Professor Evans maintains an active career as a freelance choreographer, solo performer, master teacher, adjudicator and consultant and has appeared in all 50 states as well as throughout Canada and Mexico and in many other countries, including Australia, England, Finland, France, Germany, Hungary, India, Ireland, Italy, Japan, New Zealand, Norway and Russia.
He has been a member of the following companies:
Bill Evans Dance Company (which he has directed, choreographed for and performed with since 1975).
• Bill Evans Solo Dance Repertory (hundreds of performances in 22 different countries since 1970)
• Bill Evans Rhythm Tap Ensemble (founded in 1992)
• Repertory Dance Theatre of Utah (in which he was a leading dancer and major choreographer for seven years, and with which he has had an ongoing relationship for several decades, currently serving on the RDT national advisory board. He has created 18 works for RDT served as a guest performer and teacher.)
• Winnipeg ’s Contemporary Dancers and Professional Training Program (where he was artistic director/resident teacher/choreographer/performer, and with which he has had an ongoing professional relationship since the early 90s)
• Utah Theatre Ballet/Utah Civic Ballet (now Ballet West) (under artistic director Willam Christensen; ballet mistress Bené Arnold)
• Hakness Ballet apprentice dancers ( New York City )
• Ruth Page Chicago Ballet/Lyric Opera of Chicago (artistic director, Ruth Page; ballet master, Larry Long. Mr. Evans was fortunate to dance alongside guest artists Erik Brun, Carla Fracci, Kirsten Simone, Henning Kronstam and Josette Amiel, and to perform in 61 different cities throughout the country with this troupe.)
• Louisville Civic Ballet (artistic director, Fernand Nault)
• Oleg Briansky Ballet ( New York City and Binghampton , New York , artistic director, Oleg Briansky)
He has appeared as a guest artist with the many professional companies, including:
• Washington (D.C.) Ballet (artistic director, Mary Day)
• Atlanta Ballet (artistic director, Robert Barnett)
• Harvard Summer Dance Center Company (artistic director, Martha Armstrong Gray)
• Concert Dance Company of Boston (artistic director, Barbara Kauff, for which he also served as artistic advisor)
• Fairmount Dance Theatre ( Cleveland , Ohio , for which he also served as artistic advisor/resident choreographer)
• New Mexico Rhythm Tap Ensemble (of which he was founding artistic director; current artistic director is Jackie Church Oliver)
• New Mexico Ballet (of which he also served as associate artistic director and resident choreographer)
• Ballet West (artistic director, Willam Christensen)
• Repertory Dance Theatre (artistic director, Linda C. Smith)
• Chicago Tap Theatre (artistic director, Mark Yonally)
• Easy Moving Company, Raleigh , North Carolina
• Alaska Dance Theatre
• San Diego Tap Festival
• St. Louis Dancers
• Contemporary Dance Forth Worth
• Chicago Moving Company
• And many others.
• He has performed as a guest artist in national and international dance conferences of such organizations as the National Dance Association, American College Dance Festival Association, National Dance Education Organization, Society of Dance History Scholars, American Dance Guild, Regional Dance America, Performing Arts Medical Association, Dance Canada Festivals in Toronto and Halifax, Australian Association for Dance Education and many other groups.
He has performed as a guest artist with many college and university performing dance ensembles, including Mercyhurst College , Allegheny College , University of Houston at Clear Lake , University of Central Oklahoma University of California at San Diego , University of Utah , Indiana University, University of New Mexico , SUNY Brockport and many others.
