Choreography: Annabelle Lopez-Ochoa
Music: Kate Moore
Costumes: Marc Happel
Lighting: Jimmy Lawlor
Paintings: Kathleen Werner
Musician: Ashley Bathgate
Dancers: Ashley Bouder and Taylor Stanley

Symbiotic twin:
We are dual creatures made of contrasting energies such as male and female. What if our awareness of it would create less division. What if our intertwined bodies would create new shapes that carry new hopes.



Choregraphy: Lauren Lovette
Music: Stephanie Ann Boyd
Costumes: Milly
Lighting: Jimmy Lawlor
Musicians: New York Jazzharmonic
Dancer: Ashley Bouder



Choreography: Abdul Latif
Music: Wasserman after Vivaldi and Richter
Costumes: TBA
Lighting: Jimmy Lawlor
Photographs: Daniel Sutherland
Musicians: New York Jazzharmonic
Dancers: Ashley Bouder, Indiana Woodward, India Bradley, Roman Mejia, Devin Alberda, Ghaleb Kayali




In Pursuit Of…

Choreography: Ashley Bouder
Music: Miho Hazama
Costumes: William Ivey Long
Lighting: Jimmy Lawlor
Musicians: New York Jazzharmonic
Dancers: Ashley Hod and Devin Alberda with Indiana Woodward and Ghaleb Kayali, and Laine Habony and Spartak Hoxha

In Pursuit of… started as an idea in the spring of 2016, while Ms. Bouder was on maternity leave, awaiting the birth of her first child, from New York City Ballet. Ron Wasserman, the director of the New York Jazzharmonic suggested a collaboration, and Ashley jumped at the chance to perform to live music, but to work with a woman composer, as well. After meeting with Ms. Hazama, and after several discussion emails about the direction and point of the piece, it was decided that the piece would be guided and influenced by four major dance and cultural identities: Masei warrior jumping dances, Polish mazurek dances, Sufi whirling dervishes, and American contemporary dance. Length and speed of the music was negotiated and adjusted as the piece took form, always keeping the cultural undertones and sounds of each movement as a guide. A challenge for both composer and choreographer being the blend of these separate themes as individuals in each movement to an overall theme to be held the entire length of the piece. This challenge also extended to the costumes. A chance meeting between Ms. Bouder and Mr. Ivey Long, whom she had worked with, as a dancer in 2004, brought about their collaboration for this ballet. The pair searched about for images of each movement’s style and traditional costume, creating a working visual inspiration board to piece together a wholly new creation using influences of all four cultural identities. The results yielded multi layered costumes, to be stripped away or added for the different movements, with patterns, cuts and colors to reflect the movement in which each piece was worn. While staging the piece, Mr. Lawlor came in, using the open brick wall behind the stage and the New York Jazzharmonic band as a backdrop, and produced inventive lighting that highlighted the color, movement of the dancers, and mood of each section of the piece. 



Choreography: Liz Gerring
Music: Anna Webber
Costumes: The Violet Storm Collection
Lighting: Jimmy Lawlor
Muscians: New York Jazzharmonic
Dancers: Ashley Bouder, Sara Mearns

Duet started as an idea of Ms. Bouder's to perform with her New York City Ballet colleague, Sara Mearns, in a unique way. It is rare for the two to share the stage together and to dance a modern piece.  Also, to have a duet created that could potentially be danced by any gender in either role, was a goal of Ms. Bouder's. At the suggestion of Ms. Mearns, Liz Gerring was invited to create the piece. Ms. Gerring typically choreographs to different music than the finale product, so rehearsals could begin before the music was complete. Anna Webber was suggested by Ron Wasserman, the director of the New York Jazzharmonic, as her style of music was in sync with Ms. Gerring's taste and previous collaborations. The initial material and sequence were worked out on some of Ms. Gerring's company dancers, Claire Westby and Brandon Collwes, and then adapted to a ballet dancer's way of moving by being tailored to Ms. Bouder and Ms. Mearns. As the piece progressed, an open dialogue was maintained between choreographer and composer, and the music began to take shape. An interesting aspect to the piece is that the steps are not actually set to the music. The dancers are given certain steps to do, independently of each other with sync up points. Similarly, sync up points are arranged with the music. This ensures true collaboration on stage between the musicians and the dancers because all parties are watching and feeling each other to begin each new section of the piece. The lighting was designed by Jimmy Lawlor to feel natural and to highlight each dancer as they moved in space. 



In Passing

Direction and Choreography: Andrea Schermoly
Music: Mikael Karlsson
Filming: Zack Bennet and Kevin Schlauser
Dancers/Actors: Ashley Bouder, Amar Ramasar, Antonio Carmena, Indiana Woodward


Choreography: Adriana Pierce
Music: Edvard Grieg
Costumes: Reid and Harriet
Lighting: Jimmy Lawlor
Dancers: Ashley Bouder and Preston Chamblee




Rouge et Noir

Choreography: Joshua Beamish
Music: Dmitri Shostokovic
Costumes: B Michael
Lighting: Jimmy Lawlor
Backdrop: Mark Howard
Muscians: Elad Kabilio Quartet
Dancers: Ashley Bouder and Amar Ramasar with Indiana Woodward, Emily Kikta, Sebastian Villarini-Velez, and Peter Walker