JACKSON, Miss., April 13, 2011 – After more than two decades of service to and leadership within the USA IBC board of directors, William D. Mounger stepped down ushering in a new leader. Fellow board members approved Haley Fisackerly, president and chief executive officer of Entergy Mississippi, Inc., to assume the role.

Mounger stated he could not think of a better person to lead the IBC board. Perhaps it was Fisackerly’s reputation and experience for producing greater efficiencies, cross-discipline support and teamwork that caught Mounger’s eye.

Fisackerly moved to Miss. in 2002 and became Entergy-Mississippi’s president and chief executive officer in 2008. Fisackerly has raised the company’s community visibility – an element also desired by IBC leadership.

“A cultural event on the scale of the USA IBC significantly contributes to our city’s and state’s reputation and the quality of life here in Jackson,” said Fisackerly. “But what a lot of people don’t realize is that the arts mean business. The economic impact from an event of this stature also brings millions of dollars into the state. That’s impressive.”

Fisackerly is a Miss. native and holds a bachelor’s degree in business administration from Mississippi State University and a master’s in public policy administration with emphasis in executive, legislative and regulatory management from George Washington University. He has served alongside Sen. Thad Cochran assisting in economic development projects in Miss.  Fisackerly also serves on several state and Jackson-area board of directors, but most recently accepted the role of chairman of the board for the IBC.

Mounger began his work for the IBC in 1986 spearheading the efforts to fund the competition only six weeks prior to the event following a disappointing turn when the seated governor vetoed the legislature’s appointed $375,000. This strategic effort warranted Mounger a seat on the IBC board of directors as the financial chairman, which he held until 1990 when he was elected chairman.  In the years since, Mounger’s fundraising provided $10 million to produce six competitions, two reunion gala events, and numerous ancillary events.

“Billy is one of the most generous people I have ever met. His fundraising philosophy is never ask a person to give money to a cause without having already contributed yourself. I like to think we made a good team. He raised the money, and I counted the pennies spent.” said Sue Lobrano, executive director of USA IBC.

Additionally, Mounger’s efforts along with solid financial management by Lobrano provided a significant IBC Foundation fund that would supplement competition expenses (or support a full four-year IBC cycle) should the need arise. To date, the foundation money remains untouched.

This past June, during the opening ceremonies of the IBC, Mounger stated this would “possibly” be his last event. As chairman emeritus, Mounger will advise and counsel as needed. Before officially stepping down, Mounger raised more than $648,000 in pledged monies for the 2014 festival of dance following his preferred fundraising method of securing funds for the next event during the current one.

“I became involved with the IBC because it has contributed more than any other thing towards enhancing the image of our state around the nation and world” said Mounger.

As his last initiative as IBC board chairman, Mounger appointed a strategic planning committee to revisit the organization’s the strategic plan, to make recommendations and to implement changes by year-end.

“On behalf of the board and myself, we are deeply appreciative of Billy’s leadership and passion for the IBC, without which we would not have this wonderful and prestigious event in Mississippi today,” said Fisackerly.

The USA IBC is a two-week, “olympic-style” competition where tomorrow’s stars vie for gold, silver and bronze medals; cash awards; company contracts; and scholarships. The event is designated as the official international ballet competition in the United States by a Joint Resolution of Congress. Presented under the auspices of the International Dance Committee, International Theatre Institute of UNESCO, the USA IBC is held every four years in Jackson, Miss., in the tradition of sister competitions in Varna, Bulgaria, and Moscow, Russia. For more information visit www.usaibc.com.

JACKSON – Inspiration, encouragement, and humility cannot begin to describe the array of emotions audience members felt during the latest production of Tunes, Tutus & Turning Wheels, which by design blends dancers and artists with and without disabilities. Over 350 people ventured to the Belhaven Concert Hall Oct. 29 to witness a variety of performances from classical ballet to contemporary modern works. The event is presented by the USA International Ballet Competition and VSA Mississippi in collaboration with Methodist Rehabilitation Center, Mississippi Paralysis Association and Belhaven University.

TTTW brings the Jackson community together to celebrate life and promote disability awareness. It has done so four times since 2005.

“The presence of a disability does not mean a person is without ability.  It brings me delight to see the program bring the dance and art communities together and blossom each time,” said Sue Lobrano, creator of TTTW and USA IBC executive director.

Several pieces inside the performances showcased performers with physical and/or internal disabilities who skillfully execute feelings and emotions through dance.

Belhaven senior, Whitney Dufrene, enchanted the audience through her performance to “His Eyes are on the Sparrow,” choreographed by Cynthia Newland, chair of Belhaven’s dance department and TTTW director. Dufrene was born with Nystagmus-an uncontrolled movement of the eyes, which disables her from seeing in a straight line and hinders many day-to-day tasks such as driving and looking others in the eye. At the beginning of the piece, a video of Dufrene explained her disability and her coping strategies. Dufrene explained that in times of struggle she places everything on the shoulders of Jesus Christ. The performance inspired the audience as well as Dufrene, who said she felt as if in flight.

“The piece is an expression of the Lord’s joy and peace,” said Dufrene, “even though I can’t always see down a straight path, He can. That is all that matters.”

