Cori coffin dancing

Cori coffin dancing DEFAULT


  • Shay Kuebler and Amber Funk Barton in their own work “Status Quo” for The Response / Photo by Chris Randle 

  • Jane Osborne and Vanessa Goodman in “Caesura” by Justine A. Chambers for The Contingency Plan / Photo by Jonathan Dy 

  • Susanne Chui, Sara Coffin and Jacinte Armstrong in “Schreibstück” by Thomas Lehmen, directed by Sara Coffin (Vancouver), Cory Bowles (Halifax) and Dan Safer (New York) / Photo by Jenn Gregory 

  • Martin Inthamoussu in his own work “Auslander” / Photo courtesy of Dancing on the Edgeb 

Dancing on the Edge  

Dancing on the Edge

July ,  

July 8
“Status Quo” by Shay Kuebler and Amber Funk Barton
Firehall Arts Centre By Sarah Todd

Dancing on the Edge hit the ground running with Amber Funk Barton and Shay Kuebler’s piece “Status Quo”. The glossy set of solo and ensemble works for three men and one woman is an evening-length meditation on the distractions of mash-up culture – the playlist, the mixed tape, sampling and channel surfing. “Status Quo’s” jerky hybrid movement, an astoundingly athletic mix of urban and modern vocabulary, effectively expressed the pop culture–clash thematic. The piece brings to mind “Twitch City”, a brilliant but short-lived CBC show about a television addict. While the sitcom wallows in the surreal malaise of media saturation, “Status Quo” is a spectacle of unrelenting information, especially during the tongue-in-cheek moments that seemed to reference MTV’s “America’s Best Dance Crew”. “Status Quo” is by turns neurotic, seductive and humorous, and seems to be best at its most frenetic, such as in Shay Kuebler’s outstanding, anxiety ridden opening solo. 

July 9
EDGE One: “Caesura” by Justine Chambers for The Contingency Plan; “Blood” (excerpt) by The Chimera Project; “a pocket full of questions” by Science Friction
Firehall Arts Centre By Mary Theresa Kelly

“Caesura”, choreographed by Justine Chambers and danced by Vancouver’s Vanessa Goodman and Jane Osborne from The Contingency Plan, offers an exceptional opportunity to witness intelligent and integrated movement that incorporates thoughtful gestural detail. The short hypnotic loop of bell melodies by Oval’s “Do While” creates a trance-like minimalist rhythm that matches Goodman and Osborne’s calm, strong performance. Gorgeous still points that somatically transmit a deep feminine energy punctuate the duet, which is danced in the form of a bodily conversation. Vancouver ex-pats Farley Johansson and Shannon Moreno of Science Friction performed an equally inspiring duet, “a pocket full of questions”, that involved a full deck or two of playing cards. Dancing in socks, Johansson and Moreno pull cards from sleeves, pants, pockets and hoodies, flicking them into space, all the while moving through beautifully sequenced phrases of lifts and rolls. Johansson and Moreno both land their falls and jumps with a weightedness that yields into the floor while conveying a sense of incredible softness. A humorous storyline structures the piece, and a mock play-wrestling scene works as a satisfying ending. Separating the two duets, four dancers from Toronto’s Chimera Project (Amy Hampton, Tyler Gledhill, Ryan Lee and Malgorzata Nowacka) strive to deliver full-throttle, masculine physicality in a style perhaps inspired by La La La Human Steps. In this excerpt from “Blood”, choreographer Malgorzata Nowacka’s exploration of aggression maintains such a consistently harsh mood that I begin to feel numb to the heroic ballet technique and unrelenting pulse.

July 9
“Sold Doubt” by MOVE: the company
Vancouver Playhouse By Eury Chang

Set to the music group Sold Doubt’s greatest hits, this show of the same name was conceived as a spoof on rock concerts and the cult of personality. From Cori Caulfield’s entrance in a large red dress – which brings back memories of her signature solo “Bought and Sold” – the whole evening is doused with wit and humour. Nuances of changing relationships are revealed in many of the short vignettes, and choreographer Josh Beamish showcases his dancers’ technique and interpretive gusto well. Though dance sequences are highlighted with youthful exuberance, the use of so many songs (thirty-four in total) results in a somewhat fragmented structure, akin to channel surfing. But “Sold Doubt” is so successful in its mockery of the entertainment industry that we just laugh aloud and revel in the mayhem anyway. When was the last time you saw a fresh orange punctured by a six-inch stiletto heel on stage?

July 9
“Mal de mer” by Susan Elliott/Anatomica and Tanya Marquardt/ProximityArts
CRAB Park at Portside By Kaija Pepper

This sea-themed duet opens with Susan Elliott and Tanya Marquardt in waders and cream dresses, waist high in the ocean, arms swaying, surrounded by blue sky, mountains and the colourful containers of a working port. It moves to a grassy slope decorated by Jesse Garlick with several large sails, where the duo – now in high-waisted pants and striped tops – stand on firm ground and create full body waves, and then to an unsteady platform on which they slip, slide and somersault. The movement was too minimal and repetitive to hold its own against the glorious location and nifty outfits (by Nita Bowerman). But the final jig, performed on a dock, was as dashing and shipshape as the white sailor suits the gals changed into. Emma Hendrix’s sound design – vague rumbles and storytelling about humans evolving from aquatic creatures – was heard on individual headsets. 

July 10
“Quell” by Lin Snelling
EDAM Studio Theatre By Sarah Todd

The program notes for Lin Snelling’s “Quell” state a lack lustre objective – the “linking of two solos through music and light”. The solos, performed by Snelling and Peter Bingham, seem to be more concerned with exploring the tensions between choreography and improvisation, speech and silence. This is particularly apparent as Snelling paces up and down along a dark line in the hardwood floor, recounting fragmented stories of interpersonal conflict. Water emerges as an inexplicable leitmotif through symbolic swimming, drowning, raining and boating. Despite the nuanced quality of movement performed by the exceptionally skilled Bingham and Snelling, the dance becomes less than compelling. As interest in movement ebbs, cellist Peggy Lee’s accompaniment, ranging from melodic to atonal, easily pulls focus. Subtle lighting by James Proudfoot becomes apparent, blending seamlessly with the studio’s natural light and large windows. Perhaps this give and take is the nature of interdisciplinary collaboration. “Quell” is part of a larger constellation of works in which Snelling investigates collaborative practice alongside visual artist Shelagh Keeley, musician Michael Reinhart and others. Alone on this program, “Quell” struggles under the weight of it’s own imprecision, but within the larger project it does contribute to addressing the complexity of collaborative and interdisciplinary work. 

July 10
“Schreibstück” choreographed by Thomas Lehmen, directed by Sara Coffin (Vancouver), Cory Bowles (Halifax) and Dan Safer (New York)
Scotiabank Dance Centre By Kaija Pepper

In “Schreibstück”, three teams interpret twenty-nine one-minute “instructions” devised by Berlin’s Thomas Lehmen. The piece opens with the relaxed, free-style energy of Vancouverites Jennifer Clarke, Daelik and James Gnam, who are soon joined by no-holds-barred New Yorkers Abigail Browde, Sebastián Calderón Bentin and Randy Thomspon (Witness Relocation), and finally by the warm-hearted wit of Haligonians Jacinte Armstrong, Susanne Chui and Sara Coffin (SINS Dance). In the section titled “Nothing”, the dancers all stand and do nothing in pretty much the same way (this oft-repeated instruction kills the energy level), but in “Disco” and in “Fucking” the movement is hilariously unique. It’s most fun when all three groups are on stage together, stopwatches in hand, dashing about. The work, seen around the world since , made its Canadian premiere here under Coffin (the Project Catalyst).

July 12
“Move It” and “Dusk” by Joe Laughlin/Joe INK
Firehall Arts Centre By Alana Gerecke

The informal mood of “Move It”, the outcome of a two-week-long community dance workshop, was confirmed by an audience-participation warm-up: we stood, rolling our hips, our heads and our wrists. From there, “Move It” proceeded as a light and fun series of improvisation exercises linked together in sometimes interesting ways. The most striking image: two parallel lines of dancers advance toward each other from opposite sides of the stage with their index fingers outstretched; after what feels like a long stretch of time, they meet and pair up in the middle of the stage to share a “finger dance duet” – index fingers touching – before separating and retreating into their two lines and back across the stage. The shift to Laughlin’s work-in-process, “Dusk”, with its trio of professional dancers (Laughlin himself, along with Tara Dyberg and Jeannie Vandekerkhove), was marked. The self-conscious sense of humour dropped away and solemnity set in. A repeated embrace ties together the sometimes tumbling, sometimes sweeping, often twitchy and unsettled movement-scape. The piece ends almost as it begins: with one woman alone on stage, facing the audience and being moved, it seems, by an unseen outside force. Taken together, Laughlin’s works raise some important questions about audience access to dance and the relationship between professional dance and the world beyond it. 

July 12
“The Vision Impure” by Noam Gagnon/Co.Vision Selective
Firehall Arts Centre By Alana Gerecke

Alternating between furious physicality and taut stillness, Noam Gagnon’s “The Vision Impure” – a nearly hour-long self-performed solo – is divided by structure: it opens with a linear, almost yogic movement study characterized by abrupt transitions that seem to freeze, perched, in one pose after another. The driving and upbeat music accentuates the repeated arrests of this stop-and-go dynamic. A costume change (from formal black to ripped blue jeans and Gagnon’s signature bare chest), and a brief stage-sweeping interlude signal a shift in tone. The remainder of the piece is fiercely physical: quick-fire floorwork that circles around itself; jolting, back-bending arabesques that disappear almost before they register; full-out running around the circumference of the stage – all this broken by Gagnon’s periodic collapses into a tired (and sweaty) heap. Laced through with old black-and-white bull-fighting footage and driven by a dominating sound score, Gagnon’s evening of dance had an air of frenetic urgency, lightly steeped in a kind of writhing melancholy.

