Bio:
Originally from Greenwood, Indiana, Shannon received her training at Butler University and the University of Utah.
She began her career with the second company of Hubbard Street Dance Chicago, going on to dance and perform professionally with HSDC for nine years.
In 2009, Shannon went on to further her growth as a dancer at Nederlands Dans Theater under the direction of Jim Vincent and Paul Lightfoot. During her time in Chicago and Europe, Shannon toured internationally dancing works by many world renowned choreographers such as: Jiri Kylian, Nacho Duato, William Forsythe, Ohad Naharin, Jorma Elo, and Crystal Pite.
Having since returned to Chicago, and having given birth to a baby girl, Shannon is once again sharing her artistry with the community. She has appeared in six productions at the Lyric Opera including Rob Ashford's Carousel, Susan Stroman's The Merry Widow, and Les Troyens with Helen Pickett. She has been on faculty at the Joffrey Academy, Interlochen School for the Arts summer faculty, and Visceral Dance Center.
Shannon is very happy to now be exploring her creativity through works of her own. She has choreographed for Visceral Dance Chicago, Thodos Dance Chicago, DanceWorks Chicago, Chicago Repertory Ballet, and was a recipient of the Joffrey Ballet’s Winning Work’s Choreographic Competition.
Beginning to share her work outside of Chicago, a project with the University of Iowa premiered in their 2018 Dance Gala, and her most recent creation for Charlottesville Ballet will premiere in 2019.
She feels very fortunate for every one of these opportunities. Being able to find inspiration for her work in all of the things that she loves is a true gift.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).