Entire Repertory

CHOREOGRAPHER	TITLE	PREMIERE DATE
Alvin Ailey	Quintet (acquisition)	1969 / 1973
Alberto Alonso	¡Si, Señor! ¡Es Mi Son! (untitled) (workshop)	1994 1996
Manuel Alum	Monte (acquisition)	1987 / 1988
Julie Arenal	Fiesta of the Skeleton La Novela Puertoriquena	1972 1973
Talley Beatty	Mira Todas Esas Bellas      Rosas Rojas Congo Tango Palace (acquisition) Tres Cantos Caravanserai The Street Dancer Recuerdo de Campo Amor	1974 1960 / 1974 1975 1980 1981 1985
Lois Bewley	Pi R5 (acquisition) Sedalia (acquisition) Chaaa	1974 1974 1979
Chang Ching	How Many Flowers    Have Fallen	1985
Jose Coronado	Deer Dance Fiesta En Vera Cruz Mosaico Mexicano	trad. / 1974 1974 1978
Graciela Daniele	Cada Noche...Tango Stages El Nuevo Mundo	1988 / 2003 1990 1991
Daniel Duell	De Falla Divertissements	1985
Jose Esquival	Bamba Meridena Joropo	1977 1977 1978
George Faison	Cafe America Idol Obession	1990 1996
Paco Fernandez	La Boda de Luis Alonso Verdiales	1971 1973
Luis Fuente	Bolero (workshop)	1994
Christopher Gillis	Farewell (acquisition)	1993
Anita Gonzalez	Viva Las Americas!	1993
Geoffrey Holder	Danse Creole Birds in Paradise (acquisition)	1976 1980
Louis Johnson	Echoes of Spain Impressions	1973 1978
Donald McKayle	Games (acquisition)	1951 / 1975
Amanda Miller	Two By An Error	1993
Ralph Lemon	En Su Llama Mortal	1986
Roberto Lorca	Sacromonte	1985
Alexandre Magno	Dejame Soñar	2003
Susan Marshall	Solo	1993
Regina Miranda	Avenida Brasil	1999
Luis Montero	Espana	1984
Charles Moore/ Tina Ramirez	Caribbean Suite	1969
Vicente Nebrada	Batucada Fantastica (acquisition) Lamentos Group Portrait of a Lady Arabesque(originally      Eight Spanish Dances) Bernarda Inez de Castro El Baquiné	1977 / 1982 1982 1983 1984 1986 1988 1994
Ramon Oller	Good Night Paradise Tears for Violeta Bury Me Standing Eyes of the Soul Bésame Corazon Al-andaluz	1994 1995 1998 2000 2001 2006
Luis Perez	(untitled) (workshop)	2002
Peter Pucci	Eternamente Y Un Dia	2003
Tina Ramirez	Tikiti Bomba Portrait of Carmen Fuenteovejuna	1970 1970 1976 1981
Ann Reinking	Ritmo y Ruido Slices	1997 2002
Augie Rodriguez	Taquito Militar (acquisition)	1989
Willie Rosario	Suite: Bolero, Merengue, Kitty Cat Cha Cha Cha Palladium Nights	1990 2006
David Roussève	When Dreams Explode Somethin' From Nothin'	1996 1999
Maria Rovira	Tierra de Nadie (acquisition) Poema Infinito	1996 1997
Pedro Ruiz	Guajira Club Havana Cecilia	1999 2000 2000
Antonio Santaella	Tanquillo	1970
Jeff Satinoff	Arietta (workshop)	1986
Ramon Segarra	Misa Criolla	1973
Anna Sokolow	Caprichos	1976
Kathryn Sullivan	Tango Studies (workshop)	1994
La Tati	Tanguillo	1980
Lynne Taylor-Corbett	Stepping Stones	1982
Lee Theodore	Tango	1972
Sergio Trujillo	Hoy Como Ayer (workshop and commission)	2003
William Whitener	Llamada Tito on Timbales Ola Chica (untitled) (workshop)	1982 1984 1991 1996

EYES OF THE SOUL
	Choreography by Ramón Oller Music by Joaquín Rodrigo Set Design by Eugene Lee Costume Design by Willa Kim Lighting Design by Roger Morgan World Premiere: December 5, 2000 at The Joyce Theater
Blinded by disease in early childhood, the great Spanish composer Joaquín Rodrigo drew on his inner vision - the eyes of the soul - to create a rich musical landscape. Although internationally renowned at his death in 1999, much of his life was spent in the struggle to communicate in his own singular voice. In honor of Maestro Rodrigo on the centennial celebration of his birth, Ramón Oller and Ballet Hispanico used dance to reflect the arduous path of his creative spirit. Following a lyrical introduction, the ballet's central figure, blind to the external world around him, finds courage and support with a devoted partner. The emotions of longing and despair, joy and fulfillment are portrayed in a series of vignettes, as the artist brings his music to vibrant life.
