Work Experience
Graduate Adjunct Faculty at Rutgers University, State University of New Jersey, Mason Gross School of the Arts. Designed and Implemented Proseminar 2: Leadership and Job Search to MFA Candidates in the Department of Dance. This course was delivered fully online using the Canvas Learning Management System. Summer 2018
Chairperson, Slippery Rock University of Pennsylvania. Elected in 2011, 2014 and 2017 to serve three terms until April 2020.
Professor of Dance, Slippery Rock University of Pennsylvania since 2008
Associate Professor of Dance, Slippery Rock University of Pennsylvania 2000-2008
Assistant Professor of Dance, Slippery Rock University of Pennsylvania from 1996-2000
Faculty, American Dance Festival Responsibilities included teaching Motif-Writing, developing a repertory course inspired by Pearl Primus archives, and teaching Modern dance technique from 2002-2012.
Co-Founder and Co-Artistic Director of Mills and Payne Dance: A New York based duet company that received critical acclaim from peer and critics nationally and regionally. Was produced in national and international professional venues and festivals from 1995-2000.
Dancer in Diane McIntyre’s Love Poems to God and The Beloved starring Oprah Winfrey and Danny Glover. Performed McIntyre’s work nationally at the National Black Arts Festival (NBAF) in Atlanta and on National Television as part of the PBS broadcast of the NBAF documentary in 1997.
Education
School of Education, Cambridge, MA Harvard Institutes for Higher Education Management Development Program (MDP)2-week intensive seminar for mid-level administrators in higher educationMDP Certificate awarded: June 2017
Certified Movement Analyst (CMA) Laban/Bartenieff Institute of Movement Studies, New York, NY CMA certification awarded: 1997
Master of Fine Arts Degree in Dance. The Ohio State University, Columbus, OH Deans Fellowship Recipient and Teaching Assistant. MFA Project: Reconstructed and staged Donald McKayle’s classic work Rainbow Round My Shoulder from Labanotation Score on the University Dance Company. MFA Degree awarded: 1995 (Performance and Direction from Labanotation Score)
1992 BA in Dance. Slippery Rock University of Pennsylvania. Dance Magazine’s Most Outstanding Performer Award 1992 Degree awarded: 1992
Administrative Appointments and Curriculum Development
Chairperson, Department of Dance, Slippery Rock University Elected by faculty to serve three terms, May 1, 2011-April 30, 2020
Facilitated revision of the BA in dance degree program.
Developed and authored the proposal to offer two new degree programs:
Bachelor of Fine Arts in Dance: Choreography and Performance
Bachelor of Fine Arts in Dance: Business Administration degree
Both programs were approved by the Pennsylvania State System of Higher Education Summer of 2016 and approved for final program listing by the National Association of Schools of Dance in 2018.
Developed and Authored the proposal to offer the first Creative Movement Endorsement Program in the state of Pennsylvania at Slippery Rock University. The proposal was approved by the PA Department of Education in January 2018.
Increased enrollment of underrepresented minority students in the dance program from 6% to 14%.
Director of Frederick Douglass Institute, Slippery Rock University
Appointed by the Dean to serve two terms, January 2016-2020.
Collaborated with multiple departments at Slippery Rock University to present over twenty cultural programs to support diversity initiatives, underrepresented minorities, and first generation students on a majority white campus.
Co-Developed and implemented the Dr. Thomas Gaither Award for Excellence and Leadership. This award is in recognition of the principles exemplified by Civil Rights Leader Dr. Thomas Gaither, the legacy of Frederick Douglass and the promise of student activism. Worked with the SRU Foundation office to implement a fundraising campaign for the scholarship Award.
Developed and Implemented the Frederick Douglass Student Research Award. This research award is in recognition of the principles exemplified by the legacy of Frederick Douglass and the value Douglass placed on education and human rights.
Developed and implemented the Frederick Douglass Faculty Research Award. This research award is in recognition of the principles exemplified by the legacy of Frederick Douglass and the value Douglass placed on education and human rights
Working with upper administration to recruit diverse faculty to campus.
Forge Summer Dance Intensive, Co-founder and administrator hosted by Slippery Rock University in Pennsylvania 2016-2018
Co-developed and executed marketing and budget for a two-week dance intensive program for young dancers and college students.
