gained some terrific new repertoire with the company premieres of Stanton Welch's "Maninyas" and Justin Peck's "In Creases" as well as a world premiere by Annabelle Lopez Ochoa, "Mammatus." But the final run of Robert Joffrey's "Nutcracker," concluding Dec. 27, made me fall in love, finally, with what has become, over 20 years, Chicago's sweetheart. Maybe the set and costumes are disintegrating, but we can't tell. And maybe its air of self-indulgence is a little cloying. It's also sweet. And year after year, no matter the cast, the dancing is top-notch.

Ragamala receives Building Demand for the Arts Exploration grant from the Doris Duke Charitable Foundation

November 23, 2015


Eighteen Collaborations Nationwide Receive Support to Explore Strategies That Will Reach New Audiences and Increase Demand for Jazz, Dance and Theatre

NEW YORK, NY, November 17, 2015 —The Doris Duke Charitable Foundation (DDCF) today announced the 18 teams of performing artists and arts organizations selected to receive a total of $600,000 in Exploration grants through the foundation’s Building Demand for the Arts program. This group of grantees is the third and final cohort to receive Exploration funding through the program, which launched in 2013 and supports inventive arts collaborations aiming to understand and connect more deeply with a particular audience through the fields of jazz, dance and/or theatre. This year’s grantees represent a wide geographic span and interest in reaching diverse target audiences such as inner-city young adults, specific ethnic groups and the national deaf community.

“We are delighted to support this last cohort of artists and organizations as they imagine new ways to build demand for the arts,” said Ben Cameron, program director for the Arts at DDCF. “Broadening our thinking about who our audiences are and how we connect with them is enormously challenging. We look forward to the bold ideas these teams generate and the impact they will make on their respective fields.”

The Building Demand for the Arts program offers two types of grants: Exploration grants, which support investigative conversations between artists and organizations about ways to build demand for the performing arts, and Implementation grants, which support the implementation of previously crafted plans to build arts demand. The next Implementation grants funding specific projects of artist-organization partnerships will be announced in early 2016.

Ragamala Dance Company receives Doris Duke Charitable Foundation's Leadership in Dance Award

August 18, 2015

The Doris Duke Charitable Foundation (DDCF) announced today the 18 outstanding dance companies and presenters receiving grants through the first-ever Leadership Grants Program for Dance. This all-new initiative supports the self-defined, long-term goals of organizations that have demonstrated excellence in and sustained commitment to the field of dance.

Grantees distinguished themselves by the quality of their choreography, the impact of their touring on communities across the country, and the successful expansion of their own initiatives and educational programming. DDCF is now providing each organization with flexible funds that encourage them to build upon the unique courses they have already charted and to continue to pursue their vision for the long term. This new support will enable grantees to realize their plans to increase organizational capacity, execute new artistic initiatives, strengthen data and evaluation systems, or other strategies that they have determined will best lead them to continued success.

Ben Cameron, program director for the arts at DDCF, said, "These grants support dance companies and dance presenters that have been leaders, both artistically and organizationally, thinking creatively about reaching audiences in exciting new ways. We are honored to support their work with these flexible grants, designed to help them achieve their self-defined, long-term goals."

The 18 organizations are:

  • Alvin Ailey American Dance Theater (New York, NY), with a grant of $500,000
  • Alonzo King LINES Ballet (San Francisco, CA), with a grant of $500,000
  • AXIS Dance Company (Oakland, CA), with a grant of $200,000
  • Ballet Hispanico (New York, NY), with a grant of $500,000
  • Brooklyn Academy of Music (BAM) (Brooklyn, NY), with a grant of $500,000
  • Danspace Project, Inc. (New York, NY), with a grant of $200,000
  • Hubbard Street Dance Chicago (Chicago, IL), with a grant of $500,000
  • Jacob's Pillow Dance (Becket, MA), with a grant of $500,000
  • The Joyce Theater (New York, NY), with a grant of $500,000
  • Margaret Jenkins Dance Company (San Francisco, CA), with a grant of $200,000
  • Mark Morris Dance Group (Brooklyn, NY), with a grant of $1,000,000
  • ODC (San Francisco, CA), with a grant of $500,000
  • Stephen Petronio Company (New York, NY), with a grant of $200,000
  • Ragamala Dance Company (Minneapolis, MN), with a grant of $200,000
  • STREB (Brooklyn, NY), with a grant of $400,000
  • Paul Taylor Dance Company (New York, NY), with a grant of $500,000
  • Urban Bush Women (Brooklyn, NY), with a grant of $200,000
  • White Bird (Portland, OR), with a grant of $200,000