July 13
“Le Recours aux forêts” by Serge Bennathan for Davida Monk
Firehall Arts Centre By Mary Theresa Kelly

Black box, white floor, bright light. Nothing more is necessary when a master like Serge Bennathan choreographs on an artist like Davida Monk. The product of this union is a rare pearl; Monk radiates presence, simultaneously inhabiting the empty space and letting the audience sink in to her somatic world. The sound of water and cicadas accompany Bennathan’s choreography, suggesting a nature environment. The structure and timing of the work give us time to sense Monk’s fine nervous system: lightning quick falls that collapse from stillness; fluttering arms and hands that seem to animate from another dimension; and creature-like crawls across the diagonal on all fours. How is it that Monk’s little jumps in first position with arms raised overhead speak so much? As a virtuosic, mature artist, Monk opens the way for the viewer to see beyond the physical movement and directly sense her self as a person and her experience as a performer. As such, Monk deepens the whole dance enterprise. 

July 15
“Room” by Lin Snelling
Luxe at Western Front By Eury Chang

As part of a larger “Remembering ROOM Residency” with EDAM (Experimental Dance and Music), Lin Snelling’s “Room” casts Katie Ewald, Sarah Wendt and Kathy Kennedy in an interdisciplinary dance research work that brings together diverse elements such as spoken text, dance, live music and singing. Snelling asks her performers to use every nook and cranny of the Luxe Theatre, essentially breaking the fourth wall and challenging audience/performer dynamics. As such, the show acts as a comment on space itself, and more so, the rhythms of people as they navigate through surroundings and relationships. The string plucking of musician Michael Reinhart, echoing the flower petals being tossed on the ground, produces a wondrous kind of intimacy. At one point, two performers reminisce about music from the eighties, sharing memories about Tom Petty and the Heartbreakers, and even Prince; however, the performers’ delivery of these lines is excessively melancholic, which unfortunately overshadows the potential of the scene to achieve a level of pure or pleasant nostalgia. But Snelling knows how to take everyday objects like a vase of flowers and infuse them with symbolism and depth. She does this by having performers use flowers in different ways: as microphone, wand, and an item that brings both comfort and distress. Then, in the most tragic moment of the evening, a bouquet of flowers is smashed on the floor, scattering petals and pollen about like crimson fairy dust. Overall, “Room” eschews any clear narrative in favour of strong imagery and witty, reflective moments.

July 15
EDGE Two: “A Matter of Life and Breath” and “Zeroes and Ones” by Roger Sinha/Sinha Danse; “Hero/Heroine” by Amber Funk Barton/the response.
The Firehall Arts Centre By Eury Chang

Roger Sinha’s exploration of breath pairs dancers Tom Casey and Tanya Crowder. “A Matter of Life and Breath” deconstructs the balletic pas de deux into something more organic and primal: dancers hissing like snakes and moving sensually as the air currents enter and exit their bodies infinitely. Then in “Zeroes and Ones”, Sinha pays homage to Silicon Valley of the east: India. Here, outsourcing meets Hanuman meets rap music. Mature as he is, Sinha transforms into a b-boy/rapper half his age, commenting on global culture itself. Enter the digital, twenty-first century. 0/Zeroes.1/Ones. Binaries like east/west, here/there, he/she, abound. Who’s there? Computer wo/man, at your service. “Hero & Heroine” is just that – a man who wants to be epic, yet intimate, and a woman who wants to be great, but loved. At first asleep onstage within imaginary, rectangular-shaped beds created by the white lights from above, Amber Funk Barton and Josh Martin’s twisting and turning bodies collide under a midsummer’s eve moonlight. Barton’s choreography is clean and minimal; even when she and Martin are giving their all, a quality of smooth whimsy emanates through the theatre. At once, we see competition and resentment, then confusion, curiosity and eventually tenderness. The two performers share a particular chemistry onstage, and this is apparent as they journey through the trials and tribulations of being in a complex relationship. 

July 15
EDGE Three: “Calm Abiding” by Jose Navas for Nova Bhattacharya; “Auslander” by Martin Inthamoussu
The Firehall Arts Centre By Eury Chang

At its best, dance is moving meditation and intelligence-in-action. While dancing, Nova Bhattacharya captures these qualities through her graceful yet highly controlled body. But more than intricate foot-stomping and deliberate mudras, “Calm Abiding” is a portal into another world, one where meaning is conveyed strictly through movement and just a few words. Without a doubt, Jose Navas is successful in his role as choreographer, bringing together traditional dance with modernist staging. Clearly, he encourages Bhattacharya to maintain the authentic and sometimes stationary quality of bharatanatyam, while placing these percussive rhythms within a strikingly angular choreographic framework. Each time Bhattacharya changes her rhythm and direction, she does so with such clear commitment that we’re easily transported into another realm. White marley floors mimic the contemporary gallery, but the mythic spirit of Shiva is with us tonight. “Auslander” is a journey from one country to another – a comment on migration and the challenges of finding oneself within a complex cosmopolitan world. The first image we see of dancer Martin Inthamoussu is stark: he emerges from under a mound of rich, brown dirt. From this metaphoric homeland, he pushes out with his feet and hands, and then his whole body emerges from the depths of this earth, only to arrive in a media-maze of illusions and projections of urban landscape. Inthamoussu’s quirky but relatable sense of humour is augmented by a broad, social awareness. He rolls around on the floor beside a projection of himself and we think he is enjoying the play, but a deeper, critical commentary is happening here. The prowess of the dancer’s body juxtaposed with the illusory, digital images seems to comment upon the ways in which humans are forced to navigate through an increasingly global and technological world. The dancer is troubled by constantly disappearing images of himself, and is left ultimately to deal with his own fleshy existence. This is playful, subversive, interdisciplinary work.

July 16
“Gathering Light” by Michelle Olson, Raven Spirit Dance
Chapel Arts Centre By Mary Theresa Kelly

Performed to four directions, “Gathering Light” by Michelle Olson was well placed in the Chapel Arts Centre, where the audience experienced the work sitting on all sides of the intimate theatre space. As a whole, the dance transmits a subtle state of awareness of the interiors of the bodymind; it is visceral and intensely emotional with no hint of sentimentality or excessive drama. Olson takes risks with long pauses and silences, demanding the audience settle, follow and allow the unfolding of connection with the performer. The opening is paced slowly; the four dancers (Daina Ashbee, Julia Carr, Sylvie Mazerolle, Starr Muranko), all crouching, exhale forcefully through their mouths in rhythmical turns. Like all aspects of this work, the exhalation transmits a sense of the mouth, throat and esophagus as well as a parallel energetic feeling, in this case exhaled, stale energy. Two solos, danced by Julia Carr and Sylvie Mazerolle, are particularly strong. At one point, Carr crawls across the performance space repeatedly coughing, nearly choking. Her final collapse relieves the tension Olson and Carr are able to construct in the scene using the body in this deep way. All four performers live up to this task of “presence-ing” the interior impulses of their bodies. 

July 17
EDGE Four: “Everything Is All Right” by Edmond Kilpatrick; “Hazel ()” by Katy Harris McLeod; “Beside Each Other” by Andrea Nann
Firehall Arts Centre By Mary Theresa Kelly

After many years of dancing with Ballet BC, Edmond Kilpatrick’s body is inscribed with ballet. In his solo “Everything Is All Right”, Kilpatrick explores the experience and process of finding a movement impulse and contemporary expression that is his own, rather than a derivative of classical phrases. As it turns out, Kilpatrick has nuanced control of his body at almost the cellular level, and his capacity to generate rhythmical isolations all over his body is remarkable. Kilpatrick’s ‘character’ struggles to expand beyond a ballet vocabulary, exploring popping and locking-inspired movements, and occasionally he abandons his new style, indulging an arabesque, pirouette or equally grand classical statement. In constructing his new dancing self, he uses voice to communicate the internal conflict, sometimes muttering inaudibly, at other times letting us hear the internal judge who comments, “No, that’s not it, that’s not right.” Quite frankly, Kilpatrick’s masculine dancing strength and obvious love of movement is a joy to watch.

The other two choreographers on the Edge Four program also incorporated the use of voice in their work. Katy Harris-McLeod wrote an ironic narrative that she delivers in her theatrical solo dance “Hazel ()”, a humorous commentary on gender stereotypes. I am still not certain whether the pregnant state of her character (clad in a kitschy apron) was also her real-life condition. Andrea Nann’s excerpt from “Beside Each Other” is a romantic duet danced by she and Brendan Wyatt to music by Gord Downie of Tragically Hip fame. Nann opens her work speaking to the audience, and demonstrating the relationship between the moon, the earth and the sun with a melon and two other fruits. Nann and Wyatt also address each other casually at various junctures in the piece. Overall, Wyatt’s wonderfully relaxed dancing style, (especially the way he folds through his knees and melts into the floor so effortlessly), is far more compelling than the extensive visual media or vocal strategies in this piece. 

