Through the American Dance Legacy Initiative (ADLI), I develop repertory, documentaries, curricular materials, and programs on American Dance. These resources provide students, educators, scholars, and the general public with ongoing access to dance masterworks and dance artists. I am interested in American dance as it reflects the inherent multi-culturalism of the United States and the role of dance in the K-University curricula. I direct musicals, produce concerts and festivals, and have choreographed over 40 works for professional and college dance companies.

Through Artists and Scientists as Partners (ASaP) I develop educational programs on the topic of arts and health. I work with both medical and arts practitioners to foster creative, integrative health practices and design courses that engage Brown students in intergrative scholarship.

DANCE LEGACY, DOCUMENTATION, EDUCATION & ACCESS, ARTS AND HEALING

American Dance Legacy Initiative
Discovering the American family tree through dance

Carolyn Adams & Julie Adams Strandberg,
Founding Artistic Director/Curators

The American Dance Legacy Initiative is dedicated to enabling all individuals to participate, as primary collaborators, in the creation and perpetuation of America's dance heritage. The Institute fulfills its mission by developing interactive materials, including the unique Repertory Etudes™, short dances based on signature works of American choreographers. Repertory Etudes™ are available to the public for study, viewing, and performance on an ongoing basis with no royalties and minimal restrictions. The Initiative also conducts a range of access and education programs that emphasize hands-on experiences and provide an environment where people can share common knowledge around the Institute's resources and programs.

To date, Initiative materials and programs have reached 39 states, the District of Columbia, and 9 countries. These materials include documentaries on American dance masterworks, Repertory Etudes™, and research based educational materials for the kindergarten through university curricula. The Institute currently includes materials on 13 individual artists and the Dancing Rebels™ Anthology: Celebrating the pioneering artists who gathered in the 1930s, 40s, and 50s as the New Dance Group. In 2005 she curated The Dancing Rebels™ Exhibit at the National Museum of Dance in Saratoga Springs, N.Y. The installation includes archival photographs, original costumes, and excerpts from Institute documentaries.

For more information, visit the Initiative's website at www.adli.us.

Artists and Scientists as Partners (ASaP) develops educational programs on the topic of arts and health to foster creative, integrative health practices and design courses that engage Brown students in intergrative scholarship. Through ASaP I present Symposia, teach undergraduate courses, and teach courses in the William Alpert Medical School.

For more information, visit the ASaP website at http://www.asap-brown.org/

CHOREOGRAPHY AND ARTISTIC DIRECTION

CHOREOGRAPHIC WORKS
Excerpt, "Bach Cantata #140," New York State Summer School of the Arts, 2005
"Memoriam," Dance Extension, 2004
"......And Again,,,,", with Arabella Project - 2003
"Resonances I," Dance Extension, 1996
"Holy Ground", The New York State Summer School of The Arts, 1995
"And Hilda Watched", 1992
"Company", Dance Extension, 1991
"Closer To The Light" Dance Extension, 1990
"Collections", The New York State Summer School of The Arts, 1989
"Duet", Dance Extension, 1988
"Plato's Cart", Dance Extension, 1987
"Ice Images", Dance Extension, 1986
"Wandering Stars," Citidance Company, 1986
"The Court Jesters," Dance Extension, 1984
"Dimensions," Dance Extension, 1983
"Encounters,"Dance Extension, 1980
"Folk Suite," Dance Extension, 1980
"Trio," Festival Ballet of Rhode Island, 1980
"Icari Victorious," Brown University Dance Ensemble, 1979
"Allegro," Brown University Dance Ensemble, 1978
"Suite Revenge," Brown University Dance Ensemble, 1978
"Festino," The Rhode Island Dance Repertory Company, 1975
"Impressions of a Worthy Past," Brown University Dance Ensemble, 1976
"Mereology" Brown University Dance Ensemble, 1975
"Dance of Death," Brown University Dance Ensemble, 1974
"Composition in Red, Yellow, and Blue" Brown University Dance Ensemble, 1973
"Back to the Valley," Brown University Dance Ensemble, 1973
"Walking and Running," and "America Build Insane Cars," The Rhode Island Dance Repertory Company, 1972
"Osibisa," The Rhode Island Dance Repertory Company, 1972
"Scavengers," The Rhode Island Dance Repertory Company, 1972
"Hugo's Trio," The Rhode Island Dance Repertory Company, 1971

DIRECTING
"The Life and Times of Joseph Beuys," - Rhode Island School of Design, 1994
"West Side Story," Brown University Theatre, 1993
"Tabou: Parisian Cabarets and Cellers in the 1950's and 60's" - Rhode Island School of Design, 1992
"A Little Night Music," Brown University, 1986
"Santa Claus and The Unicorn," an original musical production of the Harlem Dance Foundation, annually since 1976
"Shades of the Cotton Club," Co-producer, performer 1983