The Leadership Grants Program for Dance responds to the ongoing and dynamic evolution of the dance field in which many nationally celebrated companies may face future challenges or changes. The initiative acknowledges the various ways grantees may choose to embrace the years ahead, whether through artistic and/or organizational means. (Potential uses of the grant exclude physical capital investments and bricks-and-mortar projects.) DDCF has offered small organizations $200,000, mid-sized organizations $400,000 and large organizations $500,000 in grants that span up to four years. A single grant of $1 million goes to the Mark Morris Dance Group in recognition not only of the company but of its extensive efforts in education and outreach, including its dance program for Parkinson's disease patients. DDCF has also offered additional planning grants, ranging from $25,000-50,000 each, to provide several organizations with long-term strategic planning assistance.

About the Doris Duke Charitable Foundation

The mission of the Doris Duke Charitable Foundation is to improve the quality of people's lives through grants supporting the performing arts, environmental conservation, medical research and child well-being, and through preservation of the cultural and environmental legacy of Doris Duke's properties. The Arts Program of the Doris Duke Charitable Foundation focuses its support on contemporary dance, jazz and theatre artists, and the organizations that nurture, present and produce them. For more information, please visit

Aparna Ramaswamy Awarded a National Dance Project Production Grant for They Rose at Dawn

July 27, 2015

The New England Foundation for the Arts announced their support of the creation of 18 new dance works that will tour the United States, including Aparna Ramaswamy’s newest solo work, They Rose at Dawn.

These awarded works will be created by choreographers and companies with exceptional artistic voices and at different stages in their career, all of whom have a track record of professional production and touring. Eighteen projects were selected out of 124 competitive applications by a panel of national dance leaders who serve rotating three-year terms.

NEFA Executive director Cathy Edwards noted, “The impact of the National Dance Project in the creation and distribution of new dance works in the United States is extraordinary. This sustainable model, supported by visionary funders at the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, has been critical to the choreographic landscape in the United States.”

They Rose at Dawn will premiere October 6-8 at The Joyce Theater in New York. Confirmed presenting venues include NYU Abu Dhabi Arts Center (UAE), The Cowles Center (Minneapolis, MN), The McCarter Theater (Princeton, New Jersey), The Weitz Center at Carleton College (Northfield, MN), and Maui Arts & Culture (Maui, HI).

Since 1996, NDP has been a primary system of support for the contemporary dance field, supporting the creation and touring of new dance works.  In a field that has been historically under-funded, NDP remains the only national program dedicated to supporting individual dance artists and companies in a broad range of genres, whether established or emerging.  To date, including these awards, NDP has supported the creation of 359 new dance works, partnering directly with more than 350 U.S. presenting organizations to bring high caliber dance projects to all 50 states, D.C. and the U.S. Virgin Islands.  Each year, 20 to 25 different dance projects are featured in engagements in an average of 250 communities across the country. These touring engagements create new connections between community members and artists, offer unique opportunities for artistic growth, and increase access to the arts and the creative process. NEFA's National Dance Project Production and Presentation grants are generously supported with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

NYU Abu Dhabi is lead commissioner of Written in Water & will present the Middle East premiere of They Rose at Dawn

June 24, 2015

Ragamala will be traveling to New York University's campus in Abu Dhabi, UAE, for two weeks in October for the Middle East premiere of Aparna Ramaswamy's They Rose at Dawn (fresh off it's world premiere at the Joyce Theater in New York), and a developmental residency for the company's newest work, Written in Water. Additional commissioning partners include Opening Nights at Florida State University (Talahassee, FL), The Cowles Center for Dance & Performing Arts (Minneapolis, MN) and The Yard (Chilmark, MA).

