Modern Dance II
Modern Dance IV
Modern Dance Vi
S/T: Graham Technique: Fundamentals
S/T: Pointe Technique
"There is a vitality, a life force, an energy, a quickening, that is translated through you into action. And because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other media. The world will not have it. It is not your business to determine how good it is, nor how valuable, nor how it compares with other expressions. It is your business to keep it yours--clearly and directly, to keep the channel open."
This statement personifies my philosophy towards the art of dance. Each individual dancer has their own special unique gifts and it is my intention to develop the gifts of all those who are interested.
Modern Dance,Graham Technique
"State of Mind". Music Arvo Part State if Mind is an introspective look into the mind from the perspective of the ego. The ego is what controls most of our choices in life and this piece represent the different scenarios and feelings one has before making life-changing decisions. Olmstead Theater. March 2012.
"Acts of L;ight". HELIOS Choreography by Martha Graham Rehearsal Director Catherine Denisot-Lawrence. Olmestead Theater. November 2012.
"Change of Heart". Music: Ludwig Van Beethoven "String Quartet N 4 in C Minor" The music is light and ethereal and has an upbeat quality, yet there is an air or indecision-change of heart if you will. This prompt a feeling of insouciance and variability which is demonstrated through the interactions and relationships of the dancers. Olmstead Theater. April 2011.
"MICHIMA". Choreography for 8 female dancers Music:Philip Glass Duration: 12 minutes. Olmsted Theater. November 2010.
Catherine Denisot-Lawrence (2012, March). Assistant Professor. Plaza Cinema and Arts Center, Patchogue, NY.
Other Scholarly/Artistic Work
Catherine Denisot-Lawrence was born and raised in Paris France where she started studying ballet at the age of 10 years old When she was 19, it was through a chance meeting with an English dancer at a modern dance class in Paris that she first discovered there was a world of dance outside of her hometown. Catherine was introduced to Hans Zullig ; a former principal dancer in the Joos Ballet who at the time was the director of the Volkwang Hochschule in West Germany in Essen-Werden. By a stroke of extreme fortune, Catherine’s professional experience began when she was invited simultaneously by Hans Zullig to continue her training and development in all forms of dance including classical, modern, and other dance idioms at the Volwang Hochschule
Catherine began her professional career with Pina Bausch and the Volkwang Ballet where she joined as a founding member. It was at this time she began studying with such contemporary masters as Hans Zullig, Pina Bausch, Vera Volkova, Jean Cebron, Egbert Strolka and Iren Bartos as well as Jonathan Watts in Cologne West Germany. Early on she was exposed to modern dance as well learning Graham technique with Yuriko and Mary Hinkson and Limon technique with Betty Jones and Fritz Ludin who all gave her an incredible exposure and appreciation for contemporary dance which resonated well with her. She was encouraged by Hans Zullig and the creative nature of the Volkwang Schule to start early collaborative efforts in choreography with her contemporaries Susa Linke, Gigi Caciuleano and Carlos Orta. Catherine continued dancing with Pina Bausch with the Wuppertal Dance Theatre where she was a soloist before moving on to Tanz Forum Koln in Cologne West Germany where she was ranked as a principal dancer. She had the great pleasure of working with such legendary choreographers as Kurt Joos where she danced the role of the partisan in The Green Table. Talley Beatty (The legend of Phoebe Snow) and Glen Tetley (The Moveable Garden) were some of the other distinguished chorographers she had a chance to work with in Cologne. One of Catherine’s dreams was always to dance with Netherlands Dance Theatre and she got the opportunity when Jiri Kylian saw her dance at a choreographic competition and immediately asked her to join his company. It was with NDT that Catherine collaborated and danced in multiple Kylian works including Transfigured Night, Ariadne, Symphony of Psalms, Sinfonietta, Songs of a Wayfarer, Childrens Games, Forgotten Land, Dream Dances, Svadebka, Glagolitic Mass, Stoolgame and November Steps. At NDT Catherine was also fortunate to have been given the opportunity to work with other influential choreographers such as Christopher Bruce, Nacho Duato, Glen Tetley, Hans Van Manen, John Butler, and Kei Takei. Her professional career was European based and spanned the better part of 2 decades and gave her the pleasures of performing on every continent in the world except Australia.
Catherine began her teaching career while still dancing at NDT when she was asked to guest teach at The Royal Conservatory in The Hague. She has been teaching on Long Island since 1982 at various private schools and has developed modern and classical curriculums for all levels of dance from beginner to professional. She also has taught both classical and modern dance at USDAN as well as at Stony Brook University and Nassau BOCES. Her choreographic works have been performed throughout the metropolitan area and one of her works In Memory Of was filmed and is part of the permanent collection for the holocaust memorial at Plainview Old Bethpage High School in Plainview New York.
Catherine also has a special interest in prevention and rehabilitation of dance injuries and will be certified in Zena Rommett floor barre exercises for dancers by summer of 2009.
Community and Corporate Leadership
January 2013 traveled to Bangalore (India)workshop and performances with 14 Dance Students. Study of Indian Dance/music/culture.