Co-Director American Dance Festival’s Three Weeks School for Young Dancers hosted by Duke University in Durham, NC 2010-2012
Responsibilities include scheduling classes, faculty recruitment and development, updating class descriptions, overseeing student counselors and young dancer participants
Artistic Director of Slippery Rock University Dance Theater 1998-2010 and 2012-present, responsibilities include:
scheduling student rehearsals, overseeing auditions coordinating guest artist residencies, developing assessment tools for adjudications, facilitating choreography labs, creating a department of dance calendar, overseeing student concerts and touring
Director of the Dance Professional’s Workshop, American Dance Festival 2007-2010
Responsibilities included welcoming participants and orientation, updating workshop descriptions, making recommendations for improvement, being a liaison between DPW participants and the ADF school office
Academic and Creative Scholarship
International Presentations
July 22-29, 2017 International Council of Kinetography Laban 30th Biennial Conference, Beijing NormalUniversity, China. “Teaching LMA Based Contemporary Dance Practices to UgandanStudents at STAWA.” Presented.
July 22-29, 2017 Panelist, in a roundtable discussion Led by Victoria WATTS (USA/UK) on Cultural Policy and Notation Practice: How do Institutions and Individuals Operate within Different Policy Frameworks in Order to Make Notation Practice Possible? at the 30th International Council of Kinetography Laban Biannual Conference, at Beijing Normal University, Beijing China.
June 26, 2015 Stawa University, Kampala Uganda. The students from Stawa participated in a 50-minute dance presentation directed and choreographed by Ursula Payne.
Stawa University, Kampala Uganda. I taught 14 workshops, lectured and performed. My participation was part of the nonprofit Teach and Tour Sojourners program, funded by a PASSHE Professional Development Grant.
August 8-11, 2013 International Council of Kinetography Laban 28th Conference York University, Toronto, Canada. I presented a paper titled “Performing Battle’s Primate (2006): Considerations in Staging an Authentic Performance.
June 8-11, 2013 Conference 2013: Dance ACTions—Traditions and Transformation: The Nordic Forum for Dance Research (NOFOD) and The Society of Dance History Scholars SDHS) International Joint Conference in Dance Research Hosted by the Norwegian University of Science and Technology in Trondheim, Norway. I presented the paper “Exploring the Tradition of Dance Reconstruction With-In Contemporary Performance Context.”
Sept 10-13th, 2009 American Dance Guild Performance Series, Manhattan Movement Center, New York City. The solo In Her Solitude: Lest We Forget was presented in this dance festival.
June 25-27th, 2009 Congress on Research in Dance and the Centre for Excellence in Performance Arts Special Topics Conference Global Perspectives in Dance Pedagogy: Research and Practice. My paper ‘Exercise in Pedagogy: The Story of the Bones was presented at DeMontfort University in Leicester, United Kingdom.
May 28-June 3, 2007 32nd Annual Caribbean Studies Association Conference “Alternative Interpretations of the Circum-Caribbean: Interrogating Connections Across History, Society, Culture, and Performance. I traveled to Salvador de Bahia, Brazil presented a paper and showed video excerpts from my most recent group piece Womenfolk: Swimming Upstream as part of the Cultural Work through Dance Panel.
4/26-28/07 16th Annual Africa/ Diaspora Conference: Building a Culture of Peace in Africa/Diaspora: Best Practices & Models held at California State University inSacramento, CA. My proposal involved using artistic expression and dance as a model for building peace and restoring self-esteem in women who have survived abuses stemming from civil wars in African countries. I presented a paper and performed a solo excerpt from Womenfolk: Swimming Upstream during the closing awards banquet.
April 18-21, 2007 New Perspectives in African Performing and Visual Arts: First Biannual International Conference for Performers, Visual Artists, Educators, Teachers and Scholars. I presented a 45-minute lecture demonstration which featured the performance of Womenfolk: Swimming Upstream.
March 7th, 2007 International Conference on Maternal Birth Trauma in the Developing World:Ethics in Obstetric Fistula sponsored by the Trent Center for Bioethics, Humanities and History of Medicine. I was invited to perform a solo excerpt of Womenfolk: Swimming Upstream at Duke University’s Nasher Museum of Art. Myperformance followed the keynote address (Boyarsky lecture) given by Dr. Rebecca Cook from the University of Toronto.
8/14-21/05 Edinburgh Fringe International Arts Festival. The Roxy Theater Edinburgh Scotland. My solo was produced in an International showcase of choreographers from Canada, Portugal, Netherlands, and the USA.
