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baroque dance

Carlos Fittante, artistic director of the contemporary world dance company BALAM Dance Theatre, specializes in Baroque, Balinese, and Spanish escuela bolera dances and works as a choreographer, dancer, and teacher.  Known for spirited, elegant performances, Fittante’s choreographies received praise from The New York Times, The Wall Street Journal, The Village Voice, and Dance Magazine.  He performed his work with the Boston Early Music Festival, Blue Hill Bach Festival, Apollo’s Fire, Gotham Early Music Scene, Lincoln Center Out-of-Doors, Downtown Dance Festival, Jacob’s Pillow Dance Festival, 2nd Encuentro de Baile Contemporáneo in Mexico, and the International Arts Festival in Bali. 

As a guest artist and masterclass teacher, Fittante's repertoire features these eclectic dance solos: the masked Baroque dance, Chaconne de Phaeton, by Louis Pecour (circa 1704); Terunajaya, a Balinese fan dance, and El Vito, a Spanish dance performed with castanets.  Dance critic Deborah Jowitt described Amantes, his fusion choreography combining a Balinese mask and Latin pop-music as, “a haunting solo of indeterminate gender”.  His choreography ranges from the Baroque operas Dido and Aeneas, Versailles-Portrait of a Royal Domain, and the Prologue to Il Pastor Fido to the Balinese fusion ballet Sita Lost in the Forest, inspired by the Hindu epic Ramayana. He is a movement and gesture coach for independent films and creates customized choreographies.  A graduate of the School of American Ballet, he holds a Master of Fine Arts in Dance from the University of Wisconsin.  He teaches ballet and world dance at Queens College: City University of New York.

baroque dance

Caroline Copeland  is an Associate Director of the New York Baroque Dance Company has performed with the troupe throughout the United States and Europe, most notably at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and the Potsdam Sanssouci Music Festival.  Ms. Copeland is also a member of Boston Early Music Festival Dance Company with whom she is a featured dancer and choreographer. Her credits for choreography include  Steffani’s Niobe(2011) and Handel’s Almira(2013), and Campra’s Le Carnaval de Venise (1699). Ms. Copeland was also the choreographer and assistant director to Gilbert Blin for BEMF’s Monteverdi’s Il Ritorno d’Ulisse in Patria(2015). As a soloist, Caroline has collaborated with many early music groups around the US and Europe including Quicksilver, The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, Cantata Profana, The Knights, and the New York Consort of Viols. Her choreography has been presented at the historic Federal Hall in downtown Manhattan, The Metropolitan Museum of Art, The Public Theater, and the Philipszaal in the Hague. Caroline also directs opera and dance projects. Her credits include productions of Stravinsky's A Soldier's Tale at  Hofstra University and Handel’s Alcina for Bourbon Baroque.  Caroline has taught master classes in baroque dance and gesture at colleges and universities across the United States. She received a MFA in Dance from Sarah Lawrence College and teaches ballet and dance history at Hofstra University.