Eyes of the Soul was made possible, in part, by the Doris Duke Fund of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the Philip Morris Companies Inc. Additional funding has been provided by gifts from Jody and John Arnhold, Gaily and John Beinecke and The Prospect Hill Foundation; by grants from AT&T, Gallagher-Bluedorn Performing Arts Center, University of Northern Iowa and UApresents, The University of Arizona; and by commissioning funds from the New York State Council on the Arts.
¡SI SEÑOR! ¡ES MI SON!
	Choreography by Alberto Alonso Assisted by Sonia Calero Music by Gloria Estefan (from the album Mi Tierra) Costume Design by Randy Barcelo Lighting Design by Donald Holder World Premiere: November 29, 1994 at The Joyce Theater
Translated "Yes, Sir! That's my Son!", this ballet is a paean to Cuban culture. A music form popular in Cuba during the 1920's and '30's, the son (rhymes with "phone") is the ancestor of salsa and epitomizes the Cuban amalgam of Spanish and African roots. In a series of black-and-white snapshots, this work depicts five dances, each evoking a particular period of 20th century Cuban history.
¡Si Señor! ¡Es Mi Son! was developed through Ballet Hispanico's 1994 Choreographers Workshop, which was made possible, in part, with a Building Ballet Repertory grant from the New York State Council on the Arts and by a gift from Judy and James Dimon.
TRES CANTOS
	Choreography by Talley Beatty Music by Chavez, Fernandez and Revueltas Costume Design by Patricia Zipprodt Lighting Design by Roger Morgan World Premiere: November 16, 1975 at Hunter College
The Spanish conquest of Mexico attains a powerful immediacy in Talley Beatty's interpretation, set to three songs - "tres cantos" - by Latin American composers. In its first section, the work portrays an Indian society in possession of its lands. The movements that follow describe the victory of the "conquistadores" and, in a final triumph, the re-emergence of the Indians' unconquered spirit.
Tres Cantos was made possible, in part, with public funds from the National Endowment for the Arts.
TIERRA DE NADIE
	Choreography by María Rovira Music by Joan Albert Amargós, Salvador Nieblas and María Rovira Set Design by Christopher Barreca and Zhanna Gurvich Costume Design by Kasia Walicka Maimone Lighting Design by María Rovira and Roger Morgan World Premiere: December 3, 1996 at The Joyce Theater
Choreographer María Rovira's highly physical movement vocabulary, along with the music and dance traditions of her native Spain, create a restless portrait of contemporary life, in which we often find ourselves in a strange environment, a neutral territory, a "tierra de nadie."
The production of Tierra De Nadie was made possible, in part, by a grant from Philip Morris Companies Inc. to Ballet Hispanico's 25th Anniversary Production Fund and with the support of the Consulate General of Spain in New York. Tierra De Nadie was commissioned by the American Dance Festival with funding from Philip Morris Companies Inc. and The Rockefeller Foundation. Funding for the commissioned score was provided by the General Society of Authors and Publishers (Spain) and COPEC, Generalitat de Catalunía; Additional support was provided by Iberia Airlines.
STAGES
	Choreography by Graciela Daniele Assisted by Willie Rosario Music by James Kowal Set Design by Loy Arcenas Costume Design by Ann Hould-Ward Lighting Design by Donald Holder World Premiere: November 27, 1990 at The Joyce Theater
A moving portrait of a performing artist's development from student to dancer to choreographer/director, Stages was created by choreographer Graciela Daniele in celebration of the company's 20th anniversary.
Stages was made possible, in part, with public funds from the New York State Council on the Arts and by grants from the Harkness Foundations for Dance and the Metropolitan Life Foundation. Stages is dedicated to Tina Ramirez.
CAFE AMERICA
	Choreography by George Faison Music by Blades and Iglesias Set Design by Pepon Osorio Costume Design by Bernard Johnson Lighting Design by Tim Hunter World Premiere: November 27, 1990 at The Joyce Theater
The hope for a better life - the dream that the United States has held out to immigrants for over two hundred years - is reflected in the bright lights of Cafe America.