5/27/03 Caribbean Studies Association 28th International Conference in Belize City, Belize. Peer reviewed and selected for presentation. Performed the solo, The Masculine Effect.
11/24/02 National Taiwan University of Arts Dance Festival First African-American female choreographer invited to perform the solo The Masculine Effect in the festival.
11/12-18/02 National Taiwan University of Arts Faculty and Guest Artist Dance Concert. I was the first African-American female choreographer to be commissioned to collaborate with a Taiwanese musician and create a new dance on the dance company titled A State of Affairs.
2/13-18/01 The International American Choreographer’s Showcase Tour of Mexico Teatro del Estado in Xalapa; Pedro Diaz in Cordoba, Nezahualcoyotl in Veracruz. Performed solo choreography Bittersweet Memories.
12/11-19/00 Monaco Danses Dances Forum The International American Choreographer’s Showcase in Monte Carlo, Monaco. Performed Bittersweet Memories at the Grimaldi Forum.
8/16-19/97 7th Annual Fringe Festival of Independent Artist Main stage Series G featuring Mills and Payne Dance. Produced by the Fringe Festival in Toronto Canada. Selected through review process. Presented Deep South with Tiffany Mills.
National Presentations of Scholarship
August 4-6, 2017 SailCloth Art/Dance Project. Created a 40-minute site specific improvisation work that was performed on the Pride of Baltimore II Sailship. Collaboration with Art Professor Heather Hertel. Fell’s Point, Inner Harbor, Baltimore Maryland. Over 600 people viewed the work.
August 29-30, 2014 SOLA, An evening of solo dances choreographed by women for women. The commissioned solo I choreographed “Lest We Forget” and performed by Mary Williford Shade has been part of a national tour of dances by women choreographers. This concert was produced by the University of South Florida, Tampa Florida.
July 8th, 2012 The Faculty Concert, American Dance Festival. Reynolds Theater, Duke University. I premiered the solo i’ll bend, but I will not break.
February 26-28th, 2010 Axis: Forging New Connections in Contemporary Dance, Project Motion Dance Company, Memphis, TN. Seattle artists Juliet Waller Pruzan and Stephen Hando’s and the dynamic works of Pennsylvania artist Ursula Payne .
March 19-22nd, 2009 Across the Threshold: Creativity, Being and Healing Conference held at Duke University, Durham NC. My paper “Invisible Dialogues: My paper “Experiencing Transcendence in Dance Performance” was presented in this interdisciplinary conference.
Jan 30-Feb 1, 2009 Winter Dance Festival, West Virginia Wesleyan’s Department of Theater and Dance Presents Labco Dance Company performing Holding Passage, which features choreography by Jeanine Durning and Ursula Payne.
January 23-25th, 2009 Labco Dance Company presents “Holding Passage”. The commissioned work Under Lock and Key was presented at the New Hazlett Theater in Pittsburgh, PA.
July 13th, 2008 The Faculty Concert, American Dance Festival. Page auditorium Duke University. I presented the solo In Her Solitude: Lest We Forget.
1/12-15/08 31st Society of Dance History Scholars Conference “Looking Back/Moving Forward”. Skidmore College, NY. I presented a paper discussing the development of the Pearl Primus Archive Project at the American Dance Festival.
1/19-20/08 Freed Voices Project, Middle Tennessee State University, Murfreesboro, TN. Presented two dances on this concert. B’tween the Devil and the Deep Blue Sea, and The Story of the Bones.
9/7-8/08 Harlemstage presents This Women’s Work Concert, featuring African American Female Choreographers. New York City Aaron Davis Hall was commissioned to create and perform new duet “B’tween the Devil and the Deep Blue Sea.
7/9/06 American Dance Festival, Duke University, Durham, NC. I performed a solo excerpt from Womenfolk: Swimming Upstream.
4/28/06 American Dance Institute, Rockville, Maryland. Shared a concert with Helanius Wilkins/Edgeworks Dance Theater. I presented my ensemble work Womenfolk: Swimming Upstream.
2/3-4/06 This Women’s Work Concert, featuring African American Female Choreographers. Howard University, Washington D.C. Presented original choreography Silent Cry.
8/12-14/05 This Women’s Work Concert, featuring African American Female Choreographers at the Alvin Ailey Black Box Theater in NYC. Performed Invisible Dialogues.