• University of Utah Modern Dance Department (assistant professor)
• Dance Theatre Seattle/Bill Evans Dance Company School (artistic and educational director)
• University of Washington Dance Program (visiting professor)
• Indiana University Contemporary Dance Program (associate professor and director)
• University of New Mexico Dance Program (full professor and head)
• The College at Brockport, State University of New York, Department of Dance (visiting full professor/guest artist and undergraduate program director)
He has been a visiting artist/educator at numerous professional schools of dance and institutions of higher education, including:
• American Dance Festival, at both Connecticut College and Duke University
• Jacob's Pillow Dance Festival
• Harvard University Summer Dance Center
• 92nd Street Y, Harkness Dance Center ( New York City )
• American University/Wolf Trap Performing Arts ( Washington , D.C. )
• Limon Institute ( New York City )
• Centre International de la Danse ( Paris )
• Académie-Festival des Arcs ( Savoie , France )
• National Theatre School of Finland Dance Department ( Helsinki )
• Turku School of Art and Communication ( Finland )
• Kuopio Dance Festival ( Finland )
• IALS (Istituto Addestramento Lavoratori dello Spettacolo) ( Rome , Italy ),
• London Contemporary Dance School/The Place ( England )
• Norway Ballet College ( Oslo )
• Ninasam Theatre Institute ( Heggodu , India )
• Kala Chhaya Cultural Center ( Pune , India )
• Universidad de las Amercas ( Puebla , Mexico )
• School of Contemporary Dancers Senior Professional Program ( Winnipeg , Canada )
• University of Washington Dance Program ( Seattle )
• University of Utah Department of Modern Dance
• University of Idaho Dance Program
• University of Central Oklahoma Department of Dance
• Connecticut College Department of dance
• Middlebury College ( Vermont ) Department of Dance
• Skidmore College ( Saratoga Springs , New York ) Dance Department
• Montclair State University ( New Jersey ) Dance Program
• University of Maryland at College Park Department of Dance
• Kansas University (Lawence) Department of Dance
• Cornish College of the Arts ( Seattle ) Department of Dance
• Mercyhurst College ( Erie , Pennsylvania ) Dance Department
• Sam Houston State University ( Huntsville , Texas ) Dance Program
• University of Houston Dance Program
• University of Wisconsin at Madison Dance Program
• San Jose State University Dance Program
• Indiana University Contemporary Dance Program
• Ball State University ( Muncie , Indiana ) Dance Program
• Allegheny College ( Meadville , Pennsylvania ) Dance and Movement Studies Program
• University of California at Los Angeles Department of Dance
• Arizona State University Department of Dance
• University of Illinois at Champaign-Urbana Department of Dance
• George Washington University Dance Department
• Five-College Dance Department ( Massachusetts )
• and many, many others
More than 200 of Bill Evans’ choreographic works have been performed by professional and pre-professional ballet, modern dance and tap companies throughout the United States and in Canada , Mexico , Europe and New Zealand . Professional companies include his own professional troupes, New Mexico Ballet, New Mexico Contemporary Dance Alliance, New Mexico Repertory Theatre, Repertory Dance Theatre of Utah, Ballet West, Winnipeg’s Contemporary Dancers, Ririe-Woodbury Dance Company, Concert Dance Company of Boston, Ruth Page Chicago Ballet, Pacific Northwest Ballet, North Carolina Dance Theatre, American Ballet Theatre at Jacob's Pillow, Todd Rosenlieb Dance (Norfolk, Virginia), Three’s Company (San Diego, California), Five by Two Dance Company (New York City), Fairmount Dance Theatre (Cleveland), Chicago Tap Theatre, Chicago Moving Company, Chicago Repertory Dance Ensemble, Dallas Unlimited Repertory Company, Gear Shifting (Winnipeg), Deutsche Oper Ballet (Berlin, Germany), Kahurangi Maori Dance Trust (Hastings, New Zealand), the resident company of Complejo Cultural de Pueblo (Mexico), Ballet Impulso de Monterrey (Mexico) and many, many others.
He has created or restaged numerous works for regional ballet companies and for college and high school performing dance groups throughout the United States .
For many years he was director of the University of New Mexico Contemporary Dance Ensemble , for which he created 23 works. He led that group to Kobe , Japan , when they were selected by the National Dance Association as the only group to represent the U.S. at the first International College Dance Festival in 1993.
