I am a choreographer. I work in a ballet and contemporary based medium for proscenium arch theaters. My focus is to create authentic and original theatrical productions that illustrate the human condition or entertain the viewer with interesting and athletic movement and patterns. My work has a broad range, from abstract to narrative, and I often work with dancers who may possess a variety of skill levels. I choreograph on commission for professional groups or universities, or as an artistic director of a dance company or ensemble. I enjoy choreographing with rising professionals in conservatory settings, or with children as young as ten. My productions sometimes reflect the aesthetics of the demographic of my commission base. For example, as artistic director of the Tallahassee Ballet I would choreograph for a very young audience, so the work tended to be family friendly. As a free-lance choreographer, I may work exclusively for classical ballet companies, with highly skilled professionals, for a sophisticated audience with that particular aesthetic preference. At a performing arts high school I may create something appropriate to the rising skill levels of those novice artists, that will catch their interest and challenge their developing conception of dance theater. In university I may choreograph for my own exploration, as there is often increased latitude for experimentation, and a willingness from the students to try new ideas. My work is often based in contemporary movement styles. I have also choreographed for musical theater and opera. I am well-versed in many forms. My productions can be as minimally produced as simple street clothes, or elaborately produced with hard sets, period costumes, and moving projections. In many cases, the limitations of my conditions end up generating the ideas for solving my expectation of creating an engaging and interesting dance experience for the audience.
Dance is experienced by the viewer both viscerally and visually, and as a visual artist I am also drawn to photography for dance. Taking my cue from one of my mentors, photographer Lois Greenfield, I try to capture the unseen moment. Going deeper, my dance photographs reflect the emotional, personal, or transcendent moment in the dance subject.
- Choreography, Ballet, Contemporary Dance, Dance, Musical Theater, Opera, Photography
- Digital Single Lens Reflex 35 mm cameras and lenses. Electronic Photographic Strobe Flash equipment. Adobe Photoshop. All format film cameras, large, medium, small, especially Hasselblad 503 cx. Contact: Sean Carter , 801-581-7327 , Marriott Center for Dance 106.
McCullough, K. E. (Aug 2013–Aug 2014). 3D High Definition Videography Initiative: Capturing and Viewing the 3D art of Dance in 3D. Funded by FSU Student Technology Fee Grant, Florida State University. Total award $17,442.
This project was realized in collaboration with Professor Tim Glenn, School of Dance, Florida State University. I drafted the text of the proposal, Professor Glenn refined the text and inserted details where necessary.
McCullough, K. E. (2011–2011). This supported travel to New York for my presentation of "Sarajevo" at The Best of The Dance Gallery '11. Funded by Florida State University, Provost Travel Grant. Total award $398.
McCullough, K. E. (2010–2010). The American Dance Festival: A Photographic Essay. Funded by Florida State University, Arts and Humanities Program Enhancement Grant. Total award $28,000.
McCullough, K. E. (2009–2009). Individual Artist Choreographer's Fellowship Grant. Funded by Florida Division of Cultural Affairs. Total award $5,000.
http://www.florida-arts.org/grants/forindividuals.htm. This grant award "recognizes the creation of new artworks by individuals of exceptional talent and demonstrated ability. Fellowship awards support the general artistic and career advancement of the individual artist." (Quoted from Florida Division of Cultural Affairs website).
McCullough, K. E. (2008–2008). Travel to New York for my presentation of "Sarajevo" at The Dance Gallery '08. Funded by Florida State University Provost Travel Grant. Total award $238.
McCullough, K. E. (2008–2008). Travel to New York for my presentation of "With Intimate Formality" at Ballet Builders: New Choreographers on Point. Funded by Florida State University, Provost Travel Grant. Total award $364.
