Letter to the Faculty Upon My Retirement

Hello faculty. Thought I would step back and consider the thirteen years I have spent in the Division of Dance. After running a non-profit professional touring concert jazz dance company for twenty-five years, stepping into academia required a lot of help and guidance. You were all an important part of that education. I am forever grateful. The basic history is this:

1998  then Chair Shelly Berg invites me to create a new work on the students in honor of the Meadows Prize being given to Wynton Marsalis. I create Cortege.

 

 

 

 

 

 

 

2005 – the Chair Myra Woodruff invites me to be a Visiting Artist for a year. After that year, a search for a permanent position in jazz is held. I went through the process (I have the books to prove it) and was offered the position. Deep thanks to Myra as she shepherded me through the process of working on tenure (more and more detailed Books!) . With strong advocacy from Dean Bowen, I was awarded tenure and made fun professor. I got my letter the afternoon of the very first Meadows at the Winspear performances. I created a new version of An American in Paris.

This was an Opening Night gift from Professor Berg. It included a bottle of Proseco and lots of French chocolates. A candle goes in the middle. I have had this since 2010 and am oh so fond of it.

 

 

 

 

 

2012 – Patty Harring ton Delaney is made Chair and begins the process of transforming the Division of Dance in profound ways.

Most of the journey was one of joyous discovery. I must admit there were a few periods doubt and turmoil, but on balance it made me appreciate the times when things were so positive and affirming. It is wonderful being n a program that values jazz dance and music as an integral part of the curriculum. I became a very good teacher while at SMU.

I was very busy in the Division of Dance. This is a list of repertory works I restate as well as original and new dances created on the students.

1998 – Cortege (Wynton Marsalis)

2005 – Swing Concerto

2006 – Ancestral Voices (virginia Rodrigues) new work

2007 – UMBRA (Ellington) new work in collaboration with Akira Sato and the Meadows Jazz Ensemble

Ezekiel’s Wheel (Jade Curtis) This was the year my father passed away

2008 – Songs of the Disinherited (Donald McKayle) I wrote and received an NEA American Masterpiece grant and was rehearsal director

2009 – Deep Ellum Nights (original score by Simon Sargon) new work

Swing Concerto

2010 – An American in Paris (Gershwin) new version created for Meadows at the    Winspear

2012 – Song Awakened

2013 – In the City (Bernstein) new work created for Meadows at the Winspear

2015 – Swing Concerto, Ezekiel’s Wheel (Shauna Davis)

2016 – AVALON 

2018 – Retrospective

In the City, Scene Unseen, Song Awakened, Points on a Curve,Merry Go Round, Ezekiel’s Wheel, Swing Concerto

 

A huge part of my time in the Division has been as Artistic Director of Brown Bag, the student choreography showcase. I was at first on the adjudication panel in 2005.

Karen Kriete was the Artistic Director. When Karen retired, she asked me if I would take over for her. She was very protective of the creative freedom needed to make the process belong in every way to the students. I shared her values. My first Brown Bag as Artistic Directorwas in the fall of 2007. I believe I have mentored this process thirteen times since the. Myra has done it twice (great) and Lauren Thompson (wonderful)took over once. I hope I am accurate with my research here.

I created and directed the Teaching Jazz Dance Symposium, a gathering of jazz teacher, choreographers and dancers for three days of classes, panel discussions and presentations focused on developing strategies to keep jazz dance vital and relevant. I did this three times.

2012 (knee surgery right after)

2014 this was a struggle

2016 this was the best and most exciting of the three 

 

 

 

 

 

 

In looking at the Brown Bag programs, you get a clear sense of who has been on faculty over the years. Here goes:

Shelly Berg, Patty Harington Delaney, Kirt Hathaway, Myra Woodruff, Jennifer Holmes, Karen Kriete, Nathan Montoya (a great mentor to me), Leslie Peck, Max Stone, Andrew Parker, Lauren Thompson, Mary Condon, Shelley Esstes, Nina Watt, Ruth Andrien, Deborah Barr, Richard Abrahamson, Millicent Johnnie, Christopher, Anne Westwick, Jean Paul Comelin, Dana Rubin, Deborah Weaver, Kim Abel, Chantal Morrow Adams, Adam Hougland, Bruce Wood, Josh Peugh, John Selya, Morgan Palmer, Kathy Chamberlain, Zachary Hammer, Albert Drake, Sean Smith, Brandi Coleman (the best hire ever!), Chris Ham another best hire), Christine Nelson, A’Keitha Carey, Dwight Rhoden, Desmond Richardson, Carter Alexander, Suzanne Lavender.

It kind of takes your breath away. I do hope I have not missed anyone. Apologies if I have.

Marci Hall was the Dance Coordinator when I was first hired and now we have the amazing Heather Guthrie.

“In large measure becoming an artist consists of learning to accept yourself, which makes your work personal, and in following your own voice, which makes your work distinctive.” Art & Fear by David Bayles & Ted Orland

Love this quote. A friend of mine in Minneapolis told me about it when I was freaking out about choreographing to text for Ezekiel’s Wheel. It was very inspiring. I dove in and everything turned out just fine.

It did take a while to get into the rhythm and “groove” of academia, but it has been a rewarding and stimulating time. I will take all that I have learned as I move into the next phase of my life.Dancing will always be a part of it. I am off to Minneapolis in mid-June to set Points on a Curve on a jazz company called The Eclectic Edge Ensemble and then to Rhode Island College in late August to set AVALON. Looking forward to reestablishing a regular swimming routine and reconnecting with my Spanish studies. The beach will happen soon and often, I hope.

Thanks for your help and inspiration over the years. The students are so lucky to have such amazing faculty with so much to offer not just in class but outside as well. Your life experiences and professional dance experiences are key to making the Division one of the best in the country.

I am always available for Back Beat Boogie. I will miss all of you and will stay in touch.

Danny B