• Artistic Director of the Bill Evans Dance Company, 1975 - 2004, and Executive Director, 1984 – present
• Artistic Director of the Bill Evans Summer Institute of Dance since 1977, and Executive Director since 1984
• Director of the Evans Method of Teaching Dance Technique Certification Program, since 2003
• Artistic Director of Winnipeg’s Contemporary Dancers and the School of Contemporary Dancers
• Director of the Contemporary Dance Program at Indiana University
• Head of the Dance Program at the University of New Mexico
• Artistic and Educational Director of Dance Theatre Seattle, 1976 – 1983—at that time the largest school of contemporary dance in the Pacific Northwest
• Artistic and Executive Director of the Bill Evans Rhythm Tap Dance Ensemble, since 1992, and the annual New Mexico Tap Dance Festival and Tap Dance Jams, 1999 – 2004
• Artistic and Executive Director of the New Mexico Contemporary Dance Alliance, sponsor of annual community festivals of dance, 1999 – 2004
• Artistic Coordinator of Repertory Dance Theatre (resident professional modem dance company at the University of Utah , 1968 - 1974)
• Artistic Advisor to the Concert Dance Company in Boston
• Artistic Advisor to the Fairmount Dance Company in Cleveland
• Coordinator of three Regional American College Dance Festivals
• Planner and producer of the 5th Annual Conference of the National Dance Education Organization
One of Mr. Evans’ foremost achievements has been the creation of a modern dance technique that has influenced hundreds of dancers and dance teachers throughout the world since 1976. In the past two decades, this systematic approach to the training of modern dancers has been profoundly influenced by Evans’ study of Laban Movement Analysis and Bartenieff Fundamentals. This approach to teaching emphasizes total body-mind integration and allows dancers to establish:
• Balanced inner connectivity and outer expressivity
• Balanced stability and mobility
• Grounding, resilience, throughness
• Core support
• Full three-dimensional access to the kinesphere
• Enhanced musicality and effective phrasing
• Healthful regenerative ways of moving that honor the body’s needs, prevent injuries and increase kinesthetic satisfaction and longevity
In 2003, Mr. Evans began a Certification Program for experienced teachers wishing to learn more about his methods, materials and philosophy. This program occurs in conjunction with the annual Bill Evans Dance Teachers’ Intensives.
Bill Evans has produced or co-produced his own intensive dance workshops (one week to six weeks) at numerous locations since 1977, including: Dance Theatre Seattle, Western Washington University, Centrum Foundation in Port Townsend (WA), Allegheny College (PA), School of Contemporary Dancers, Winnipeg (Canada), Universidad de las Americas Puebla (Mexico), San Jose State University, Butler University, Indianapolis Jewish Community Center, Crimson Coast Dance Society (Nanaimo, British Columbia), Southern Methodist University, Dancers' Collective of Atlanta, Indiana University, Colorado College, University of Central Oklahoma, University of New Mexico, New Mexico State University, Cornish College of the Arts (Seattle), Texas Christian University, College of Santa Fe, Madonna Center in Albuquerque and the College at Brockport, State University of New York. Between 1977 and 1985, these summer sessions occupied 14 weeks per summer, in at least three different locations.
Mr. Evans’ organizations have produced or co-produced several performance series in several cities, and have presented such artists as Bill Evans (Jazz) Trio, Dan Wagoner Dance Company, Annabelle Gamson, Teo Morca, Changing Times Tap Dance Company, Christine Sarry and Cynthia Gregory (for whom he choreographed and with whom he performed in two consecutive Seattle Summer Festivals), Zero Moving Company, Cohan/Suzeau Dance Company, Freedman/Coleman Dance Company, Brenda Bufalino, Bril Barrett, Bruce Stegmann, Jeanie Hill, Acia Gray, Mark Yonally and many others. He has also produced annual seasons by the Evans Dance Company since 1976 and numerous community dance celebrations in Albuquerque, Santa Fe and elsewhere in New Mexico between 1989 and 2004--including several Dance Magnifico (Albuquerque’s annual festival of the arts) concerts, several Dancing Men concerts, several World Dance Concerts, several concerts in collaboration with companies from Japan, Canada and Mexico, and eight festivals of percussive dance.
Bill Evans is a recipient of the Guggenheim Fellowship in recognition of his choreography. He also received:
the University of Utah College of Fine Arts Distinguished Dance Alumnus Award in 2011
He was selected as one of three favorite national tap dance artists (with Savion Glover and Brenda Bufalino) in the 2004 Dance Magazine Readers Choice Poll.