Posted August 28,

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Cori Coffin Biography and Wiki

Cori Coffin is an American journalist currently working for NBC News as a Freelance Anchor. Prior to joining NBC, she worked as a general assignment reporter and anchor for FOX 5 in Washington, D.C where she worked for two consecutive years until October

Coffin was born and raised in Arizona, USA. She grew up with great passion concerning science and the natural phenomenon around her. Coffin has worked in different media houses throughout her career including KVUE News in Austin, Texas where she served as an anchor and reporter.

Cori Coffin Age

She was born and raised in Arizona, USA. However, there is no available information about Coffin&#;s date and year of birth. Therefore, it is difficult to tell her exact age. This section will be updated as soon as we have clear details.

Cori Coffin Height

Drawing from her photos, Coffin is quite tall in stature. Her height is around 5 feet 8 inches (Approx m). However, her exact height is currently unavailable.

Cori Coffin's Photo

Cori Coffin Family

At the moment, there is no available information concerning Coffin&#;s parents or siblings. However, this section will be updated once we have clear facts.

Cori Coffin Husband

Coffin is married to her better half Stephen Nelson, a journalist who works at the MLB Network in Secaucus, New Jersey. It is believed that the couple has been dating since Coffin wedded Stephen on June 17, , in Texas. The two have been posting pictures of their wedding on their social media handles. In one of their post on their Instagram page, it is believed that the couple got engaged in after Stephen proposed to Coffin.

Cori Coffin Education

She joined Arizona State University in completing his studies in Coffin later joined Chapman University in pursuing a course in journalism. She graduated in with a Bachelor of Fine Arts degree in Television and Broadcast Journalism with minor public speaking and advertising. Being a passionate Taekwondo player, Coffin received a 3rd-degree black belt in Taekwondo. In addition, she also loves dancing.

Cori Coffin NBC

Coffin works at NBC News as a Freelance Anchor. She joined NBC in October and she&#;s been working for the TV network up to date. Before joining NBC, Coffin worked for FOX 5 in Washington, D.C, as a general assignment reporter and anchor. She has worked in different media houses including KVUE in Austin, Texas where she worked as an anchor and reporter. In addition, Coffin also worked as an anchor and reporter for KREX in Grand Junction, Colo. Her career journey began in Time Warner Cable in Los Angeles where she served as a Freelance reporter.

Some of Cori Coffin&#;s Colleagues at NBC are:

Lauryn Ricketts&#; Meteorology

Sam Brock &#; Reporter and Correspondent

Carol Lee&#; National Political Reporter

Morgan Chesky &#; National Correspondent (Texas)

Cori Coffin Fox 5

She worked at FOX 5 in Washington, D.C, where she served as a general assignment reporter and anchor for two consecutive years. Coffin joined the TV Station in October and worked until October before she went to work with NBC News.

Cori Coffin Leaving Fox 5

Coffin said her special goodbyes at FOX 5 where she expressed her love and gratitude for having gotten an opportunity to work for the TV network.

Cori Coffin Salary

She is quite an expert in her field of professionalism and a hard-working and committed person. Coffin makes quite a generous amount that could be around $75, , However, her exact salary is currently unavailable.

Cori Coffin Net Worth

Having worked in the media industry for quite some time now, Coffin is able to secure a decent future for herself. Her net worth is around $, Million. However, the exact figure is still unknown.

How Old Is Cori Coffin?

Coffin was born and raised in Arizona. However, there is no clear information about her date and year of birth. Therefore, it is difficult to tell her exact age.

How Tall Is Coffin?

Her approximate height is around 5 feet 8 inches. However, her exact height is currently unavailable.

Is Coffin Married?

Coffin is married to her better half Stephen Nelson, a journalist who works at the MLB Network in Secaucus, New Jersey.

Who Is Cori Coffin?

He is an American journalist currently working for NBC News as a Freelance Anchor.

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DAYBREAK ADVENTURES: Daybreak team takes on indoor skydiving with iFLY

As part of KVUE Daybreak's week of adventures, the team took on indoor skydiving with iFLY.

If the thrill -- and risk -- of skydiving isn't for you, iFly might be a great alternative.

There’s almost no end to the fun you can have with indoor skydiving. Team Daybreak came in ready to try some cool flips and turns, but first we had to learn the basics.

Danny, our iFLY instructor, showed us an instructional video and went over all the hand motions with us. Yvonne was more than a little bit nervous, but she had nothing to worry about.

It was all about relaxing.

“You want to make sure you're nice and wide,” explained Danny. “You're creating surface area so the wind can catch you. If you're moving a lot, and then you're creating turns with it, more than likely you become best friends with the wall.”

After the team suited up and made sure their safety goggles were snug, it was time to fly.

“No slacking here, guys,” joked Bryan Mays. “This is for real. KVUE is a no bullcrap station!”

The first flight is one-minute long. While inside, you just get comfortable with keeping yourself afloat. The instructor helps by giving you hand signals.

After some hilarious moments, team Daybreak got to try flying higher in round two. They really got some air.

Then Danny showed us some of his slick moves. For his amazing twists and turns, iFLY turned the wind speed from 65 percent to 92 percent.

“How do you learn to do that?” asked Jay Wallis. “Do you have to know how to dance?”

“No. You learn it all in there,” Danny explained. “I cannot do any of that out here.”

Overall, it was an incredible rush. It’s something that all of us with KVUE Daybreak would highly recommend!

There’s another benefit to this activity: Kids can continue learning, even during the summer break. iFLY has a STEM program, where kids can learn about the concepts of Science, Technology, Engineering and Math.

Kids are split up into classes where instructors teach them about the different factors that affect terminal velocity, surface tension, speed, force and acceleration. All this, before they suit up and put their lessons into practice.

To find out more, go here.


Martha Graham

American dancer and choreographer (–)

Martha Graham (May 11, &#;– April 1, ) was an American modern dancer and choreographer. Her style, the Graham technique, reshaped American dance and is still taught worldwide.[1]

Graham danced and taught for over seventy years. She was the first dancer to perform at the White House, travel abroad as a cultural ambassador, and receive the highest civilian award of the US: the Presidential Medal of Freedom with Distinction. In her lifetime she received honors ranging from the Key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said, in the documentary The Dancer Revealed: "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."[2] Founded in (the same year as Graham's professional dance company), the Martha Graham School is the oldest school of dance in the United States. First located in a small studio within Carnegie Hall the school currently has two different studios in New York City.[3]

Early life[edit]

Graham was born in Allegheny City – later to become part of Pittsburgh, Pennsylvania – in Her father, George Graham, practiced as what in the Victorian era was known as an "alienist", a practitioner of an early form of psychiatry. The Grahams were strict Presbyterians. Dr. Graham was a third-generation American of Irish descent. Her mother, Jane Beers, was a second-generation American of Irish, Scots-Irish, and English ancestry, and who claimed descent from Myles Standish.[4][citation needed] While her parents provided a comfortable environment in her youth, it was not one that encouraged dancing.

The Graham family moved to Santa Barbara, California when Martha was fourteen years old. In , she attended the first dance performance of her life, watching Ruth St. Denis perform at the Mason Opera House in Los Angeles. In the mids, Martha Graham began her studies at the newly created Denishawn School of Dancing and Related Arts, founded by Ruth St. Denis and Ted Shawn,[8] at which she would stay until In , Graham performed one of Shawn's Egyptian dances with Lillian Powell in a short silent film by Hugo Riesenfeld that attempted to synchronize a dance routine on film with a live orchestra and an onscreen conductor.[9]


When she left the Denishawn establishment in , Graham did so with an urge to make dance an art form that was more grounded in the rawness of the human experience as opposed to just a mere form of entertainment. This motivated Graham to strip away the more decorative movements of ballet and of her training at the Denishawn school and focus more on the foundational aspects of movement.

In , Graham was employed at the Eastman School of Music where Rouben Mamoulian was head of the School of Drama. Among other performances, together Mamoulian and Graham produced a short two-color film called The Flute of Krishna, featuring Eastman students. Mamoulian left Eastman shortly thereafter and Graham chose to leave also, even though she was asked to stay on.

In , the Martha Graham Center of Contemporary Dance was established, in a small studio on the Upper East Side of New York City. On April 18 of the same year[8] Graham debuted her first independent concert, consisting of 18 short solos and trios that she had choreographed. This performance took place at the 48th Street Theatre in Manhattan. She would later say of the concert: "Everything I did was influenced by Denishawn." On November 28, , Martha Graham and others in her company gave a dance recital at the Klaw Theatre in New York City. Around the same time she entered an extended collaboration with Japanese-American pictorialist photographer Soichi Sunami, and over the next five years they together created some of the most iconic images of early modern dance.[11] Graham was on the faculty of Neighborhood Playhouse School of the Theatre when it opened in [12]

One of Graham's students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in , Graham became the company's first director.[citation needed]

Graham's technique pioneered a principle known as "contraction and release" in modern dance, which was derived from a stylized conception of breathing.[13]

Contraction and release: The desire to highlight a more base aspect of human movement led Graham to create the "contraction and release", for which she would become known. Each movement could separately be used to express either positive or negative, freeing or constricting emotions depending on the placement of the head. The contraction and release were both the basis for Graham's weighted and grounded style, which is in direct opposition to classical ballet techniques that typically aim to create an illusion of weightlessness. To counter the more percussive and staccato movements, Graham eventually added the spiral shape to the vocabulary of her technique to incorporate a sense of fluidity.