CHOREOGRAPHY FOR THEATRE PRODUCTIONS
Rose Weaver's "Menopause Mama" Perishable Theatre - 2003
"West Side Story", Brown University Theatre, 1993
RISD Cabarets, 1989 and 1993
"Tyger", Brown University Theatre, 1988
"A Funny Thing Happened on the Way to the Forum," Trinity Square Repertory Company, Providence, R.I., 1986
"The Threepenny Opera," Brown University Theatre 1986
"Desert Song," Brown University Theatre 1982
"Candide," Brown University Theatre 1982
"Brigadoon," Brown University Theatre 1979
"Midsummer Night's Dream, "Brown University Theatre 1979
"Man of La Mancha," Brown University Theatre 1978
"Roar of The Greasepaint, Smell of the Crowd," Rhode Island College Theatre, 1975
"Jacques Brel is Alive and Well and Living in Paris," Rhode Island College Theatre, 1974
Supervision and organization of "Where the Wild Things Are," and "The Trouble with Toys,", children's pieces, Rhode Island Dance Repertory Company
Supervision and arrangement of American Indian dances for "Ghost Dance," Trinity Square Repertory Company, Providence, RI 1973
"Hello Dolly," The Barrington Players, Barrington RI, 1972

SITE SPECIFIC CHOREOGRAPHIC WORKS
"Chrome, Chroma, Chromosomes," Brown University Green, collaboration with John Goldman, 1986
Brown University Football Stadium, 1977
Providence City Hall, 1976
List Art Building, Brown University, 1975
The Gordon School, Spring, 1974
"The Stone Lantern," The Oriental Garden, Roger Williams Park, Summer 1974
RI College Campus, 1973

Editor, "Dancing Rebels™": Biographical Sketches of New Dance Group Pioneers

"Exploring Issues of Access, Education and Preservation Through The Prism of Dance" (with Carolyn Adams), Arts Education Policy Review, Fall, 2000

"Part Real, Part Dream," (with Carolyn Adams) Symposium: Arts Education in the 21st Century: Part I, Arts Education Policy Review, November/December 2000

"Dancing Through The Curriculum: a guide to dance videotapes curated by and for teachers to enrich the school curriculum" (with Carolyn Adams) 1997

"American Education and The Arts: A Balancing of Visions for Cultural Transformation" (with Carolyn Adams) 1993

"Arts in Education; Courtship or Kinship" (with Carolyn Adams) UPDATE, the journal of Dance USA, 1987

Associate Editor and contributing writer, THE HARLEMITE, 1979-Present

"The Problems of Communication," COUNSELING, Vol. 23, #1, January 1966

All of my courses include academic and studio/laboratory work. The balance is determined by the focus of the course. I am committed to engaging undergraduates as research and teaching assistants and have sponsored at least one Undergraduate Teaching and Research Assistanship a year since 1995.

My technique courses focus on building physical strength and artistic expression within a cultural, historical context. Students learn the diverse "languages" of dance that continue to shape contemporary expression in the United States and the world. My focus is on the "languages" of Martha Graham, Jose Limon, Lester Horton, and Classical Ballet both as specific styles and as influences on other forms.

My Composition and Choreography Classes focus on developing each student's unique movement style and vocabulary, exploring traditional uses of the stage space, investigating non-traditional staging, and studying dance in relation to the other arts. Students are exposed to the theories of choreographic pioneers such as Hanya Holm, Louis Horst, and Doris Humphrey.

My History Course places dance within the socio-political context of the 20th Century and explores the relationship of American dance to the dances of other cultures, primarily those of Africa and Europe. The course has a kinesthetic component so that students can embody the diverse cultural, historical and individual styles that evolved in American dance in the 20th century. This course also relies heavily on primary sources and guest artists who were or continue to be primary shapers of the American dance heritage.

My course in Dance Performance and Repertory provides dance students with what students in other art forms take for granted -- on-going access to established works by professional artists in their fields. While the dancers in the course are encouraged and supported to create their own work, they also have the opportunity, rare in the academy, to work with some of our most revered choreographers and exciting contemporary innovators.

My course, Artists and Scientists as Partners (ASaP), explores the arts and healing with an emphasis on dance and music for persons with Parkinson’s Disease (PD) and Autism Spectrum Disorders (ASD) and includes site placements in the community.

Special Topics courses have included:
· Arts Education
· Oral History
· Dance in the Community
· Research In Dance Topics
· Technological Resources for Research