Photo Credit: Hakan Nizam     


Caroline Copeland has been described as a “dance-provocateur” by the Courier-Journal and “sublime” by the Wall Street Journal. In 1996, she joined the New York Baroque Dance Company and has performed with the troupe throughout the United States and Europe, most notably at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and at Potsdam Sanssouci. Caroline has assisted Ms. Turocy in her direction of Rousseau’s Le Devin du Village with Antoine Plante and the Mercury Baroque, as well as Handel’s Atalanta with Nicholas McGegan and the Philharmonia Baroque Orchestra and she recently re-staged Ms. Turocy’s Les Petits Riens on the students of Hofstra University. As a solo performer, Caroline has collaborated with many early music groups around the US and Europe including Quicksilver, The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, and the New York Consort of Viols. And since 2000, Caroline has appeared as a guest artist in 9 productions with the Boston Early Music Festival, co-choreographing two of them: Steffani’s Niobe, Regina di Tebe and Handel’s Almira. Ms. Copeland will choreograph and perform in BEMF's upcoming 2017 festival production of André Campra's Le Carnaval de Venise.

Caroline often works in opera, theatre, and university settings where her love of history and dance informs her creative and teaching practices. Her past creations include: Handel’s Alcina for Bourbon Baroque (Director/Choreographer). Stravinsky’s A Soldier’s Tale at Hofstra University (Direction/Choreography), Rousseau’s The Cunning Man and Stravinsky’s A Soldier’s Tale at Cornell University (Choreography), and Attowell’s Frauncis New Jigge at Yale University (Direction/Choreography). Other work has been presented at the historic Federal Hall, The Metropolitan Museum of Art, The Public Theater, Dixon Place, and the Philipszaal in the Hague.

Caroline has taught master classes in baroque dance and gesture at numerous colleges and universities including NYU Gallatin, Rutgers, Cornell, Yale, and Vassar and has presented her programs on Shakespeare and the Dance and George Washington Loves to Dance! at elementary schools across the US. Caroline earned a MFA in Dance from Sarah Lawrence College and is an Adjunct Professor at Hofstra University where she enjoys teaching classical ballet from a historically informed perspective as well as Dance History.

Caroline continues to keep both feet in the worlds of early and contemporary dance practice. As such she has been creating choreographies that integrate text from period treatises and memoirs. Her newest solo, An Analysis of Beauty is a virtuosic display of baroque and contemporary dance technique based on Louis Pécour’s 1713 choreography, The Passacaille from Armide.