Dance Collective


We are dancemakers, story tellers, and thinkers, seeking to raise the profile of modern dance in D.C. Through collaboration and performance, we challenge our bodies and minds to create meaningful art that evokes emotion and makes audiences think. We value a collective process that draws together people from diverse artistic backgrounds. We are Glade Dance Collective.

Twin Cities Dancers Wanted!

Glade Dance Collective is looking for guest dancers to to be a part of Mine/Field, performing at the Minnesota Fringe Festival this August!

We need you to rock these formations! Photo by Rob Cannon.

We seek modern dancers (18 & up) with performance experience to join us for an exciting, invigorating, inspiring, and exhausting 10 days at Fringe. Please help us spread the word! 

At rehearsals, Glade dancers will teach the choreography or improv score of several sections of the 50-minute piece, and then integrate guests and collective members as needed throughout the piece.

Glade offers:

  • FIVE performances over 10 days at the Minnesota Fringe Festival (Aug. 3 - 10, 2017).
  • Shared access to one of our six Artist Passes (gets you free access to any non-sold-out Fringe show)
  • A peek at Glade’s unique collective choreographic process

You should audition if you are:

  • A modern dancer with performance experience
  • Able to learn and retain movement material
  • Able to commit to attend 90% of rehearsals
  • Available for all tech/dress rehearsals and performances
  • Eager to be a part of Minnesota Fringe
  • Age 18 or older

Tentative Schedule
(final schedule will be provided at audition)

Audition: Saturday, June 24 @ 2pm at The Cowles Center Studio 5B (528 Hennepin Ave, Minneapolis)

  • 2pm: Arrive to meet the Gladies and fill out some paper work
  • 2:30 - 4:00pm: Movement audition, comprised of a warmup, improv scores, and phrase work
  • 4:00 - 5:00pm: Break! Feel free to travel to grab a snack or early dinner. We'll follow up within the hour for those dancers who should return for rehearsal.
  • 5:00 - 7:00: First rehearsal for cast dancers.

Rehearsals in June:

Rehearsals in the week leading up to Fringe will be confirmed ASAP: 

  • TBD July 30 - Aug. 2 (let us know if you can recommend a great rehearsal space!)

Fringe Tech and Performances:
Tech and performances are all at Ritz Mainstage (345 13th Ave. NE, Minneapolis)

  • TECH: To be confirmed between July 31 and Aug. 2 (we're waiting for confirmation from Fringe)
  • Thursday Aug. 3 show time at 10pm
  • Saturday Aug. 5 show time at 8:30pm
  • Sunday Aug. 6 show time at 2:30pm
  • Monday Aug. 7 show time 5:30pm
  • Wednesday Aug. 9 show time 8:30pm

Show call times TBD; allow 2 hours prior to show time. See it in calendar form.

About Mine/Field

Trolls. Leaks. Hacks. Is the internet the problem, or are humans? Mine/Field originated in 2015 in Washington, D.C., but every show reflects its unique audience. Attendees receive two cards: a prompt to share a secret and a demographic survey. Early in the dance, The Collector sends her dancer-bots into the audience to collect the cards, then analyzes and displays the results of data collection. Selected secrets are revealed onstage through words and improvised movement. Mine/Field explores whether this collection and analysis is problematic or a benefit. (Spoiler alert: Humans are the problem.) Check out these excerpts, and/or listen to the music from the show.

Photo and graphic design by Shauna Edson.

Photo and graphic design by Shauna Edson.

Dancers Wanted!

Glade Dance Collective is looking for guest dancers to to be a part of our newest work, Am I There Yet?, premiering at the Capital Fringe Festival this July!

We need you to fill these shoes! Photo by Creeseworks.

We seek modern dancers with performance experience to join us for an exciting, invigorating, inspiring, and exhausting 3 weeks at Fringe. Please help us spread the word! 

At rehearsals, Glade dancers will teach the choreography or structure of several sections of the piece and then integrate guests and collective members as needed throughout the piece.

Glade offers:

  • SIX performances over 3 weeks at the Capital Fringe Festival (July 8-24, 2016).
  • Fringe Artist Pass (gets you $10 on-site tickets to any Fringe show)
  • Fringe button (required to attend all Festival performances)
  • A peek at Glade’s unique collective choreographic process

You should audition if you are:

  • A modern dancer with performance experience
  • Able to learn and retain movement material
  • Able to commit to attend 90% of rehearsals
  • Available for all tech/dress rehearsals and performances
  • Eager to be a part of Capital Fringe
  • Curious about how Glade’s collective creation process works

Tentative Schedule
(final schedule will be provided at audition)

Audition: Tuesday, May 31, 8 pm at Joy of Motion, Friendship Heights.