Other awards he has earned include thirteen choreographic fellowships, production grants or company grants from the National Endowment for the Arts, as well as numerous company grants and fellowships from the Western States Arts Federation, the New Mexico Endowment for the Humanities and from state/provincial agencies in Utah , Washington , Manitoba , Indiana and New Mexico . He has been awarded numerous grants by several private foundations and 24 research/teaching grants by the Universities of Utah, Indiana and New Mexico and the College at Brockort, SUNY.
He has been honored by the creation of awards in his name to the outstanding graduating dance major at the University of New Mexico , the outstanding teacher in the Arizona Dance Education Organization and a student attending the annual conference of the National Dance Education Organization.
He has been a keynote speaker at national conferences of the National Dance Education Organization, the National Dance Association, two NDA Dance Pedagogy Conferences, the Dance Teacher Summit, Texas Association of Health Physical Education Recreation and Dance, Indiana Dance Alliance and other regional organizations. He has presented his research in pedagogy in conferences of such organizations as the National Dance Science and Somatics Conferences (in Salt Lake City and Cleveland), American College Dance Festival Association, National Dance Association, National Dance Education Organization, Society of Dance History Scholars, Regional Dance America, Performing Arts Medical Association, Dance in Canada Conferences (in Toronto and Halifax), Kuopio Dance Festival, international festivals in Monterrey and San Luis Potosi, Mexico, and many others.
Mr. Evans’ book, Reminiscences of a Dancing Man: A Photographic Journey of a Life in Dance, was commissioned and published by the National Dance Association in 2005. He is at work now on his autobiography and a textbook for students in college and high school modern dance technique courses. He has published articles in Dance Magazine, Dance Teacher Magazine, Dance Teacher Now Magazine, Dance Studio Life, Contact Quarter, the Journal of Dance Education, Puget Soundings, and the proceedings of conferences of the Dance History Scholars Association and the National Dance Association Pedagogy Conferences. He wrote a chapter, “Teaching Movement Analysis,” in Teaching Dance Studies, published by Routledge in 2005.
He is the subject of The Legacy: Bill Evans reaching out from the regional Southwest, written by Jennifer Allen Noyer and the accompanying videotape by Rogulja Wulf, both published by Harwood Academic Publishers in 2000.
Mr. Evans was interviewed by Renata Celichowska for Seven Statements of Survival: Conversationswith Dance Professionals, published by Dance Movement Press in 2008, and by Rose Eichenbaum for The Dancer Within: Intimate Conversations with Great Dancers, published by Wesleyan University Press in 2008.
Mr. Evans’ interests for the future include making further connections with dance communities in Mexico and elsewhere in Latin America, Asia and Africa; exploring new performance modes for the mature male modern and tap dancer; choreographing as much as possible; writing about his theory and technique of training dancers, about his life as a performing artist, and in the area of dance criticism; passing on his teaching methods and materials through the Evans Technique Certification Program and creating instructional videotapes on his teaching of Bartenieff Fundamentals and Modern Dance Technique.
William and Donald at 2011 Brockport Dance Teachers' Intensive Party.
Bill Evans is a performer, teacher, choreographer, lecturer, administrator, movement analyst, writer, adjudicator and dance advocate with a uniquely varied and comprehensive background of experiences and accomplishments. Bill is:
• Full-time Professor and Dance Artist in Residence, Palladino School of Dance, Dean College, Franklin, Massachusetts
• Emeritus Visiting Professor/Guest Artist in the Department of Dance at The College at Brockport, State University of New York
.• Permanent Guest Artist in the Senior Professional Program of the School of Contemporary Dancers, Winnipeg , Manitoba , Canada .
• Artistic and Executive Director of the Bill Evans Dance Company (founded in 1975), the Bill Evans Summer Institute of Dance (founded in 1977) and the Bill Evans Rhythm Tap Ensemble (founded in 1992).
• Creator of the Evans Modern Dance Technique and director of the Evans Modern Dance Technique Teaching Certification Program (founded in 2003).