Her career in the mystical dance of Williams, which lasted for a decade all over the world, took her from the English national ballet in London to the New Zealand Royal Ballet and the Texas Ballet theater, where she is currently working in De Corpical Corps.
However, it can rely on the number of works carried out by a dance designer.
So when Williams started a non -profit ballet company, PointWorks, in 2023, she knew that she wanted to highlight women, whether she was dance designers, dancers, fashion designers or composers.
“Whenever there is an opportunity, I will use the platform to try to balance within the ballet world, which most of us have not seen in our career,” Williams, the coach of the institutions, told the Times.
Since its inception, Pointsworks sought to fill the gaps. Williams was an inspiration for the company’s start as a way to provide work for professional dancers during their unpaid summer demobilization. With the lack of opportunities and the abundance of talents in the ballet world, Williams decided to create a group that performs during a non -season.
“[Pointeworks] It is an artist company forward. “He creates opportunities for dancers – giving them new works, cooperation, and things that can raise their careers outside the season of their organization, and be able to provide them with a platform during that time as well. Also for the audience who cannot see ballet during the summer because companies stop, they get a point tools.”
Pointeworks appeared for the first time last June, with the performance of the CONRAD Prebys Center for the Dramatic Arts with an area of 500 seats in Williams’ birthplace in San Diego. This year, the company expanded to the East Coast with three performances at Alfayen Elie City Group theater in New York City in March. After a successful return to San Diego last week, the group is preparing for the first Orange province on Friday at the Irvin Barclay Theater.
Before the IRVINE show, Pointeworks will host the first guidance program for local students who intend to follow the professional dance profession. The chosen dancers will participate in the PointWorks category on Friday and will be associated with a teacher from the company that will continue to guide them next year. As of Wednesday, seven students applied and accepted them, according to the Marketing and Communication Coordinator.
Sisters Claire, Nicole and EMMA Von ENCK exercise to perform their “chasing shadows” with vessels.
(Rakel Bozhamp)
She said that Williams had received more than 400 dance designers for this season in general. While its goal is to highlight female designs, anyone welcome to present ideas.
Among the pieces assigned to the New York shows, “SHASING ShaDOWS”, were designed for Claire, Emma and Nicole Phone Inc – who have never performed professionally together. Nicole, the older sister and Williams colleague at the Texas Ballet Theater, jumped to the opportunity to cooperate with her brothers, who dance on New York City ballet.
Habouni, from New York City ballet, wanted the project to accompany an original degree. So she recruited the Welsh Katie Jenkinz composer, which she met in Project Dance Dance in Provence, RI, last summer. The duo later recruited the pianist and Goshua Macon’s latter’s graduate to play the direct result.
As for the IRVINE view, Williams, Paige Nyman and Adeline Melcher, all of whom are from Texas Ballet theatre, will perform the article. She said this would represent the first time that Williams will dance to a composition by a female composer.
“[‘Chasing Shadows’] “It is very unique in the sense that it is a female composer behind music and a female voice behind the dances, the fashion designer is behind what we wear, and the female lighting designer is behind what is going on on the stage. It is just a complete sister.”
In addition to “Shadow Husts”, IRVINE includes new commissions from Rika Gyulai and Heather Nichols; Dayoung Jung’s “it’s deep, it’s dark”, which first appeared in New York; Caroussel, which is 2002 PAS Deux, was assigned to music from Rodgers & Hammerstein Musical of the same name.
“I think it gives a variety of the audience by assigning new works, contemporary works, and new classic works, but also setting distinctive classics -” Carousel “is one of those.”
Williams said that the dance professions do not last forever, so it is important to benefit from every moment. That is why it is excited to increase opportunities to the maximum and outside the theater.
Sisters Claire, Nicole and Emma von are the first time professionally.
(Nathan Carlson)
In October, Williams rented the trainees to help in administrative tasks. Among them was Delon, PointWorks Marketing Coordinator and Di Ballaly Corporation member at the Texas Ballet Theater. This month, I started dancing with vessels as well.
“I want to make sure that these vessels are intended for dancers first,” said Williams. “So, by having dance views in every corner only – whether it is marketing, management, and development – if you know what is a dancer and you are a dancer, I think they are more coherent, and put these interests first.”
In addition to dance professionally, Delon takes online classes at Texas University of Technology, studying public relations and strategic communications.
“I feel [Pointeworks has] Delon said: “I was a perfect complement to my education, because I took lessons on how to write press data, then write press leaflets for archaeological devices,” Delon said.
While Delon has just started her career, PointWorks also provides opportunities for more experienced dancers. For example, the retired dancer Christian Gregz-Darn-previously with the New Zealand Royal Ballet-is the company’s development and collection coordinator.
Three years after his retirement as a Bali dancer relationship, Jung continues to work as a dance designer, rehearsal and dance teacher. She and Williams met in Oklahoma City Ballet about nine years ago and contacted the initiative of national dance designers last year in Irvin.
Although Jung invented, “It is deep, it’s dark” with her dancers in just 10 days, she said she appreciated the opportunity to work with this professional group open from individuals.
“[Pointeworks] Not only about giving artists a platform. “It comes to reshaping the dance scene, ensuring that the woman’s voices are heard and their vision becomes in life. I feel that I can really risk and try my artistic language without restrictions in the traditional structure. I think Pointeworks have been perfect in that, where I can actually explore myself as an artist and as a dance design.”
