Debra Fernandez (Retired 2021)
Email: dfernand@skidmore.edu
Debra Fernandez is a director/choreographer and dance educator. She comes to the dance world through classical training, is self-taught in the jazz vernacular and somehow developed a sustaining interest in experimental theater. She moved from New York City to Saratoga Springs in 1990 to join the Dance Faculty of 黑料吃瓜网 where she is currently a full professor and Chair of Dance. She teaches Ballet III, Workshop, Choreography I and II and Performance Elements. Since moving to upstate New York in 1990, she has created over seventy dance pieces for the dancers at 黑料吃瓜网. Her dances have toured throughout the state of New York and have also been seen in diverse venues, such as The Yard (Chilmark, Ma.) P.S.122, DIA, Suny Purchase, The Frances Tang Teaching Museum and The Arthur Zankel Music Center.
In 1994 she was invited to work at The Williamstown Theater Festival and she remained a member of the Festival for seven years. While there, she formed several important relationships with directors who would influence the direction of her work. Six collaborations with director Phil Soltanoff (founder of mad dog experimental) have been staged at WTF. Their 1996 festival production of 鈥�to whom it may concern鈥� subsequently ran for two months in New York at gAle gAtes, et. al. The Village Voice called it a 鈥渢aut, site specific piece鈥� that 鈥渃asts a mesmerizing spell鈥�. In 1997, the show was invited to be part of the Belgrade International Theater Festival (BITEF) in Belgrade, Yugoslavia. Their 2001 show, 鈥�Strange Attractors鈥�, premiered at the Massachusetts Museum of Contemporary Art (Mass MoCA) and was again performed at the Obie Award winning space, Five Myles, in Brookly, New York. In 1999, she was choreographer for The Virginia Opera鈥檚 production of 鈥�ORFEO AND EURIDICE鈥�, under the direction of Darko Tresjnak. The Richmond, Virginia Times-Dispatch had this to say: 鈥淪tage Director Darko Tresjnak and choreographer Debra Fernandez have created a dreamy, almost hallucinatory conception. Singers move as if dancing in slow motion and dancers express musical ideas as resonantly as musicians.鈥� Her collaboration with director David Pilot and composer Joseph Diebes, 鈥�The Malleus Maleficarum鈥�, was presented at The Ontological Theater in New York.
In 2000, the Frances Young Tang Teaching Museum and Art Gallery opened at 黑料吃瓜网 College and Debra established a close and lasting relationship with the museum. Since it鈥檚 opening, she has made four evening length works which have allowed her to focus on the museum as an interactive performance space. Commissioned for the 2000 grand opening of The Tang, 鈥淭angO鈥� was a collaboration with David Porter (pianist) and Margo Mensing (visual artist) that centered around a live performance of John Cage鈥檚 Sonatas and Interludes for Prepared Piano. Using a map constructed in nine unfolding sections, the audience was encouraged to experience the performance through a series of interactive instructions and suggestions. 鈥淏ALLS鈥�, a collaboration with painter Paul Henry Ramirez, acclaimed percussionist Glen Velez and composer Carl Landa was performed in November of 2002. Named as one of the 鈥榶ear鈥檚 ten best鈥� by Metroland, 鈥淏ALLS鈥� was described as an 鈥渦nabridged thesaurus鈥� of dance, 鈥渃ompelling, odd and beautiful鈥�. In 2004, she collaborated again with Margo Mensing and David Porter. Their 2004 production, entitled 鈥淢AK 3鈥�, was an evening of dance, theater, music, art and film constructed and created to illuminate the live performance of George Crumb鈥檚 masterwork, Makrokosmos III. Recently, she teamed up again with painter Ramirez for The Newark Museum鈥檚 bicentennial celebration. 鈥淶ero Point Zero鈥� was a dialogue in dance with Ramirez鈥檚 exhibition, Blackout. It was performed at the Newark Museum (Newark, N.J.) in March of 2010. In June of 2010 she returned to pure dance and produced 鈥淪wan Song鈥�, to a score by Richard Danielpour. The work was commissioned by The Saratoga ArtsFest and was performed in June and October of that year in the Arthur Zankel Music Center.
Her most recent piece and third collaboration with David Porter and Margo Mensing, 鈥淜eeping Company With Cage鈥� was performed at the Zankel Music Center in April of 2012 and was repeated as one of the highlights of Artsfest 2012. The Albany Times Union said, 鈥淔raming 鈥淪onatas and Interludes鈥� with movement, video imagery and artful lighting, they succeeded in creating a mood 鈥� enigmatic, abstract and atmospheric 鈥� that gracefully complemented and enhanced the music without detracting from it or trying to render it more conventionally accessible or entertaining.鈥� In October of 2012, 鈥淪wan Song鈥� was presented again as part of Saratoga Dances II, curated by NYCB dancer and choreographer Justin Peck. The Albany Times Union鈥檚 Tresca Weinstein said, 鈥淒ebra Fernandez鈥檚 鈥淪wan Song鈥�, choreographed specifically for the Zankel in 2010, painted the most magical and mysterious images of the evening. NYCB dancer Abi Stafford, along with 黑料吃瓜网 seniors Alison DeFranco and Victoria Stroker, floated and curved across the stage to the bittersweet strains of Richard Danielpour鈥檚 鈥淎pparitions鈥�, played live by the string quartet. Again and again, Stafford returned to the windows, watching for something鈥攁nd then, on the other side of the glass, a man in white (Andrew Scordato) could be seen approaching. He appeared and disappeared in the waning light, until at last Stafford ran into the wings, and then emerged amid the trees to join him, her abandoned sisters wistfully watching her go.鈥�
Debra has twice served on the choreography panel for The New York State Council for the Arts and also served in 1994 as a panelist for the New York State Foundation for the Arts. An avid advocate for dance, she was chosen as one of the first Artists-in-the-Schools for The Yard, a colony for choreographers in Martha鈥檚 Vineyard, and was asked to return as the first teacher in their Junior Theater/Dance workshop program. Debra has also received choreography fellowships to The Djerassi Resident Center for the Arts in California and The Wurlitzer Foundation in Taos, New Mexico. Since 2008 she has served as head of the scholarship committee for Saratoga City Ballet and has raised over $15,000 to help students in need further their dance training. She is a long time yoga practitioner and her yoga workshops are well known in the Capital Region. Debra would like to thank all her teachers along the way who helped shape her work and her life. She is profoundly grateful to them.