"We are thrilled that our first full season will include some of the world's most influential master artists, alongside innovative artists from younger generations, nearly all of whom will be performing in the UAE for the very first time," says Bill Bragin, The Arts Center Executive Artistic Director.

14 dancers and musicians will participate in the residency, which includes a site-specific performance of Sacred Earth as part of Sabab: A Creative Convening; the Middle East
premiere of They Rose at Dawn at The Arts Center at NYU Abu Dhabi;

development and rehearsals of Written in Water, including open rehearsals and work-in-progress showings; classes, lectures, and master classes/workshops led by Artistic Directors Ranee Ramaswamy and Aparna Ramaswamy.

For more information, please visit the Arts Center website

The Joyce Theater to present Aparna Ramaswamy this October

May 20th, 2015

They Rose at Dawn premieres at
The Joyce Theater
October 6-8, 2015

"Rapturous and profound," says The New York Times about Aparna Ramaswamy, the Bharatanatyam dancer/choreographer who makes her Joyce debut with They Rose at Dawn. In this solo work, women are depicted as carriers of ritual who navigate inner and outer worlds as they invoke a sense of reverence, of unfolding mystery, of imagination. 

A stellar Carnatic musical ensemble accompanies Ramaswamy as she explores the spontaneous   interplay between music and movement and the dynamic contours created by the artists onstage.

The Joyce Theater website

The Joyce Theater
175 Eighth Avenue
New York, NY 10011
(212) 691-9740 

Ragamala turns 23 with a series of summer events

April 15, 2015

A recent study by the London School of Economics concluded that 23 and 69 are the happiest ages - and we agree! Ragamala turns 23 this summer, and we couldn't be happier with where we are today.

Our very first production, Ragamala: A Painting in Motion, premiered in 1992, and since then we have created over 40 original productions, toured to more than 200 cities, and reached thousands of people - and we're ready to celebrate! Ragamala will be partnering with Al's Breakfast, the Minneapolis Institute of Arts, and the Cedar Cultural Center - iconic establishments that help define the Twin Cities - on a series of events to celebrate Ragamala's birthday. We hope you will join us for some (or all) of the festivities!

Annual Indian Dinner at Al's Breakfast - Dinkytown, Minneapolis
Thursday, May 28, 2015
Anytime between 5:30 and 8:30pm

Over 60 years old, Al's Breakfast is a James Beard Award winning Minneapolis staple that has been featured on The Food Network's "Dives, Diners, and Drive-ins." An annual fan favorite, our "Al's Dinner" transforms the beloved diner into a south Indian hotspot for one night only.  

Enjoy a home-cooked Indian dinner designed and prepared by co-Artistic Director Ranee Ramaswamy with help from the Ragamala dancers and staff. Pull up a stool and chat with the company members while you eat, or stop by for quick and easy take-out!

Suggested donation: $15 per plate

Birthday party/annual fundraiser at the Cedar Cultural Center
featuring DJ Rekha
Saturday, July 11, 2015

The Cedar Cultural Center is a highly eclectic music venue that is fundamental to the city's vibrant arts and culture scene. The Cedar and Ragamala are excited to collaborate to bring New York-based DJ Rekha to the Twin Cities for the first time! 

Credited with pioneering Bhangra music in North America, Newsweek recognized her as one of the most influential South Asians in the US,and she has received accolades from The New York Times, CNN, The Fader, The Village Voice, and The Washington Post, among others. Join DJ Rekha and Ragamala for the dance party of the summer! All ages welcome.

Tickets: $18 in advance $20 at the door
$50 Birthday celebration tickets are also available, $30 is a tax-deductible donation to Ragamala.