New era in dance[edit]

Graham's Hereticby Soichi Sunami

Following her first concert made up of solos, Graham created Heretic (), the first group piece of many that showcased a clear diversion from her days with Denishawn, and served as an insight to her work that would follow in the future. Made up of constricted and sharp movement with the dancers clothed unglamorously, the piece centered around the theme of rejection—one that would reoccur in other Graham works down the line.

As time went on Graham moved away from the more stark design aesthetic she initially embraced and began incorporating more elaborate sets and scenery to her work. To do this, she collaborated often with Isamu Noguchi—a Japanese American designer—whose eye for set design was a complementary match to Graham's choreography.

Within the many themes which Graham incorporated into her work, there were two that she seemed to adhere to the most—Americana and Greek mythology. One of Graham's most known pieces that incorporates the American life theme is Appalachian Spring (). She collaborated with the composer Aaron Copland—who won a Pulitzer Prize for his work on the piece—and Noguchi, who created the nonliteral set. As she did often, Graham placed herself in her own piece as the bride of a newly married couple whose optimism for starting a new life together is countered by a grounded pioneer woman and a sermon-giving revivalist. Two of Graham's pieces—Cave of Heart () and Night Journey ()—display her intrigue not only with Greek mythology but also with the psyche of a woman, as both pieces retell Greek myths from a woman's point of view.

In , Graham created Chronicle, which brought serious issues to the stage in a dramatic manner. Influenced by the Wall Street Crash of , the Great Depression that followed, and the Spanish Civil War, the dance focused on depression and isolation, reflected in the dark nature of both the set and costumes.

That same year, in conjunction with the Summer Olympic Games in Berlin, the German government wanted to include dance in the Art Competitions that took place during the Olympics, an event that previously included architecture, sculpture, painting, music, and literature.[14] Although Joseph Goebbels, Reich Minister of Propaganda, was not appreciative of the modern dance art form and changed Germany's dance from more avant-garde to traditional, he and Adolf Hitler still agreed to invite Graham to represent the United States. The United States resulted in not being represented in the Art Competitions as Martha Graham refused the invitation by stating:

I would find it impossible to dance in Germany at the present time. So many artists whom I respect and admire have been persecuted, have been deprived of the right to work for ridiculous and unsatisfactory reasons, that I should consider it impossible to identify myself, by accepting the invitation, with the regime that has made such things possible. In addition, some of my concert group would not be welcomed in Germany.

Goebbels himself wrote her a letter assuring her that her Jewish dancers would "receive complete immunity", however, it was not enough for Graham to accept such invitation.

Stimulated by the occurrences of the Olympic Games, and the propaganda that she heard through the radio from the Axis Powers, Martha Graham creates American Document in The dance expresses American ideals and democracy as Graham realized that it could empower men and inspire them to fight fascist and Nazi ideologies. American Document ended up as a patriotic statement focusing on rights and injustices of the time, representing the American people including its Native-American heritage and slavery. During the performance, excerpts from The Declaration of Independence, Lincoln's Gettysburg Address, and the Emancipation Proclamation were read. These were passages that highlighted the American ideals and represented what made the American people American. For Graham, a dance needed to "reveal certain national characteristics because without these characteristics the dance would have no validity, no roots, no direct relation to life".[17]

The beginning of American Document marks modern concepts of performance art joining dance, theater and literature and clearly defining the roles of the spectator and the actors/dancers. The narrator/actor starts with "establishing an awareness of the present place and time, which serves not only as a bridge between past and present, but also between individual and collective, particular and general". Together with her unique technique, this sociological and philosophical innovation sets dance as a clear expression of current ideas and places and Graham as a pillar of the modern dance revolution.

became a big year for Graham; the Roosevelts invited Graham to dance at the White House, making her the first dancer to perform there.[19] Also, in , Erick Hawkins became the first man to dance with her company. He officially joined her troupe the following year, dancing male lead in a number of Graham's works. They were married in July after the New York premiere of Night Journey. He left her troupe in and they divorced in

On April 1, , the Martha Graham Dance Company premiered the ballet, Clytemnestra, based on the ancient Greek legend Clytemnestra and it became a huge success and great accomplishment for Graham.[21] With a score by Egyptian-born composer Halim El-Dabh, this ballet was a large scale work and the only full-length work in Graham's career. Graham choreographed and danced the title role, spending almost the entire duration of the performance on the stage.[22] The ballet was based on the Greek mythology of the same title and tells the story of Queen Clytemnestra who is married to King Agamemnon. Agamemnon sacrifices their daughter, Iphigenia, on a pyre, as an offering to the gods to assure fair winds to Troy, where the Trojan War rages. Upon Agamemnon's return after 10 years, Clytemnestra kills Agamemnon to avenge the murder of Iphigenia. Clytemnestra is then murdered by her son, Orestes, and the audience experiences Clytemnestra in the afterworld. This ballet was deemed a masterpiece of 20th-century American modernism and was so successful it had a limited engagement showing at the 54th Street Theatre on Broadway, conducted by Robert Irving, voice parts sung by Rosalia Maresca and Ronald Holgate.[23]

Graham collaborated with many composers including Aaron Copland on Appalachian Spring, Louis Horst, Samuel Barber, William Schuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menotti.[24] Graham's mother died in Santa Barbara in Her oldest friend and musical collaborator Louis Horst died in She said of Horst: "His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost."

Graham resisted requests for her dances to be recorded because she believed that live performances should only exist on stage as they are experienced.[26] There were a few notable exceptions. For example, in addition to her collaboration with Sunami in the s, she also worked on a limited basis with still photographers Imogen Cunningham in the s, and Barbara Morgan in the s. Graham considered Philippe Halsman's photographs of Dark Meadow the most complete photographic record of any of her dances. Halsman also photographed in the s Letter to the World, Cave of the Heart, Night Journey and Every Soul is a Circus. In later years her thinking on the matter evolved and others convinced her to let them recreate some of what was lost. In Graham allowed taping of her meeting and cultural exchange with famed deafblind author, activist and lecturer Helen Keller, who, after a visit to one of Graham's company rehearsals became a close friend and supporter. Graham was inspired by Keller's joy from and interpretation of dance, utilizing her body to feel the vibration of drums and of feet and movement moving the air around her.[27]

Martha Graham with Bertram Ross ()

In her biography Martha, Agnes de Mille cites Graham's last performance as having occurred on the evening of May 25, , in Time of Snow. But in A Dancer's Life, biographer Russell Freedman lists the year of Graham's final performance as In her autobiography, Blood Memory, Graham herself lists her final performance as her appearance in Cortege of Eagles when she was 76 years old. Graham's choreographies span compositions.[28]

Retirement and later years[edit]

In the years that followed her departure from the stage, Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham's health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote,

It wasn't until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted.

[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. My face was ruined, and people say I looked odd, which I agreed with. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma.[29]

Graham not only survived her hospital stay, but she rallied. In , she quit drinking, returned to her studio, reorganized her company, and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 's Maple Leaf Rag.


Graham choreographed until her death in New York City from pneumonia in , aged [30] Just before she became sick with pneumonia, she finished the final draft of her autobiography, Blood Memory, which was published posthumously in the fall of [31] She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico.

Influence and legacy[edit]

Graham has been sometimes termed the "Picasso of Dance" in that her importance and influence to modern dance can be considered equivalent to what Pablo Picasso was to modern visual arts.[32] Her impact has been also compared to the influence of Stravinsky on music and Frank Lloyd Wright on architecture.[34]

To celebrate what would have been her th birthday on May 11, , Google's logo for one day was turned into one dedicated to Graham's life and legacy.[35]

Graham has been said to be the one that brought dance into the 20th century. Due to the work of her assistants, Linda Hodes, Pearl Lang, Diane Gray, Yuriko, and others, much of Graham's work and technique have been preserved. They taped interviews of Graham describing her entire technique and videos of her performances. As Glen Tetley told Agnes de Mille, "The wonderful thing about Martha in her good days was her generosity. So many people stole Martha's unique personal vocabulary, consciously or unconsciously, and performed it in concerts. I have never once heard Martha say, 'So-and-so has used my choreography.'" An entire movement was created by her that revolutionized the dance world and created what is known today as modern dance. Now, dancers all over the world study and perform modern dance. Choreographers and professional dancers look to her for inspiration.[38]

According to Agnes de Mille:

The greatest thing [Graham] ever said to me was in after the opening of Oklahoma!, when I suddenly had unexpected, flamboyant success for a work I thought was only fairly good, after years of neglect for work I thought was fine. I was bewildered and worried that my entire scale of values was untrustworthy. I talked to Martha. I remember the conversation well. It was in a Schrafft's restaurant over a soda. I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly: "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 of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. 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. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

In actress Mary Beth Peil portrayed Graham in the Netflix series Halston.[40]

Martha Graham Dance Company[edit]

See also: Martha Graham Center of Contemporary Dance

The Martha Graham Dance Company is the oldest dance company in America,[41] founded in It has helped develop many famous dancers and choreographers of the 20th and 21st centuries including Erick Hawkins, Anna Sokolow, Merce Cunningham, Lila York, and Paul Taylor. It continues to perform, including at the Saratoga Performing Arts Center in June The company also performed in at the Museum of Contemporary Art, Chicago, with a program consisting of: Appalachian Spring, Embattled Garden, Errand into the Maze, and American Original.[42][43]

Early dancers[edit]

Graham's original female dancers consisted of Bessie Schonberg, Evelyn Sabin, Martha Hill, Gertrude Shurr, Anna Sokolow, Nelle Fisher, Dorothy Bird, Bonnie Bird, Sophie Maslow, May O'Donnell, Jane Dudley, Anita Alvarez, Pearl Lang, and Marjorie G. Mazia. A second group included Yuriko, Ethel Butler, Ethel Winter, Jean Erdman, Patricia Birch, Nina Fonaroff, Matt Turney, Mary Hinkson. The group of men dancers was made up of Erick Hawkins, Merce Cunningham, David Campbell, John Butler, Robert Cohan, Stuart Hodes, Glen Tetley, Bertram Ross, Paul Taylor, Donald McKayle, Mark Ryder, and William Carter.