7/12/05 The American Dance Festival, Duke University in Durham, North Carolina. Presented original choreography Invisible Dialogues in the Faculty Dance Concert.
7/11/04 The American Dance Festival, Duke University in Durham, North Carolina. Presented original choreography Lost Through Me, in the Faculty Dance Concert.
7/6/03 The American Dance Festival in Duke University in Durham, North Carolina. Presented original choreography The Masculine Effect in the Faculty Dance Concert.
5/30-6/1/03 The Cunningham Studio in New York. Performed original choreography The Masculine Effect in a showcase featuring Black female choreographers.
12/13-14/02 International Association of Blacks in Dance Showcase Co produced by the IABD and The Dance Place in Washington, D.C. Invited to perform solo work The Masculine Effect.
10/3-4/02 Marlin Miller Residency and Dance Concert featuring Ursula Payne and Wayne Smith at the Alfred University C.D. Smith Theater and Performing Arts Center in Alfred, NewYork. Performed the Masculine Effect on the program along with two additional dances.
6/23-24/02 Helanius Wilkins/Dimensions Dance Company with Guest Artist Ursula Payne Produced by the Dance Place in Washington, D.C. Invited to perform Bittersweet Memories.
3/3/01 International performance series with Tiffany Mills Company and Guest soloist Ursula Payne. Produced by Mertie W. Buckman Fine and Performing Arts Center in Memphis, TN. Invited to perform original choreography Bittersweet Memories and Deep South, a duet collaboration with Tiffany Mills.
11/3-5/00 Faculty and Guest Artist Concert at Frostburg University. Co-produced by the dance department and FSU Performing Arts Center, Frostburg, MD. Invited to perform original choreography All Aboard…Sojourner and Urban Romance.
6/8-17/00 3-Point Juncture Dance featuring Mills and Payne Dance Company. Produced by the Tribeca Performing Arts Center located at the Borough of Manhattan Community College, New York, NY. Performed original choreography Bittersweet Memories.
6/2-3/00 Cross the Map: An evening of dance featuring New York based choreographers Tiffany Mills and Ursula Payne. Produced by the University of Oregon’s Department of Dance and the Dougherty Dance Center in Eugene, OR. Performed original choreography Bittersweet Memories, and Deep South, a duet collaboration with Mills.
1/7/00 Here Theater presents Culture Mart featuring Tiffany Mills and Ursula Payne/First in 2000. Produced by Here Theater in New York, NY. Culture Mart is a winter festival highlighting mid-career or established artist, which leads to broadened artistic perspectives, and art that pushes boundaries. Selected through a peer review process. Performed original choreography Bittersweet Memories and Iron Thread, a duet collaboration with Tiffany Mills.
9/8/99 Downtown Dance Festival: Double Feature Mills and Payne Dance. Produced by Joyce Soho in New York, NY. Performed original choreography Deep South, a duet collaboration with Tiffany Mills.
7/8/98 Jacob’s Pillow Dance Festival Inside/Out Series presents Mills and
Payne Dance Company. Produced by Jacob’s Pillow in Lee, MA. Performed original choreography Moving On, and Iron Thread, a duet collaboration with Tiffany Mills.
3/25-27/99 Mills and Payne Dance present Body Walls City Pulse: An evening of live music and dance. Produced by Tiffany Mills and Ursula Payne at the Cunningham Studio in New York, NY. Performed original choreography Moving On and Iron thread, a duet collaboration with Tiffany Mills.
11/21/98 Dance and Spiritual Life featuring Bebe Miller Company, Jawole Willa Jo Zollar/Urban Bush Women and Dianne McIntyre & Hannibal Lokumbe. Produced by 651 Arts Center Brooklyn Academy of Music Opera House in Brooklyn, NY. I was a featured dancer in Love Poems to God, a 75-minute dance choreographed by Diane McIntyre.
10/19/98 Movement Research at the Judson Church presents Mills and Payne Dance in a shared evening of work with Anne Cooper Albright. Produced by Movement Research in New York, NY. Selected by peer review process to present original choreography Deep South, a duet collaboration with Tiffany Mills.
4/17-18/98 Trinity College Department of Theater and Dance presents Breaking Ground featuring Mills and Payne Dance. Produced by the Austin Arts Center at Trinity College in Hartford, CT. Invited to perform original choreography Deep South, a duet collaboration with Tiffany Mills.