McCullough, K. E. (May 2007–Aug 2007). Interdisciplinary creation of multi-media dance performance work generated and supported by an original computer music score and highly abstracted microscopic photographs of molecular compounds and/or cell tissue. Funded by Florida State University, Committee on Faculty Research Support (COFRS) Regular Summer Awards. Total award $13,000.
Dr. Michael Davidson, co-PI, FSU High Magnetic Field Laboratory, and Alex Davis, co-PI, School of Dance, FSU.
McCullough, K. E. (2007–2008). Strobe Flash Photography Equipment and Digital Cameras for Dance Image Capture. Funded by Florida State University, Equipment and Infrastructure Enhancement Grant (EIEG). Total award $17,850.
Daniel Kariko, co-PI, Department of Art, FSU, and Professor Tom Welsh co-PI School of Dance, FSU. We used this equipment to illustrate Dr. Tom Welsh's book "Conditioning for Dancers", to develop a Photography for Dance course, and for additional creative projects.
McCullough, K. E. (May 2006–Aug 2006). Video Dance Mural I-IV. Funded by Florida State University First Year Assistant Professor Grant (FYAP). Total award $13,000.
McCullough, K. E. (2001–2001). Choreographer's Fellowship. Funded by North Carolina State Arts Council. Total award $7,000.
McCullough, K. E. (1995–1995). Choreographer's Fellowship. Funded by National Endowment for the Arts. Total award $20,000.
(http://www.nea.gov). The National Endowment for the Arts is the United States Federal funding agency for the arts.
McCullough, K. E. (1995–1995). Performances of "Endswell" at Ballet Builders: New Choreographers on Pointe. Funded by Exhibition Grant, University of North Carolina at Greensboro. Total award $2,500.
McCullough, K. E. (1995–1995). Choreographer's Fellowship. Funded by North Carolina State Arts Council. Total award $7,000.
McCullough, K. E. (1993–1993). Choreographer's Fellowship. Funded by National Endowment for the Arts. Total award $20,000.
McCullough, K. E. (1992–1992). Choreographer's Fellowship. Funded by National Endowment for the Arts. Total award $7,000.
McCullough, K. E. (1991–1991). Choreographer's Fellowship. Funded by National Endowment for the Arts. Total award $7,000.
McCullough, K. E. (1989–1989). Creation of "Valse Appasionata" for School of American Ballet. Funded by Dance Magazine Seed Money Grant. Total award $1,500.
McCullough, K. E. (1987–1987). Choreographer's Fellowship. Funded by Pennsylvania Council for the Arts. Total award $3,000.
University Undergraduate Teaching Award, Florida State University, Tallahassee, FL (2017)
Sabbatical, Florida State University (2014).
During the two semesters of my sabbatical for the academic year 2014-2015. I researched ballet teaching methods, I choreographed, and completed several guest artist residencies.
University Undergraduate Teaching Award, Florida State University, Tallahassee, FL (2011).
Gold Medal, Boston Ballet International Choreography Competition, Boston Ballet (1990). ($3,000).
Wang Center, Boston, MA, for my original ballet "Others Because…".
Second Prize, Tokyo International Choreography Competition, Min-On Concert Association (1989). ($7,000).
Tokyo, Japan, for my original ballet "Endswell." (August 8, 1989). Min-On Concert Association is one of the largest presenters of performing arts groups in Japan. I hired and rehearsed dancers, and traveled to Japan to compete in the event. Twenty finalists were selected from over 120 international entries.
- Dutch, functional.
I lived nine years in The Hague, in the Netherlands. I studied Dutch with a private tutor and then at a municipal Dutch language school for foreigners HAVO (Hoger Algemeen Voortgezet Onderwijs) for two years, from which I earned two certificates of completion. Much of my Dutch language skill come from interaction with my work colleagues, my neighbors, and the shopkeepers in my neighborhood.
- French, basic.
I studied French in high school, then had many opportunities to practice speaking while on tours in France, Belgium, and Monaco. My English speaking French and Belgian friends and work colleagues tutored and helped me.