Cafe America was made possible, in part, by a generous gift from Dhuanne and Douglas Tansill.
IDOL OBSESSION
	Choreography by George Faison Music by Palmieri, Selena and the Barrio Boyzz Costume Design by Patricia Zipprodt Lighting Design by Tom Sturge World Premiere: December 5, 1996 at The Joyce Theater
The trajectory of the life, singing career and death of pop star Selena is the basis for this work by choreographer George Faison. Religious iconography and images of Mexican folklore are juxtaposed with the lively, upbeat Tejano music, which has come to represent the border culture unique to the American Southwest.
Idol Obsession was made possible by a grant from AT&T and by gifts from Jody and John Arnhold and Dhuanne and Douglas Tansill. Additional support was provided by commissioning funds from the New York State Council on the Arts. Idol Obsession was developed through Ballet Hispanico's 25th Anniversary Choreographers Workshop, which was underwritten by grants from the Booth Ferris Foundation and Metropolitan Life Foundation.
DANSE CREOLE
	Choreography by Geoffrey Holder Music by Barrajanos, Bey (percussion) and Marks (flute) Costume Design by Geoffrey Holder Lighting Design by Roger Morgan World Premiere: May 10, 1976 at Henry Street Playhouse
The joyous, loose-limbed movement of the Caribbean is barely contained in the formal structures of European dance, in Geoffrey Holder's evocation of the historical merging of these cultures. His distinctive costume design, in black and white, includes a flash of red in the darting footsteps of the dancers.
Danse Creole was made possible, in part, with public funds from the National Endowment for the Arts.
GROUP PORTRAIT OF A LADY
	Choreography by Vicente Nebrada Music by Ginastera Costume Design by A. Christina Giannini Lighting Design by Roger Morgan World Premiere: October 4, 1983 at The Joyce Theater
Choreographer Vicente Nebrada explores memory and experience in this dramatic ballet, which depicts a woman who, in reliving the passions of her life, attains both acceptance and awareness of the different selves within her.
Group Portrait of a Lady was made possible, in part, with public funds from the National Endowment for the Arts.
OLA CHICA
	Choreography by William Whitener Music by Chesky, Freiberg, Lauro, Abreu and Oliveria, as performed by Paquito D'Rivera Costume Design by Jane Greenwood Lighting Design by James F. Ingalls World Premiere: October 29, 1991 at The Joyce Theater
Inspired by Paquito D'Rivera's lilting jazz interpretations of several Latin American classics, choreographer William Whitener deftly blends the flavors of jazz, social, and Spanish dance with the basic ingredients of ballet. There is playfulness and flirtation as well as longing, attention to formal patterns together with a feeling of spontaneity. In Spanish, ola chica refers to the inner curl of an ocean wave. Perhaps one can imagine the dancers on a sun-filled afternoon, meeting on a beach where life flows easily, mirroring in their hand and arm gestures the natural curve of the waves.
Ola Chica was made possible, in part, by a grant from the Metropolitan Life Foundation, and with commissioning funds from the New York State Council on the Arts. Ola Chica is dedicated to Julia Cauthorn.
GUAJIRA
	Choreography by Pedro Ruiz Music by Los Activos, Conjunto C�edes and Jose Maria Vitier Costume Design by Ann Hould-Ward Lighting Design by Jeff Segal World Premiere: December 1, 1999 at The Joyce Theater
As a child, the Cuban-born choreographer Pedro Ruiz heard his grandfather's stories about rural life, then experienced it himself working in the fields. His ballet portrays the guajira, the women of the Cuban countryside, who spend their days toiling in the sun beside the men, enjoying a little rest and perhaps a bit of flirtation; and in the evening can forget their day of toil in a rousing guateque (party) with the other laborers. The typical guajiro rhythm is heard here, notably in the second ("Guajira") section. But, like the culture of Cuba itself, the music and the gestural language of the piece hark back both to Africa and to Spain.
Guajira was made possible, in part, by a gift from Dhuanne and Douglas Tansill, and with commissioning funds from the New York State Council on the Arts.
Guajira was developed through Ballet Hispanico's 1998/99 Choreographers Workshop, which was made possible by grants from AT&T, Jody and John Arnhold, the National Endowment for the Arts, Philip Morris Companies Inc. and The Greenwall Foundation.