In , Graham was elected a Fellow of the American Academy of Arts and Sciences.[45] She was awarded the Presidential Medal of Freedom in by President Gerald Ford (the First LadyBetty Ford had danced with Graham in her youth). Ford declared her "a national treasure".

Graham was the first recipient of the American Dance Festival's award for her lifetime achievement in [citation needed]

In Graham was awarded the highest French order of merit, the Legion of Honour by then Minister of culture Jack Lang.[citation needed]

Graham was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in [47]

In the Council of Fashion Designers of America awarded Graham with the Geoffrey Beene Lifetime Achievement Award.[citation needed]

In Graham was posthumously named "Dancer of the Century" by Time magazine,[1] and one of the female "Icons of the Century" by People.[48]

In she was posthumously inducted into the National Women's Hall of Fame.[49]

On May 11, , on what would have been Graham's th birthday, the New York Public Library for the Performing Arts announced it had acquired Graham's archives for its Jerome Robbins Dance Division. The archive consists mainly of paper-based material, photographs and films, including rare footage of Graham dancing in works such as "Appalachian Spring" and "Hérodiade"; her script for "Night Journey"; and her handwritten notes for "American Document".[50]


This excerpt from John Martin's reviews in The New York Times provides insight on Graham's choreographic style. "Frequently the vividness and intensity of her purpose are so potent that on the rise of the curtain they strike like a blow, and in that moment one must decide whether he is for or against her. She boils down her moods and movements until they are devoid of all extraneous substances and are concentrated to the highest degree."[51] Graham created ballets.

See also: Category:Ballets by Martha Graham

Year Performance Music Notes
ChoraleCésar Franck
NoveletteRobert Schumann
LugubreAlexander Scriabin
RevoltArthur Honegger
FragilitéAlexander Scriabin
ScherzaRobert Schumann
Figure of a SaintGeorge Frideric Handel
ResurrectionTibor Harsányi
AdolescencePaul Hindemith
DanzaDarius Milhaud
Vision of the ApocalypseHermann Reutter
InsinceritiesSergei Prokofiev
Moment RusticaFrancis Poulenc
Hereticfrom folklore Old Breton song, Tetus Breton, as arranged by Charles de Sivry; added to the United States National Film Registry in along with three other Martha Graham dance films[52]
LamentationZoltán KodálySets by Isamu Noguchi; added to the United States National Film Registry in along with three other Martha Graham dance films[52]
HarlequinadeErnst TochCostumes by Graham
Primitive MysteriesLouis Horst
BacchanaleWallingford Riegger
DolorosaHeitor Villa-Lobos
Romeo and JulietPaul NordoffDance sequences for a Katharine Cornell production
Dance in Four PartsGeorge Antheil
CelebrationLouis Horst Costumes, Martha Graham
PraeludiumPaul NordoffCostumes by Graham (), by Edythe Gilfond ()
FrontierLouis HorstSets by Isamu Noguchi; added to the United States National Film Registry in along with three other Martha Graham dance films[52]
CourseGeorge Antheil
Steps in the StreetWallingford RieggerPart of Chronicle
ChronicleWallingford RieggerLighting by Jean Rosenthal
HorizonsLouis HorstSets by Alexander Calder
SalutationLehman Engel
Deep SongHenry Cowell
Opening DanceNorman Lloyd
Immediate TragedyHenry Cowell
American LyricAlex NorthCostumes by Edythe Gilfond
American DocumentRay Green Sets by Arch Lauterer, costumes by Edythe Gilfond
ColumbiadLouis HorstSets by Philip Stapp, costumes by Edythe Gilfond
Every Soul is a CircusPaul NordoffSets by Philip Stapp, costumes by Edythe Gilfond
El PenitenteLouis HorstOriginal sets by Arch Lauterer, costumes by Edythe Gilfond, sets later redesigned by Isamu Noguchi
Letter to the WorldHunter JohnsonSets by Arch Lauterer, costumes by Edythe Gilfond
Punch and the JudyRobert McBrideSets by Arch Lauterer, costumes by Charlotte Trowbridge, text by Edward Gordon Craig
Land Be BrightArthur KreutzSets and costumes by Charlotte Trowbridge
Deaths and EntrancesHunter JohnsonSets by Arch Lauterer, costumes by Edythe Gilfond () and by Oscar de la Renta ()
Salem ShorePaul NordoffSets by Arch Lauterer, costumes by Edythe Gilfond
Appalachian SpringAaron CoplandSets by Isamu Noguchi; added to the United States National Film Registry in along with three other Martha Graham dance films[52]
Imagined WingDarius MilhaudSets by Isamu Noguchi, costumes by Edythe Gilfond
HérodiadePaul HindemithSets by Isamu Noguchi
Dark MeadowCarlos ChávezSets by Isamu Noguchi, costumes by Edythe Gilfond, and lighting by Jean Rosenthal.
Cave of the HeartSamuel BarberSets by Isamu Noguchi, costumes by Edythe Gilfond, and lighting by Jean Rosenthal.
Errand into the MazeGian Carlo MenottiSets by Isamu Noguchi, lighting by Jean Rosenthal
Night JourneyWilliam SchumanSets by Isamu Noguchi
Diversion of AngelsNorman Dello JoioSets by Isamu Noguchi (eliminated after the first performance)
JudithWilliam SchumanSets by Isamu Noguchi, lighting by Jean Rosenthal
The Triumph of St. JoanNorman Dello Joio
Canticle for Innocent Comedians Cameron McCosh
Ardent SongAlan Hovhaness
Seraphic DialogueNorman Dello JoioSets by Isamu Noguchi
ClytemnestraHalim El-DabhSets by Isamu Noguchi, costumes by Graham and Helen McGehee
Embattled GardenCarlos SurinachSets by Isamu Noguchi
EpisodesAnton WebernCommissioned by New York City Ballet
Acrobats of GodCarlos Surinach
AlcestisVivian Fine
Visionary RecitalRobert StarerRevised as Samson Agonistes in
One More Gaudy NightHalim El-Dabh
PhaedraRobert StarerSets by Isamu Noguchi
A Look at LightningHalim El-Dabh
Secular GamesRobert Starer
Legend of Judith[53]Mordecai Seter
CirceAlan HovhanessSets by Isamu Noguchi
The Witch of EndorWilliam Schuman
Cortege of EaglesEugene Lester Sets by Isamu Noguchi
A Time of SnowNorman Dello Joio
Plain of PrayerEugene Lester
The Lady of the House of SleepRobert Starer
The Archaic HoursEugene Lester
Mendicants of EveningDavid G. WalkerRevised as Chronique in
Myth of a VoyageAlan Hovhaness
Holy JungleRobert Starer
Jacob's DreamMordecai Seter
LuciferHalim El-Dabh
AdorationsMateo Albéniz
Domenico Cimarosa
John Dowland
Girolamo Frescobaldi
Point of CrossingMordecai Seter
The Scarlet LetterHunter Johnson
O Thou Desire Who Art About to SingMeyer Kupferman
ShadowsGian Carlo Menotti
The Owl and the PussycatCarlos Surinach
EcuatorialEdgard Varèse
Flute of PanTraditional music.
or FrescoesSamuel Barber
EpisodesAnton Webernreconstructed and reworked
JudithEdgard Varèse
Acts of LightCarl NielsenCostumes by Halston
Dances of the Golden HallAndrzej Panufnik
Andromanche's LamentSamuel Barber
Phaedra's DreamGeorge Crumb
The Rite of SpringIgor Stravinsky
SongRomanianfolk musicplayed on the pan flute by Gheorghe Zamfir with Marcel Cellier on the organ
Temptations of the MoonBéla Bartók
Tangled NightKlaus Egge
PerséphoneIgor StravinskyCostumes by Halston[54]
Night ChantR. Carlos NakaiSet by Isamu Noguchi
American Document (new version) John CoriglianoGuest Artist M.Baryshinikov
Maple Leaf RagScott Joplincostumes by Calvin Klein, lighting by David Finley
The Eyes of the Goddess (unfinished) Carlos SurinachSets by Marisol

See also[edit]