11/14/97 The University of Memphis and the Department of Theater and Dance present: Mills and Payne Dance. Invited to perform original choreography Urban Romance, Repented Heart and Deep South, a duet collaboration with Tiffany Mills.
9/9-11/97 Mills and Payne Dance present Four Truths: An evening of live music and dance. Produced by The Joyce Soho in New York, NY. Selected by peer review process. Presented original choreography Repented Heart and Deep South, a duet collaboration with Tiffany Mills.
8/12/97 Lincoln Center Out of Doors Dancing on the Plaza presents: Picture This featuring Andrea E. Woods, Tiffany Mills, Ursula Payne and Christine Bodwitch. Selected through peer review process. Performed original choreography Urban Romance and Deep South, a duet collaboration with Tiffany Mills.
11/09/96 ARTSPACE, Juror’s Choice Award Concert, New Haven CT. Invited to perform original choreography Aberrant Path, a duet collaboration with Tiffany Mills. This piece was nominated by dance critics from the Village Voice to receive this award.
7/6-7/96 Mills and Payne Dance Concert. Presented an evening of dance. Produced by the Dance Place in Washington D.C. Presented original choreography Urban Romance and Aberrant Path.
3/26, 4/2, 4/9/96 Fresh Tracks presented by Dance Theater Workshop Selected through a juried peer review process to present original choreography Aberrant Path a duet collaboration with Tiffany Mills.ether slideshow images fill all available space or fit to the window with no cropping.
Grants and Fellowship Awards
2017 President’s International Professional Development Grant. The $1000.00 award supported travel to the 30th Biennial Conference of the International Council of Kinetography Laban/Labanotation at Beijing Normal University, China from July 23-30, 2017 to present the paper “Teaching Laban Based Contemporary Movement Practices to Ugandan Students at STAWA University.”
2014 Pennsylvania State System of Higher Education Professional Development Grant. Received $6,000 to fund the project Dancing The Terrain of Uganda: Rediscovering My Identity As A Perfomer to fund travels to Kampala, Uganda to teach and perform.
SRU Faculty Student Research Grant. Received $3,785 to fund the project Dance and Professional Practice:Enhancing Employability as Professional Dancers Through Simulating the Environment of a Professional Dance Company”. I commissioned Helen Simoneau to simulate a professional experience for twenty-four dance majors.
2007 President’s International Travel Grant. Received $1000 to fund travel to Salvador da Bahia to present a paper/video on the Cultural Work Through Dance Panel at the 32nd Annual Caribbean Studies Association Conference “Alternative Interpretations of the Circum- Caribbean: Interrogating Connections Across History, Society, Culture, and Performance.
Faculty and Student Research Award. Received $2,440 to commission choreographer Helanius Wilkins to teach master classes in contemporary dance technique and create a dance on 13 dance majors.
2006 Pennsylvania Council of the Arts Fellowship Award in Choreography. Received $5,000.00 towards the research and development of new choreography.
2004 Pennsylvania Council of the Arts Fellowship Award in Choreography. Received $5,0000 to fund research and development for new choreography. I traveled to Egypt, Ethiopia and Brazil to conduct movement and cultural research.
2003 Faculty and Student Research Award Received $4,357.00. Students conducted interviews with past members Jim and Lorry May of the Sokolow Dance Company and conducted research in the archives of Anna Sokolow housed in the Performing Arts Library in New York City.
Student Government New Initiative Money Received $1,200.00 to have guest choreographer Helanius Wilkins from Washington, D.C. in residence for two weeks to create a new work on the students in Slippery Rock University’s Dance Theater.
2002 Pennsylvania Council of the Arts Fellowship Award in Choreography Received $10,000. Traveled to Rio De Janeiro, Brazil to study Afro-Brazilian dance forms Capoeira and Samba.
Student Government New Initiative Money Received $1,200 to have guest choreographer Bridget Moore from New York, NY in residence for two weeks creating a new work on the students in Slippery Rock University’s Dance Theater and teaching dance technique classes.
2000 Pennsylvania Council of the Arts Fellowship Award in Choreography Received $10,000 towards the research and development of new choreography.
President’s International Travel Grant Award to study Afro-Cuban Dance forms for sixteen days. Received $1,000.00 towards travel to Havana and Santiago de Cuba with the Ronald K. Brown/Evidence Dance Company.