  • Tuesdays 8:30-9:30 pm at Joy of Motion Friendship Heights
  • Wednesday, 6/29 8:15-10:15 pm at Dance Loft on 14
  • Up to 3 additional rehearsals TBD

Fringe Tech and Performances:
Tech and performances are all at Gallaudet University - Elstad Auditorium

  • Tuesday, July 5: tech 11 am - 1:10 pm - TECH
  • Friday, July 8: show time 9 pm
  • Tuesday, July 12: show time 6:45 pm
  • Saturday July 16: show time 7:30 pm
  • Sunday, July 17: show time 2 pm
  • Friday July 22: show time 6:45 pm
  • Sunday, July 24: show time 4:45 pm

Show call times TBD; allow 2 hours prior to show time. See it in calendar form.

Join us! Photo by Creeseworks.

Theatre & dance collide: Shannon Dooling

a sort of movement/text dialogue...
— Shannon Dooling

Shannon Dooling is a guest choreographer at Voices from the Glade, and in general a dear friend to Glade. She was the spark for - and has spearheaded organizing - NACHMO/DC, plus she invited us to perform at College Park Arts Exchange. Now we're delighted to have her choreography alongside ours at Dance Place. Shannon, unfortunately, is moving west after this summer, and we are sad to see her leave D.C. Luckily for us, she has left D.C. a more inclusive place for choreographers. 

In addition to co-choreographing Spontaneous Emergence with Glade's own Betsy Loikow, Shannon is also presenting a duet, Worlds: A Memory.  

See it May 7 - 8 at Dance Place. Get your tickets now!

Notes from a Voices from the Glade choreographer: 

The initial spark for Worlds: A Memory was actually a performance that my longtime friend and collaborator, Lauren Fanslau, and I were involved in last summer. Lauren is one of the founders of the Philadelphia Women's Theatre Festival (PWTF), and in July we worked on a revival of "Wingspan," a play by Arden Kass and directed by Brenna Geffers.

The performance ended up being a sort of movement/text dialogue; with Lauren, who is an actress with a movement background performing a monologue, and me, a dancer with a strong interest in theatre, performing movement that related to the text. We really enjoyed the process and experience, and since we are both creative types, we figured we could create our own piece from scratch using the same ideas and principles.

Since we have been friends for over ten years, and many of our most engaging conversations involve our past experiences, and how they've shaped our present lives, working with the idea of memory as a theme seemed natural.

Our plan is for this duet to be part of a larger work that explores the role of memory in shaping our self-perception in the present. 

Voices from the Glade: Sylvana Christopher

At Voices from the Glade, you'll dive in to the creative mind of Glade's choreographers and their recent pieces. Buy your tickets now!

Sylvana Christopher collaborated with her partner, composer and guitarist John Lee, to create three dances - Harvest Moon, Simmer, and Fish out of Water - which are the beginnings of a larger evening-length work. Read more from John's perspective.

Harvest Moon photo by Rob Cannon.

Notes from a Voices from the Glade choreographer: 

John and I met many moons ago and continue to make art together, but our latest and greatest production is our son Jasper. 

The act of collaborating with a musician is beautiful thing for me as a choreographer. It stimulates healthy conversation about the meaning of art and the particular influence each discipline has on each other. 

Knowing the savvy Washingtonian audiences we entertain requires integrated, thought-provoking work. Whether theatrical, socio-political, auto-biographical, hyper-futuristic or just plain abstract, the uniting factor is we practice performing arts and it's important to consider where we have been and how far we have come in our understanding of the role of performing arts in our day-to-day lives. 

I'm super grateful to Glade members for their support as well as my friends and family for their encouragement for this project.

Simmer photograph by Rob Cannon.

Voices from the Glade: Lauren Borchard

At Voices from the Glade, you'll dive in to the creative mind of Glade's choreographers and their recent pieces. Buy your tickets now!

This dance presented itself, almost fully formed, during the dark of night...
— Lauren Borchard

Notes from a Voices from the Glade choreographer 

Suite Violette/Sweet Violet grew out of different moments and observations from my journey into parenthood, but many of the insights apply to life in general:

  • Things can be hard to endure but they will end
  • Intense sweetness is fleeting and thus the more to be treasured 
  • Life is more physical than you expect
  • Speaking and listening are skills that take a lot of practice.