  1. ^ ab"TIME Martha Graham". Time. August 6, Archived from the original on July 6,
  2. ^The Dancer Revealed, American Masters: Season 8, Episode 2, PBS, May 13,
  3. ^"Mission and History". Martha Graham School. Retrieved March 26,
  4. ^Jowitt, Deborah (). "Martha Graham (–)"(PDF). Dance Heritage Coalition. Archived from the original(PDF) on August 3, Retrieved April 13,
  5. ^ abBryant Pratt , p.&#;[page&#;needed]
  6. ^"Music Films", Standard-Examiner (Ogden, Utah), May 21, , p. 5
  7. ^"from Kathy Muir". Seattle Camera Club. Retrieved October 4,
  8. ^Fishgall, Gary (). Gregory Peck: A Biography. New York: Scribner. pp.&#; ISBN&#;. OCLC&#;
  9. ^Debra Craine; Judith Mackrell (August 19, ). The Oxford Dictionary of Dance. Oxford University Press. pp.&#; ISBN&#;.
  10. ^Art Competitions at the Summer Olympics.
  11. ^Plotkin, Leah. June 23, "Exploring the Seven Arts", p. [full citation needed]
  12. ^Martha Graham Timeline: –, The Library of Congress.
  13. ^Martha Graham: A special issue of the journal Choreography and Dance, by Alice Helpern[full citation needed].
  14. ^LaMothe, Kimerer L. Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of. p.&#;
  15. ^"Dance: Clytemnestra; Martha Graham Work Offered by Her and Company at Broadway Theatre" by John Martin, p. 23, The New York Times, March 9,
  16. ^ Archived January 10, , at the Wayback Machine.
  17. ^Klenke, Karin (). Women in Leadership: Contextual Dynamics and Boundaries. Bingley: Emerald. p.&#; ISBN&#;.
  18. ^Hello Goodbye Hello: A Circle of Remarkable Meetings.[full citation needed]
  19. ^Martha Graham Dance Company – History. Archived April 13, , at the Wayback Machine.
  20. ^Graham , p.&#;[page&#;needed].
  21. ^Kisselgoff, Anna (April 2, ). "Martha Graham Dies at 96; A Revolutionary in Dance". The New York Times.
  22. ^Susan Ware (). Letter to the World: Seven Women who Shaped the American Century. W.W. Norton. ISBN&#;.
  23. ^Bondi () p. 74 quote: "Picasso of Dance Martha Graham was to modern dance what Pablo Picasso was to modern art."
  24. ^"Martha Graham: About the Dancer". American Masters. NPR. September 16, Archived from the original on October 10,
  25. ^"Google Doodle Celebrates Martha Graham and Dynamic Web". PC World. May 11, Archived from the original on July 2, Retrieved May 11,
  26. ^Newman , p.&#;[page&#;needed].
  27. ^Maureen Lee Lenker (May 14, ). See the cast of Halston and their real-life counterparts. Entertainment Weekly.
  28. ^"Martha's back! Famed dance company in residence during June."Archived October 10, , at the Wayback MachineScope Online. Skidmore College
  29. ^"Martha Graham Dance Company". Museum of Contemporary Art, Chicago. Archived from the original on September 19, Retrieved August 8,
  30. ^Darnell, Tracie (April 17, ). "Martha Graham Dance Company returns to Chicago for long-awaited performance at MCA". Medill. Archived from the original on October 12, Retrieved August 8,
  31. ^"Book of Members, – Chapter G"(PDF). American Academy of Arts and Sciences. Retrieved July 29,
  32. ^Cross, Mary (ed.). One Hundred People who Changed 20th-century America. p.&#;
  33. ^Women in Leadership: Contextual Dynamics and Boundaries, By Karin Klenke
  34. ^"10 women honored at Hall of Fame induction". Retrieved October 4,
  35. ^Gia Kourlas, "For the Public Library, Martha Graham Is the Missing Link,"The New York Times, May 11,
  36. ^Armitage, p. 9.[incomplete short citation]
  37. ^ abcd" additions to National Film Registry" (8/29), CBS News.
  38. ^"Moving force", HaaretzArchived February 25, , at the Wayback Machine
  39. ^Kisselgoff, Anna (October 15, ). "Ballet: Graham's Persephone". The New York Times. p.&#;C

Cited sources[edit]

  • Bryant Pratt, Paula (). The Importance of Martha Graham. Detroit: Gale. ISBN&#;.
  • de Mille, Agnes (). Martha: The Life and Work of Martha Graham. New York: Random House. ISBN&#;.
  • Franko, Mark (). Martha Graham in Love and War: The Life in the Work.
  • Freedman, Russell (). Martha Graham – A Dancer's Life. New York City: Clarion Books. ISBN&#;.
  • Graham, Martha (). Blood Memory: An Autobiography. New York: Doubleday. ISBN&#;.
  • Hanley, E. (). The Role of Dance in the Berlin Olympic Games.
  • Mansfield Soares, Janet (). Louis Horst – Musician in a Dancer's World. Durham, North Carolina: Duke University Press. ISBN&#;.
  • Newman, Gerald (). Martha Graham: Founder of Modern Dance. Danbury, Connecticut: Franklin Watts. ISBN&#;.

Further reading[edit]

  • Au, Susan (). Ballet and Modern Dance (second&#;ed.).
  • Bird, Dorothy; Greenberg, Joyce (). Bird's Eye View: Dancing With Martha Graham and on Broadway (reprint&#;ed.). Pittsburgh, Pennsylvania: University of Pittsburgh Press. ISBN&#;.
  • Hawkins, Erick (). The Body Is a Clear Place and Other Statements on Dance. Hightstown, New Jersey: Princeton Book Co. ISBN&#;.
  • Helpern, Alice. Martha,
  • Hodes, Stuart, Part Real – Part Dream, Dancing With Martha Graham, () Concord ePress, Concord, Massachusetts
  • Horosko, Marian (). Martha Graham The Evolution of Her Dance Theory and Training. Gainesville, Florida: University Press of Florida. ISBN&#;.
  • Layman, Richard; Bondi, Victor (). American Decades –. Gale Research International. ISBN&#;.
  • Morgan, Barbara (). Martha Graham – Sixteen Dances in Photographs. Morgan & Morgan. ISBN&#;.
  • Taylor, Paul (). Private Domain – An Autobiography. New York: Knopf. ISBN&#;.
  • Tracy, Robert (). Goddess&#;– Martha Graham's Dancers Remember. Pompton Plains, New Jersey: Limelight Editions. ISBN&#;.

External links[edit]


Coffin dancing cori

Cori Coffin [Fox 5] Wiki: Age, Married Life With Husband, Height

Cori Coffin in no new name in American broadcast journalism. She is a well-known figure currently working as a Freelance Anchor for NBC News.

Before NBC, she is also famed for working with FOX 5 as an anchor and reporter in Washington D.C., where she served for two years until October  

Her adorable works with various news stations have also earned her multiple honors and recognition.

She received Lone Star Emmy in for covering various significant issues throughout the year.

In the next year also she was awarded the same title for her works titled 'Texas Sex Crimes.'

Cori Coffin’s Wiki-Like Bio

Cori Coffin was born in Arizona, where she grew up with a wide variety of climate. As a young child, Cori was always passionate about science and the natural phenomenon around her. 

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Growing up with a passion dragging her towards journalism, she studied at Arizona State University from to

Then she thought of achieving academic education in journalism and joined Chapman University in

Finally, in , she graduated with a Bachelor of Fine Arts degree in Television and Broadcast Journalism with minors in public speaking and advertising. 

Cori is also a passionate Taekwondo player, and she has a 3rd-degree black belt in Taekwando. Additionally, she is also fond of dancing. 

Married To Husband

Cori Coffin is happily married to Stephen Nelson. The couple shared their vows on 17th June The couple got married in a wedding ceremony organized in Texas.

The couple has several pictures of their wedding through their social media where the bride in white wedding dress and groom in blue suits can be seen really happy to enjoy their married life ahead. 

Cori Coffin with her husband Stephen Nelson on the wedding day (Source: Cori Coffin's Instagram) 

Before legally marrying, the pair was in a relationship long ago.

On an Instagram post dated 18th June , shared by Stephen, he revealed how he expressed his love to Cori for the first time.

So most possibly, the couple has been dating since  

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Similarly, an Instagram post of 18th June , suggest that the couple engaged after Stephen proposed Cori in

Finally, after two years of engagement, they turned their relationship into husband-wife by marrying in  

Who Is Her Husband? 

Stephen Nelson is a years old TV personality currently working as the host at The MLB Network in Secaucus, New Jersey.

He has more than a decade long experience in hosting. Previously, he has also worked for Bleacher Report, KEZI-TV, Rockford Icehogs, and Anaheim Ducks, among many. 

Like Cori, he is also a graduate of Chapman University in Television Broadcast Journalism.    