Student Faculty Research Initiatives Grant Received $9,400 to have guest choreographer Doug Elkins from New York City in residence for three weeks creating a new dance on faculty and students.
Critical Reviews
“A definite crowd favorite, “Lest We Forget” was an ideal finale for Sola. Choreographed by Ursula Payne and performed by the critically lauded Mary Williford-Shade (Texas Woman’s University)… Incredibly enough she made the rocking chair her dance partner in the piece. With the slightest touch, the chair would move with her. Williford-Shade’s ability to control this prop and move so gracefully around it seemed symbolic of the power women have in this field.” --Melanie Wiesen, CLTampa.com 2014
“The performance opened with Slippery Rock University faculty member Ursula Payne's "Things You Miss" and they were easy to spot in this lovely work, full of movement driven by the dancers' hands. They oscillated with nervous regret, dipped into holes left by sculptural poses and often reached for what wasn't there. All of this was recycled into a section where the performers spilled around the studio, as if unleashed, then turned to a more spiritual designation. There was not much to miss throughout the work, as Ms. Payne achieved a balanced distribution between solo and group movements” --Jane Vranish, Pittsburgh Post-Gazette 2011
“A highlight of the evening is Ursula Payne’s piece entitled, “In Her Solitude: Lest We Forget…I am intrigued by the subtle fact that she keeps the chair rocking through the entire piece. She finishes a move and then rocks the chair,..jump twirls, drops and then rocks the chair as she passes it…Nice --JoiLynn, iDanz Critix Corner 2009
“LABCO stretched it, but stayed within bounds with a strong sneak preview of Ursula Payne's "Under Lock and Key," about the hidden nature of spousal abuse in the home. Jane Vranish, Pittsburgh Post Gazette 2008
Ursula Payne provided a powerful conclusion by performing with a group…delving into the socio-political overtones of the African-inspired “Womenfolk: Swimming Upstream”. Jane Vranish, Pittsburgh Post-Gazette 2006
“Ursula Payne's performance of her intriguing, rigorous solo Invisible Dialogues reminded me of a Congolese nkisi figure… Payne's billowing black skirt, clunky jazz shoes, churning arms, serious demeanor, and obsessive, ritualistic maneuvers suggested a life-size nkisi in action.” Eva Yaa Asantewaa, The Village Voice 2005
“Payne’s soul searching The Masculine Effect in which she beautifully angles her thoughts into voluminous movement.” Charmaine Warren, The New York Amsterdam News 2003
“…A show stopping virtuoso in her own right…Themes of anguish and fear overcome through faith, leading to declarations of selfhood, persisted throughout, not least in Ursula Payne’s the Masculine Effect.” Meital Waibsnaider, The Village Voice 2003
“Soloist Ursula Payne, in a work she choreographed-Bittersweet memories: the Shakedown showed prowess and stage presence reminiscent of Judith Jamison” Merilyn Jackson, The Philadelphia Inquirer 2001
“Making a guest appearance was dancer Ursula Payne, performing the solo Bittersweet Memories (The Shakedown), a deeply felt and powerfully performed work about memory and its escape.” Sarah Kaufman, The Washington Post 2001
“…It is clear that she (Payne) is a spectacular dancer. “ Lisa Jo Sagolla, Backstage, New York City 2000
“Payne, a big woman, African-American, is clearly strong and supple but capable of springing airborne with no apparent preparation.” Janet Descutner, The Register Guard-Eugene, Oregon 2000
“Bitter-Sweet Memories, was danced with physical and emotional authority. Her personal history was imbedded in the structure of passage rituals and movement vocabulary, interjecting African dance, exploding paroxysms of turns/leaps/falls consuming space, with simple, revelatory gestures: pulling at a dress, picking up a photo, softly shaking a rain stick.” Janet Descutner, The Register-Guard-Eugene, Oregon 2000
“Ms. Payne took her audience on a journey along this hallway of light. The audience could clearly perceive the intensity of her introspection, the emotional effect of her confinement within that band of light, and her varying reactions to the influence of whatever it was that lay outside of the light. The reality of the space Ms. Payne created was so great.” Robert Atwood, Attitude Magazine, Brooklyn, NY 1999
“Ms. Payne danced two strong and thematically related solos…In Repented Heart, which Ms. Payne choreographed, she appeared to be trying to control her feelings only to let them whirl her about.” Jack Anderson, The New York Times 1998
“Payne, a knockout dancer, performs to Aretha Franklin wailing a familiar text. The sight of her walking in a squat with a wonderful clumsiness gives me a jolt of pleasure.” Deborah Jowitt, The Village Voice, New York City 1996
“Again and again, what was astonishing to watch was Ms. Payne wheeling about with lightning speed, stopping on a dime, or flipping through the air, recovering seamlessly and charging off again.” Margaret Putnam, The Dallas Morning News 1995
Choreography
Since 1996, I have been consistently creating and contributing new choreography to the dance field through commissions by regional dance companies, independent artists and numerous colleges and universities.