A piece entitled “Whisper,” featured children from The Little Lighthouse of Mississippi and choreography by Newland. The performance began with performers dressed in black and white dancing in very strict rigid movements to portray a life without love. As the performance evolved, Jessica Ziegelbauer entered the stage with a guitar in hand to serenade the audience with the song “Lovely.” Color and life were added to the movements and costumes, and finally nine children from the Little Light House were brought to the stage for patty-cake, skips, pointed toes, and acts of gentility toward one another. Their contagious giggles and bright smiles, while being delicately led by older dancers, contributed to the message that each life is a celebration.

Nicole Marquez joined the cast of TTTW for a second time. Her first dance after falling six stories from her New York apartment was at TTTW 2009.  She contrasted the two performances stating the first was one of excitement and making memories followed by some criticism of herself for not “doing more.” In TTTW 2011, she relates “I am doing more. It’s never enough.”

She describes the magic moment of adrenaline, excitement, fear, and panic waiting in the wings. The magnitude of three or four months work for a five minute payoff is tremendous, but that is when she reminds herself, “this is my life; I am a dancer.”

This year’s piece entitled “(T)here” brought together Marquez  and long-time TTTW performer, Tom Burnley, in choreography by Mark Tomasic of Dancing Wheels, an integrated dance company, in Cleveland, OH.  It began with large wording – unexpected, home, frightened, peace – handwritten upon paper airplanes showcased on a back screen as the light falls upon Marquez who is seated but stands triumphantly with a crescendo.

Marquez also expressed her thanks for the arts supporters, especially those of TTTW. “I thank them for their support of time, effort, energies and funds! Supporters allow us to perform, but they balance our performance by giving us the tools and opportunities to bring them the joy they deserve as an audience. Jackson is thriving on the arts now; keep the momentum.”

Burnley was introduced to the program years ago while a patient of Methodist Rehabilitation Center. He quickly fell in love with the arts. Burnley returns to the stage each TTTW performance as a veteran though no longer a MRC patient because he enjoys the camaraderie between the diverse cast ensemble. He admits that this year’s choreography seemed challenging at first. He immediately gives credit to his partner, Brigette Marquardt, a Belhaven student, for assisting his triumph over it.

“Participating in Tunes, gives me a chance to participate in the arts that I didn’t have before,” commented Burnley.

Audience members waited patiently to witness the most anticipated piece titled, “Point to Pointe.” Also choreographed by Newland, this piece featured Ryan Estep and Tremaine Nathan, members of the Methodist Rehabilitation Center’s wheelchair fencing team. Both fencers have been involved in fencing competitions and Estep is ranked ninth in the world. He will also represent the USA in the Paralympics in 2012. Estep admitted that the transformation from fencer to dancer was quite interesting.

“I’m used to trying to hurt people, not dancing,” commented Estep.

After being involved in the performance process his respect for dancers increased.

“In ‘Point to Pointe’, the playfulness of healthy competition and the athleticism of the dancers and the fencers come into play, confirming the vigor of both art forms,” said Newland. “Although terminology differs, both involve eloquent grace and the power of articulate and precise execution.”

The audience did not stifle their laughter as the two fencers – at one point – learned a lesson or two from the ballerinas.

USA IBC produces TTTW to provide an opportunity of self expression for dancers (and artists) with (and without) disabilities while generating disability awareness to the audience in attendance and support the community at large.

USA IBC announces the results of economic impact study

JACKSON, Miss.,– An independent economic impact study shows that the ninth USA International Ballet Competition (USA IBC) generated $10.2 million for the state. The impact is a 35 percent increase from the 2006 competition and a 61 percent increase over the 2002 event.

Compiled by the Department of Economic and Workforce Development at the University of Southern Mississippi in Hattiesburg the results are based on program operations and participant/attendee expenditures during June 12 – 27, 2010 in Jackson. Other figures from the study reveal just over a $500,000 associated impact for state general fund revenues and also personal income of $5.2 million locally.

“In difficult economic times, we are proud to contribute so mightily to the economic stability of our city and state,” said Sue Lobrano, USA IBC executive director. “We are pleased to have exceeded the impacts of the past two competitions and to have welcomed the masses of the dance community to Jackson once again for our festival of dance.”

The economic impact was calculated using ticket data, hotel reports and USA IBC records.

Thirty-one countries were represented by 100 competitors and another five were represented by the international jury. Ticket buyers flocked from 40 states including Puerto Rico and 10 foreign countries. The total attendance for the 2-week competition and its ancillary events was 27,040.  The companion USA IBC dance school drew 258 students from 24 states and 2 countries.  The 2010 event garnered over 2 billion in online and print media impressions and welcomed nearly 800 volunteers from the metro area.

The next USA IBC will be June 14–29, 2014.

The USA IBC is a two-week, “olympic-style” competition where tomorrow’s stars vie for gold, silver and bronze medals; cash awards; company contracts; and scholarships. The event is designated as the official international ballet competition in the United States by a Joint Resolution of Congress. Presented under the auspices of the International Dance Committee, International Theatre Institute of UNESCO, the USA IBC is held every four years in Jackson, Miss., in the tradition of sister competitions in Varna, Bulgaria, and Moscow, Russia. For more information visit www.usaibc.com.