Luca - Cöffïn Dąnc Song (COVER)


Performers in the New York premiere of There Might Be Others

Dancers: Rhonda Baker, Sara Coffin, Simon Courchel, Natalie Green, Dylan Greene, raja feather kelly, Cori Kresge, Agnieszka Kryst, Jan Lorys, Ramona Nagabczynska, Christopher Ralph, Pawel Sakowicz, Anna Schön, Tan Temel and Saúl Ulerio

Musicians: Alex Appel, Eric Cha Beach, David Degge, Mika Godbole, Dylan Greene, Josh Quillen, Luz Carime Santa-Coloma, Adam Sliwinski, Yumi Tamashiro, Jason Treuting, Jesica Tsang and Frank Tyl

New York Cast for There Might Be Others:

Simon Courchel is a Brooklyn-based performer and photographer. Originally from Paris, he studied dance at the Conservatoire National Superieur de Musique et de Danse de Paris, from where he graduated. He then worked with Michel Kelemenis, Jean-Claude Gallota, Dominique Bagouet, Karole Armitage, Lucinda Childs, Yuval Pick, Tero Saarinen, and Russel Maliphant among others. In , he joined the Belgium choreographer Frederic Flamand and his team and he collaborated with Zaha Hadid, Humberto and Fernando Campana, Thom Mayne and Dominique Perrault. Since , Simon lives in New York, where he worked until as Deputy Director at The Invisible Dog Art Center. Simon is currently collaborating and dancing with Yanira Castro, Rebecca Lazier, John Jasperse, Jon Kinzel, Paul-Andre Fortier and Highwaymen.

photo by Fivel RothbergNatalie Green, originally from Au TX, graduated from the SUNY Purchase Dance Conservatory in She has since had the pleasure of performing for RoseAnne Spradlin, Tere O&#;Connor, Anna Sperber, Levi Gonzalez, and Juliette Mapp, among others. Green’s own work has been presented at Dance Theater Workshop, Danspace Project’s “Food for Thought”, Movement Research at the Judson Church “About Town”, BAX, and Catch. Her evening length piece I’m building a shrine. premiered at The Chocolate Factory Theater in May

rajafeatherkellyheadshotraja feather kelly has been a company member with David Dorfman Dance, Kyle Abraham/Abraham In Motion, zoe | juniper (SEA), RaceDance, Squint Productions (BE), and PEARSONWIDRIG Dance Theater and currently performs with Reggie Wilson Fist and Heel Performance Group, Christopher Williams Dance, and Keeley Garfield.  Kelly created ​the feath3r theory​ in to present his own performance projects dedicated to and inspired by Andy Warhol.  Kelly holds a BA with Honors in Dance and English from Connecticut College.

Cori Kresge is a NY based dancer and teacher. She was a member of the Merce Cunningham Repertory Understudy Group and part of the teaching faculty, developing new classes in Cunningham technique for children and teens. She graduated from SUNY Purchase with the Dean’s Award for “breaking the mold.” A recipient of the Darmasiswa International Scholarship, she studied traditional Balinese dance in Indonesia. Cori currently works with Rashaun Mitchell, Silas Riener, Jose Navas, Sarah Skaggs, Ellen Cornfield, Rebecca Lazier, Wendy Osserman and Liz Magic Laser, and is an adjunct professor at Dickinson College.

_D3SChristopher Ralph was born and raised in Long Island, N.Y. He began his dance training at Holy Trinity High School, were he worked with Cathy Murphy and James Whore; he also trained at Broadway Dance Center and Steps with Peter Schabel, Dorrit Koppel, Frank Hatchett, and Chio Yamada. Since graduating from SUNY Purchase, Christopher has performed with Lauri Stallings, Gregory Dolbashian, Azure Barton, Janis Brenner, Loni Landon, Patrick Corbin, and recently with Doug Varone in the Metropolitan Opera in Les Troyens. Christopher has toured to China, Japan, London, Spain and Indonesia with a wide range of choreographers.

Anna Schön, a native from the Bronx, received her BA from Barnard College in European History and Dance. Anna is thrilled to be working with Rebecca Lazier and the rest of the Terrain family. She also dances for the Reggie Wilson/Fist & Heel Performance Group, The Metropolitan Opera, zoe|juniper, Daniel Gwirtzman, Mark Dendy, Christiana Axelsen/Tundra, Gabriel Forestieri/project LIMB and was an apprentice for the Bill T. Jones/Arnie Zane Dance Company for season. She has had the pleasure of working with Aszure Barton and Artists, Jennifer Muller/The Works (apprentice), Jody Oberfelder, Alison Jones Dance, Malcolm Low and Gabri Christa. In her spare time Anna tutors Hebrew and Bar/Bat Mitzvah preparation. Thank you, thank you, thank you God, family, friends, and Kehila in Riverdale for always believing in me and my dreams.

SaulSaúl Ulerio is New York based choreographer-performer.  Since Ulerio&#;s relocation to New York City from the Dominican Republic his choreographic work has performed at New York Live Arts, Dance New Amsterdam, Danspace Project&#;s Draftwork and Food For Thought, Dixon Place, BAAD! and Teatro Iati. Ulerio has performed in the works of Antonio Ramos, Daria Faïn, RoseAnne Spradlin, Rebecca Lazier, Kota Yamazaki, and Tami Stronach, among others.  Ulerio was a New York Live Arts Fresh Tracks Artist and a Movement Research Artist in Residence.

Visiting Polish Artists:

Jan Lorys was born in Kraków, attended the private acting school “Lart Studio” and graduated as a Master of Art from PWST National Academy of Theatre Arts in Krakow Dance Department in Bytom.  In addition to acting and choreographing, Lorys has danced with Anna Piotrowska, Eryk Makohon, Kamils Wawrzuta, Jozef Frocek, Annie Vigier and Franck Apertet, Sharon Reshef, and Rebecca Lazier, among others.  He also likes to travel and eat lots of ice cream.

Agnieszka Kryst graduated from the Warsaw School of Economics and the Fryderyk Chopin University of Music in Warsaw with a MA diploma in Choreography and dance theory. In she received a scholarship from the Alternative Dance Academy, Old Brewery New Dance, Poznań, Poland and was a finalist of the choreographic competition New Europe Festival in Prague.  As a performer she has collaborated with Karolina Kroczak, Tomas Nepsinski, Juan Domìnguez Rojo, Małgorzata Haduch, Sjoerd Vreugdenhil, and Marta Ziółek and has presented her own choreography throughout Poland and abroad.

Ramona Nagabczyńskawasborn in Toronto but trained in ballet at the Warsaw State Ballet School and contemporary dance in Frankfurt and London.  Nagabczyńska has performed with Polish Dance Theatre, Fleur Darkin, Junk Ensemble, Lucy Guerin, Emma Martin, David Wampach, Ula Sickle, Sjoerd Vreugdenhil, Maria Stoklosa, Paulina Ołowska, and Clod Ensemble.  She has been making her own work since and became the Aerowaves Priority Company in

Pawel Sakowicz graduated from the University of Warsaw with a degree in political studies and holds an MA in Performance and Choreography from the London Contemporary Dance School.  He has collaborated with Jeannie Steele, Paolo Mangiola, Ramona Nagabczyńska, Sjoerd Vreugdenhil, Mikołaj Mikołajczyk, Marta Ziółek, Rebecca Lazier, Iza Szostak, Alex Baczyński­-Jenkins, and Isabelle Schad. His own works were supported by the Ministry of Culture and National Heritage and the Art Stations Foundation by Grażyna Kulczyk.

Mocean Dance from Nova Scotia:

Mocean Dance isbased in Halifax, Nova Scotia and a nationally recognized as a leading company from the Atlantic region of Canada. Led by Co­-Artistic Directors Susanne Chui and Sara Coffin, Mocean commissions Canadian and international choreographers to create dance that is highly physical, collaborative, and technically and emotionally rich. Founded in , Mocean is committed to its home base in Nova Scotia and contributes to the provincial art scene through creation, performance, collaboration and dance education. Sara Coffin and Rhonda Baker appear as members of and in partnership with Mocean Dance, generously supported by The Province of Nova Scotia Department of Communities, Culture & Heritage.

Sara Coffin is a Halifax­-based dance artist and Co-­Artistic Director of Mocean Dance.  She completed her MFA at Smith College, holds a BFA in Dance from Simon Fraser and a BSc. in Kinesiology from Dalhousie.  Coffin has worked with many collaborators and companies across Canada and the U.S. including Chris Aiken, Angie Hauser, and Annie Kloppenberg.  Coffin has taught at Smith College, Hampshire College, Earth Dance, and Holland College School for Performing Arts (PEI). Her work has been presented in many of Canada’s major dance festivals, commissioned by Mocean Dance (, ), and her self­-produced piece Taking Your Experience for Mine was been described by the press (Georgia Straight) as “hauntingly gorgeous.”

Rhonda Baker is a Dora Award nominated artist living in Halifax, Nova Scotia.  She has performed for Coleman Lemieux & Compagnie, Mocean Dance, and Gallim Dance since graduating from The School of Toronto Dance Theatre in Baker maintains a practice of solo improvisation and has trained in Gaga and the Axis Syllabus.  She also works independently as a soloist and had the pleasure of performing Nutshell (choreography by Sharon Moore) at the Guelph Dance Festival.

Visiting Turkish Artist:

Tan Temel graduated from Mimar Sinan University State Conservatory Modern Dance Department and has since been on faculty at Yıldız Technical University Modern Dance Program.  He received his MA at Yildiz and his MFA at Case Western University.  Temel has danced with CRR Dance Theater Company and worked with Istanbul Dance Theater (IDT+) as dancer, choreographer, and instructor.  He received the “International Choreographer Award” from the Dance Chicago Festival and in both started his own company TORK Dance Art and was appointed artistic director of L’Officina Dance Company based in Florence, Italy.


Sō Percussion has redefined the modern percussion ensemble as a flexible, omnivorous entity, pushing its voice to the forefront of American musical culture for more than a decade of collaboration. Praised by the New Yorker for their “exhilarating blend of precision and anarchy, rigor and bedlam,” their activities range from commissioning new works by notable composers (Steve Reich, David Lang, Steve Mackey), to performing their own music, to creative collaborations with a diverse range of artists. They have been featured at Carnegie Hall, Lincoln Center, the Walker Arts Center, the Barbican in London and many of the major venues in the United States and around the world. Sō is: Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting.