Sailcloth Art Project (2016-present), Interdisciplinary Collaboration. This ongoing project features a Dance/Art Collaboration with Professor Heather Hertel, Instructor Lindsay Fisher and SRU dance majors. These works have been performed at the Bayfront Maritime Center in Erie, PA, the Baltimore Inner Harbor (Fell’s Point) in Maryland, and the Sheldon Museum at the University of Nebraska-Lincoln.
Mood Swings and Other Bull (2017), This is an original dance developed in collaboration with my repertory class. This work was inspired by the Women’s March on Washington in 2017 and investigated symbols of women’s protests movements from around the world. 12 minutes.
Give Me Room To Move, Before the Sun Sinks (2015). This research, teaching and creative project was funded through a 2015 Pennsylvania State System Of Higher Education Professional Development Grant. I taught several movement workshops to Ugandan students and began to develop a new solo. The solo explored elements of space and time; and used movement to connect the landscapes of memory, observation and personal experiences while traveling through Uganda and visiting historical sites such as the Luweero Triangle and Murchison Falls, crossing the border of Rwanda, standing on the Kagera River, and seeing the Democratic Republic of Congo. The solo was performed at SRU to an original music composition by Andy Hasenpflug.
Before The Sun Sinks: Stewards of Wildlife, Land and other Human Matter(s) (2015). This dance captured the reverence I experienced while observing Ugandan’s wildlife and trekking along Murchison Falls, Lake Albert and the Rwenzori mountain range. It also reflects the sobering reality of peering into the past. I visited the war memorial in the Luweero Triangle, which is commonly remembered for the brutal killings, particularly of civilians during the political war that marked a change in government leadership. A 9-minute group dance for 18 dance majors.
On Nature’s Wing (2013), Commissioned for the Mercyhurst Department of Dance. Performed at the Mary D’Angelo Performing Arts Center. November 8-10. 11 min.
Things You Miss (2011), commissioned by Dance Alloy in Pittsburgh, Pa. 12 min.
Standing in Wait (2010), commissioned by Project Motion Dance company based in Memphis, TN. This dance examined various stages of mourning. 23 minutes.
This Could Be Your Final Hour (2009) commissioned by Loyola Marymount University, Los Angeles, CA, a 9 minute dance for 11-students (2009)
Lest We Forget (2009), Mary Williford-Shade, Associate Professor at Texas Women’s University commissioned this solo. This solo was inspired by a series of mixed-media installations from Betye Saar’s “Extending the Frozen Moment Exhibition” and has been performed as a part of the SOLA project tour in New York, Texas, Michigan and Florida. The project features choreography by women for women.
Under Lock and Key (2009), a 25 minute dance commissioned by Labco Dance Company in Pittsburgh, PA, that examined aspects of passive abuse that often leads to violence within domestic relationships.
The Story of the Bones (2007), was commissioned by Middle Tennesse State University for the Freed Voices Project and Black History Month. The creation of this 16-minute dance was inspired by a historical archaeological find featuring 60 skeletons of enslaved African-Americans belonging to William Donelson Plantation from the 1800’s.
Translation: the tongue is the starting place of misapprehension, This dance was commissioned (2007) by Kim Neal Nofsinger, the director of dance of Middle Tennessee State University and Artistic Director of Shelter Dance Company.
On Call (2007), commissioned by Jennifer Keller. This piece was performed in Mexico and on the Slippery Rock University Faculty and Guest Artist Concert.
B’tween The Devil and The Deep Blue Sea (2007), This piece was commissioned by Harlemstage and 651 Black Traditions in Dance. This piece examines the biological and cultural defense mechanisms within a women's psyche that inform how much we reveal about ourselves and silence our pain, as a way of maneuvering through our interactions with each other.