In the first year of my daughter's life, I was nursing at all hours, sleep-deprived, and deeply enamored with her. The first sections of this dance presented themselves, almost fully formed, during those dark-of-night sessions in the rocker and early-morning awakenings-by-baby-kicks.

Developing the work

Some of the material is based on the last class combination I taught while pregnant. Later sections grew out of the physical experiences my husband and I had as parents, including playtime, sneaking out of the room after convincing her to sleep, watching her experiment with movement, and listening to her acquire speech and language.

Different parts of this work came to be in different ways. Sometimes I told the dancers exactly what to do and how to do it. Other times, I came in with a list of ideas or inspirations and worked with the dancers to assemble a phrase. Dancers also created their own versions of phrases or combinations of phrases. One chapter is an improvisation. The last chapter is built entirely from movement created by dancers based on prompts I brought to rehearsal.

One chapter of Suite Violette/Sweet Violet was originally performed in 2014. Photos by Maggie Picard.

Music collaboration

The chapter on language and communication, "Speak," has been fascinating to work with because each time it has been performed, it's had a different cast, different number of dancers, and changes in the music and staging. For these performances, we'll be collaborating with rogue collective, who will improvise music and define the stage space for the dancers. I'm so excited to see how this version of the piece will highlight different motifs and themes!

Music & dance collide: rogue collective

we all just get to be artists together, with no boundaries
— Kaitlin Moreno, rogue collective

rogue collective, in many ways, is the musician twin to Glade. 

Dedicated to exploring "the gap" between classical music and its culture, rogue collective describes themselves as from the newest generation of conservatory trained musicians. Glade considers itself the newest generation of art-makers!

rogue values collaboration, original composition, improvisation and performance. These four elements feature prominently in Glade's work

Musicians Kaitlin Moreno, Alexa Cantalupo, Troy Pyror, and Erin Snedecor believe in the power of collaboration and unconventional programming to help to bring the sounds, expressions and timbres of classical music to more audiences.

Erin Snedecore in Spontaneous Emergence. Photo by Rob Cannon.

rogue has lots of experience working with dancers and movers. They explained to us how it is different than collaborating with other musicians.

"The nature of how dance is made and shared is so different than music. We rarely encounter music performers who also create (compose) their own works, but in any dance education creation is part of the deal," Kaitlin said. 

"As a result of this different training, dancers rehearse in a much different way than musicians. rogue collective loves collaborating with dancers because then we get to create too! In the end we all just get to be artists together, with no boundaries in our way."

Glade is excited to see rogue perform at this Tuesday, April 12 at the Black Squirrel in Adams Morgan! Join us!

See a short snippet of rogue performing in Betsy Loikow's and Shannon Dooling's Spontaneous Emergence.

Music & dance collide: John Lee

I love improvising with dancers.
— John Lee

John Lee is the composer for Sylvana Christopher's suite of dances - Harvest Moon, Simmer and Fish out of Water. This three dances will premiere all together for the first time at Voices of the Glade @ Dance Place May 7-8

2016 marks the sixth year Glade has collaborated with John. Back in 2010, Glade used his song, "Chinese Reggae," in District. Defined?, which represents a day in the life of our D.C., and exclusively uses music from D.C.-based composers.

But John is more than just a collaborator - he's also the life partner of Glade co-founder and choreographer Sylvana Christopher. They have a 6-month baby boy, Jasper.

John Lee performs with dancers in Sylvana Christohper's Harvest Moon. Photos and videos in this post by Rob Cannon.

John reflects on working with dancers

"Most of the time there is a new creative excitement bringing together two unique art forms. I feel a new creative energy towards performing and creating with dancers and choreographers.

"But I also find it a challenge to communicate using language. The terminology in the dance and music world have different meanings for some words and terms commonly used within both. Musicians too have a very hard time directing others of different instruments. I think that musicians could learn a great deal by taking some dance classes and dancers could learn by studying music.

Performed at "Emotion in Motion", the 2016 Gallaudet Spring Concert. Music by John Lee. Videography by Rob Cannon.

"I love improvising with dancers the most. I get fed with so many ideas when we are both making up in the moment. Its an easy way for me to compose."

See and hear John play

Join Gladies and other fans of John when we go to see him play! Upcoming opportunities: 

And now you can move with his music like Glade does! John improvises at Dance Exchange during their Takoma Park MOVES series on Saturday mornings 10 - 11:30am. John is accompanying the class on April 8 and April 16. 