Mantra Percussion has been hailed by The New York Times as &#;finely polished&#;a fresh source of energy,&#; by TimeOut New York as &#;forward thinking,&#; and by The New Yorker and TimeOut New York for presenting one of the ten best classical performances of Mantra is committed to honoring the deep past and expanding the far-flung future of percussion music, bringing to life new works for percussion by living composers, collaborating with artists from diverse genres and styles, and questioning what it means to communicate by making music with and on percussive objects.  Its members devote their collective energy toward engaging new audiences by challenging the standard concert format through evening-length events that look toward a grander artistic vision. Mantra Percussion is comprised of Joe Bergen, Al Cerulo, Chris Graham, Michael McCurdy, Jude Traxler, Owen Weaver, and Nick Woodbury.

Mobius Percussion is a young Brooklyn-based percussion quartet that brings a visual and theatrical edge to their performances. They perform frequently throughout the tri-state area at venues such as (le) Poisson Rouge, Baby’s All Right, ShapeShifter Lab, MoMA PS1, and the Princeton Sound Kitchen. Mobius has produced several video projects featuring the works of emerging composers and are currently working on a new video of paper melodies (my music box music), composed for the group by Jason Treuting.  Mobius Percussion proudly endorses Vic Firth Sticks and Mallets and StickMan drumstick clips. Members are: David Degge, Mika Godbole, Yumi Tamashiro, and Frank Tyl.

Alex Appel received his Bachelor’s Degree in Percussion Performance from the University of Miami in the studio of Svet Stoyanov and Matthew Strauss and his Master’s Degree in Percussion Performance from New York University under the direction of Jonathan Haas.  Based in Brooklyn, he recently organized an electroacoustic concert event entitled “Volt&#; and played in the off­-Broadway production of the New York Times Critic’s Pick Di Goldene Kale.

Dylan HunterChee Greene is a percussionist, composer, artist, and meek writer.  He’s managed numerous multi­media productions with Willo & The Tusks Band, a group he co­founded, recorded, and toured with, had compositions appear at the Alvin Ailey Citigroup Theatre, and appeared on a Grammy Nominated recording by the University of Michigan Symphony Orchestra.  He is mentored at the University of Michigan School of Music, Theatre & Dance by Joseph Gramley, Johnathan Ovalle, Ian Ding, Steven Rush, Cary Kocher, Wasentha Young, and Christian Mecca, and studies with Sō Percussion.

Luz Carime Santa­-Coloma, raised in West Palm Beach, began studying music at the age of seven with classical piano, later classical percussion and guitar, and is currently in her senior year at New York University pursuing a B.M. in Percussion Performance, where she focuses on chamber music, West African percussion, and steel pan.  In her collaborative arts duo with Sarah Bennett, she plays both standard percussion repertoire and original compositions that incorporate world percussion, piano, guitar, and vocals. They are working to establish a collective with young dancers and choreographers in the NYC area.

Jessica Tsang is a New York-based percussionist and a founding member of the theatrical percussion trio, Verharren.  As a contemporary, chamber, and orchestral musician, she has performed at a wide variety of venues and festivals including Carnegie Hall, Lincoln Center, MoMA, The Red Bull Music Academy, Bohemian National Hall, The Secret Opera, The Dream Unfinished, Vox Temporum, and Silent Barn.  Tsang is currently studying at Mannes College, a division of The New School, under the guidance of Maya Gunji and James Baker.

Past Performers:

slide-3Jennifer Lafferty is from Southern California, where she studied dance at University of California, Los Angeles, and met Rebecca Lazier. She has worked with Rebecca Lazier since Since moving to NYC, she has also performed in the work of Yasuko Yokoshi, Beth Gill, Anna Sperber, Christopher Williams, Michou Szabo, Renee Archibald, and Nina Winthrop. She is currently working on a new piece of Beth Gill&#;s.

Rashaun MitchellRashaun Mitchell was born in Stamford, Connecticut, and raised in Atlanta, Georgia. He started dancing at Concord Academy in Massachusetts and graduated from Sarah Lawrence College in Shortly after, he received the Viola Farber-Slayton Memorial Grant from the Foundation for Contemporary Art, which allowed him to move to New York to pursue dance projects with an array of artists, including Chantal Yzermans, Donna Uchizono, Risa Jaroslow, Sara Rudner, Jonah Bokaer, Richard Colton, Rebecca Lazier and Silas Riener. In he was the recipient of a Princess Grace Award: Dance Fellowship, and most recently received a New York Dance and Performance Bessie Award for sustained achievement in the work of Merce Cunningham (). His own work has been presented by Danspace: Food for Thought, La Mama Moves Festival, Mount Tremper Arts in New York; and with writer Anne Carson at the Skirball Center at NYU, Summer Stages/ The Institute for Contemporary Art in Boston, the OMiami Festival, College of St. Elizabeth, Wellesley College, University of Minnesota, and Princeton University.julie_lembergerSilas Riener grew up in Washington DC. He graduated from Princeton University with a degree in Comparative Literature and Creative Writing. He has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Jonah Bokaer, and Rebecca Lazier’s TERRAIN. In he premiered NOX, a collaboration with poet Anne Carson and choreographer Rashaun Mitchell, with whom he continues to develop new projects. In he collaborated with the Harrison Atelier on a site-specific performance at the Storefront for Art and Architecture. He was a member of the Merce Cunningham Dance Company from November until its closure at the end of While performing with MCDC, Riener completed his MFA in Dance at NYU’s Tisch School of the Arts.Paula_Lobo_Rebecca_Lazier_La_MamaPierre Guilbault recently graduated from the University of North Carolina School of the Arts with a BFA in Dance. New to New York he started taking workshops with the Cunningham Trust working under the direction of Robert Swinston, Sandra Neels, Rashaun Mitchell, and Susana Hayman-Chaffey. Since, he has worked with Mary Siedman and Dancers, John Zullo, Helen Simoneau Danse, and Pam Tanowitz. When not in rehearsals, traveling, or taking class, Pierre goes to the financial district, where he is currently employed as a Visitor Host with the National September 11th Memorial. Pierre Guilbault strives to give back in any way he can. Looking to leave this world full of creation and less destruction he is an artist who is working to better himself day by day.Christopher-WilliamsChristopher Williams noted as “one of the most exciting choreographic voices out there” in The New York Times, is a dancer, choreographer, and puppeteer who has been devoted to crafting and performing movement-based works in New York City and abroad since He graduated from Sarah Lawrence College and the École Internationale de Théâtre Jacques Lecoq in Paris. He has since danced for Douglas Dunn & Dancers, Tere O’Connor Dance, John Kelly, Yoshiko Chuma & the School of Hard Knocks, and Rebecca Lazier’s TERRAIN, among others, and has performed for acclaimed puppetry artists Basil Twist and Dan Hurlin. His original works have been presented in many New York City venues, and internationally in Bogotá, Colombia. In , he received a New York Dance & Performance “Bessie” Award for his work Ursula and the 11, Virgins. He has received fellowships from the New York Foundation for the Arts, The Foundation for Contemporary Arts, and The Bogliasco Foundation, and has held artistic residencies at Movement Research, the Joyce SoHo, Dance New Amsterdam, Djerassi Resident Artists Program, White Oak Plantation, Yaddo, and The Yard. www.christopherwilliamsdance.orgPaula_Lobo_Rebecca_Lazier_La_MamaVincent McCloskey began his dance training at the Washington School of Ballet. He later studied at the Chicago Academy of the Arts, Alvin Ailey, Joffrey Ballet School, and the Construction Company with Carolyn Lord. He has worked with many choreographers, including Dusan Tynek, Mark Morris, Lucinda Childs, Pam Tanowitz, Laura Scozzi, Ariane Anthony, Peter Kyle and Karole Armitage.

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Cori Coffin Bio, Age, Birthday, Height, Married, Dancing, Husband, Salary, NBC

Cori Coffin Biography

This is what you need to know about Cori Coffin an American news anchor currently working for NBC News as a News anchor. Before joining NBC News, Coffin worked for Fox 5 in Washington D.C as a News Reporter and News anchor for two years.

Cori Coffin Age | Cori Coffin Birthday

How old is cori? Coffin was born and raised in Arizona, USA. Details about Coffin&#;s date of birth are not available, therefore this information will be updated as soon as it&#;s available.

Cori Coffin Height

Coffin stands at an average height of 5 feet 8 inches (Approx m).

Cori Coffin Family

Coffin was brought up by hardworking parents, although she has not revealed any details about her parents, neither her siblings hence this information will be updated as soon as it&#;s available.

Cori Coffin Husband | Cori Coffin Married

Coffin is happily married to her husband Stephen Nelson. The couple started dating since Coffin wedded Stephen on June 17, , in Texas. The two have been posting pictures of their wedding on their social media handles. 

Cori Coffin Salary

Coffin receives an approximated annual average salary of $42, to $, This is according to NBC News anchors/reporters&#; salaries.

Cori Coffin Net Worth

Coffin has an estimated Net Worth of $10k to $k dollars. Her career as an anchor is her primary source of income.

Cori Coffin Dancing

Coffin video went viral after she was recorded on camera Dancing happily. she has posted the video on her Instagram page.

Cori Coffin NBC News

Coffin is currently an American news anchor currently working for NBC News as a News anchor. Before joining NBC News, Coffin worked for Fox 5 in Washington D.C as a News Reporter and News anchor for two years.

She has worked in different media houses including KVUE in Austin, Texas where she worked as an anchor and reporter. In addition, Coffin also worked as an anchor and reporter for KREX in Grand Junction, Colo. Her career journey began in Time Warner Cable in Los Angeles where she served as a Freelance reporter.


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