Womenfolk:Swimming Upstream (2006), The research and development of this piece was made possible through a Pennsylvania Council of the Arts Fellowship Award. This contemporary ensemble piece for six dancers examines how women experience the loss of identity, bodily integrity, language and social interaction, and how they survive and attempt to rebuild their lives through solidarity.
Lady Sings and Silent Cry (2006), The research and development of these two solo’s was made possible through a Pennsylvania Council of the Arts Fellowship Award. This collection of solo’s was created to celebrate the musical legacy of Billie Holliday.
Invisible Dialogues (2005) piece was made possible through a Pennsylvania Council of the Arts Fellowship Award of $5,000. Original Sound Score composed and performed by Dave Eggar.This dance was inspired by my travel Ethiopia, Egypt and Brazil, in addition to my research into african folkoric traditions, and the cultural/gender based dialogues that are passed on from generation to generation.
Hidden Languages (2004), commissioned by Jane Franklin for the 2004-2005 company season. The research and development of this piece was made possible through a Pennsylvania Council of the Arts Fellowship Award of $5,000.
Lost Through Me, Solo, Approximately 6 minutes. The research and development of this piece was made possible through a Pennsylvania Council of the Arts Fellowship Award of $5,000.
In Her Shadow, 12 dancers, original choreography by Ursula Payne. Commissioned by Ohio University dance department, Athens, Ohio for their winter concert. Music by John Cage. 9 minutes
Last Saving Grace-Hendricks Lament (2003), 6 dancers, original choreography by Ursula Payne. This dance was commissioned by the dance theater at Spelman College in Atlanta, GA. 11 minutes.
State of Affairs (2002), 14 dancers, choreography by Ms. Payne. This work was commissioned by the National Taiwan University of Arts for their student dance company. This piece was part of the NTUA 7-city tour of Taiwan. 15 minutes.
The Masculine Effect (2002), The research and development of this peice was made possible through a Pennsylvania Council of the Arts Fellowship Award of $10,000 and an SRU international travel grant.
Bittersweet Memories (2002), This research and development of this piece was made possible through a Pennsylvania Council of the Arts Choreography Fellowship Award of $10,000. Original music composed and performed by David Ledbetter. The performance of the entire solo was premiered during a solo concert produced by Susan Hess’s In Performance Series, Philadelphia, PA.
In the Midnight Hour (1998), 4 dancers, choreography by Ursula Payne. The Kent State University Dance Ensemble commissioned this piece for their annual dance concert season. 5 minutes.
Moving On (1998), The inspiration for this work comes from witnessing my Grandmother take her last breath and pass into the after life. This solo is 9 Minutes in length. Original music composed and performed by the Matt Aiken Ensemble.
All Aboard…Sojourner (1992 and 1997), Music: Kronos Quartet rendition of The Company, composed by Philip Glass.This solo was revised from the 1992 version. The subject matter reflects my research into the Abuse of Black Women during Slavery. The solo is 12 minutes in length. In 1992 I was awarded Dance Magazine’s Most Outstanding Performer Award for my performance of this work.
Repented Heart (1997) This solo is about the struggles a woman encounters during her journey through the three stages of repentance. Original music composed and performed by the Matt Aiken Ensemble.
Urban Romance (1997) I focused on the use of motif writing (a short hand form of labanotation) and LMA within the creative process. This solo is 9 minutes in length and is performed to the music of Aretha Franklin.
Duet Collaborations with Colleague Tiffany Mills
In 1995, Ursula Payne and Tiffany Mills begin creating duet works that dealt with human relationships’ focusing on issues surrounding race and gender stereotypes. In 1996 we were nominated by dance critics from the Village Voice, and ultimately received a Jurors Choice award for their collaboration of Aberrant Path.
Iron Thread (1997) This duet collaboration is 11minutes performed to original music composed by Matt Aiken.
Deep South (1996) This duet collaboration was inspired by events that transpired during a road trip from North Carolina to Dallas, TX. Issues of race and gender fueled the dialogue heard in the music composition designed by William Chaplin. Approximately 14 minutes.
Aberrant Path (1995) This duet collaboration was selected for the prestigious Fresh Tracks series at Dance Theater Workshop. Approximately 10 minutes with music by Dinah Washington and Nina Simone.