Who is in Glade's Audience?

Collecting and analyzing data was a big theme in Mine/Field. How do you stack up against our aggregated data across all six performances for Capital Fringe 2015? 

For our July 15 show, it was mostly female Millennials who chose Friends/Family. 

“Only because I insult them behind their backs,” wrote-in one audience member on July 19. 

On our July 18 show, no one in the Boomer category copped to reading banned or censored material. 

All the Boomers at our July 21 show said “No” to “Do you feel safe online?” 

It wasn’t until the end of the run - July 25 - that audience members started writing commentary on our generation breakdowns. One Boomer wrote “The Jimmy Paige generation.” Millenials said “snake person” “ugh” “I hate the term” “genY!” 

Where do you fall for these two data points?

Glade Partners with Word Dance Theater

Glade Dance Collective is honored to be in partnership with Word Dance Theater this season for the purpose of outreach and mentorship.

Last year two Glade dancers, Sylvana and Jessica, performed in WDT's show at The Phillips Collection. They had such a good experience learning challenging pieces of Isadora Duncan's repertory primarily to Brahms Waltzes. Both dancers were thrilled to work with Cynthia Word and Ingrid Zimmer on a unique melding of visual art and it pairs with modern dance history.

As Sylvana and Jess shared their experience, the rest of Glade wanted in on the action! Luckily WDT was also looking for more dancers to help portray some larger Duncan works that they had not yet been able to perform.

Glade and WDT share a dedication to cross-disciplinary storytelling, and a natural, rewarding partnership was born.

Cynthia and Ingrid work seamlessly together and set a full 6-minute work on Glade members in a single rehearsal. "Dance of the Furies" is a twisted tale of Grecian woes and demise choreographed by Isadora Duncan in the early 20th Century. This dance paints a picture of the gates of hell.

Through this partnership, Glade digs more deeply into the roots of modern dance; treasures a piece of repertoire to share with our audiences, and gains a gem of a wise friend in Word Dance Theater.

Word Dance Theater is performing at Dance Place on June 13th & 14th, 2015. Glade will be dancing "Dance of the Furies" and other work in this unique blend of Duncan work and original contemporary work all surrounding the theme of love and love letters. Don't miss it - buy your tickets now!

Teaching Dance at Saint Elizabeths Hospital

To kick off Glade's 2014 - 2015 season, Glade embarked on a one-month residency for patients ofSaint Elizabeths Hospital in September. Teaching dance at Saint Elizabeths was a way to live outGlade's goal to empower others to move, create, engage!

Sylvana, Lauren, Betsy and Emma had a receptive group of participants every week. Many of the students already had participated in dance therapy sessions multiple times per week. Saint Elizabeths resident Dance Movement Therapsists (DMT) Nalini and Tracy served as guides and hosts to Glade, encouraging their regular session participants to join in, as well as opening up the residency to others at Saint Elizabeths.

Every week, Glade teachers led a "name game," using rhythms, tracing, or imagery to demonstrate identity. Participants then worked on locomoting in different levels, speeds, and styles. Finally, Glade guided students through phrase-making, linking movement generated by different students, or remembering a phrase week to week.

By participating fully and being open to guest teachers, the students demonstrated that dance is an important part of their lives and a healthy, expressive way to come together. Glade leaders found that certain types of music, including Funk Ark, J. Dilla and the Peals, really allowed people to engage in dancing.

During the final session of the residency, Abigail Colodner from National Alliance of Mental Illness joined. Abigail remarked that it was a very heartwarming experience and showed much joy and enthusiasm while participating in the workshop.

In the spring of 2014, Glade performed some repertory, including ConnectionsFor AndrewThe Little Tomato, and District. Defined?, as part of Saint Elizabeths' annual spring showcase. Glade looks forward to returning next spring, and involving the students from our residency in the performance!

For Andrew, choreographed and performed by Sylvana Christopher, is a solo exploring adoption through the perspectives of a woman eager to have children and two different adopted sons and parents who have gone through the adoption process. The Little Tomato was choreographed by Dance Movement Therapist Jessica Melville Goodin, who originally suggested working with Saint Elizabeths several years ago! Connections andDistrict. Defined? are both examples of Glade's commitment to working in collective or collaborative ways, both within the group or by soliciting input from audiences, to make dances.

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Background image by Rob Cannon.