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10 Questions With…Jazmine-Youmie Francois

March 3, 2010 by 4dancers

1. Can you tell me your name, your location and a little about your dance background?

Well my name is Jazmine-Youmie Francois. I am originally from Haiti but I have been in the states since I was 5-6 years old. I am a Choreographer, Producer and Believer. I’ve been dancing all my life, but professionally for the last 4 years. I have been a teacher but I believe that I am a student at heart.

2. What is Concrete Dance Couture?

Concrete Dance Couture (CDC) is a site for the Choreographers, Dancers and Stylists who can’t catch the break they’ve been working so hard for. We’ve created a site for dancers whose spirits have been negatively pierced by agency rejections and unresponsive auditions. CDC provides our members with choice auditions in New York City, Los Angeles and other cities all over the United States. We offer legitimate agency listings, exclusive interviews from their favorite choreographers, dancers and celebrities.

We also offer designers and stylists a platform where their work can be seen. In addition, we offer valuable advice from industry insiders and continuous support to help their dreams of being a successful dancer/stylist become a reality.

3. How did the idea for CDC come about?

CDC began with a thought and a prayer. I wanted to provide hungry dancers and designers everywhere a site that focused on the talent and the person. As a dancer, I remembered how hard it was to find auditions to dance with a celebrity, on Broadway and amazing dance companies, but I didn’t want us to be an agency. I wanted us to be an intimate site that provided up and coming dancers with the opportunities that they are constantly searching for. So I asked God to lead and then I followed. I’m still following.

4. What are you currently doing with the site?

Right now CDC is focused on getting every up and coming dancer and stylists/designers out there an opportunity to be seen. We have great auditions/jobs listed for our members, then we post interviews with their favorite choreographers/celebrities. We have 2 sections titled, “Spotlight Dancer and “Wicked Choreography” where we provide sponsors, agencies and the world a chance to see that there are still ambitious dancers out there.

We also have the Reversible Beauty Blog where we focus on building everyone that comes through our site spirits. We understand how hard the industry is so our blog run by Claudine Jean-Mary (Clarity) focuses on spiritual restoration. We want our members to follow CDC’s motto in every area in their lives; Be Fearless, Be Relentless!

5. Can you explain who would benefit from joining and how they can sign on board?

Though CDC is a Dance site, we believe that most people that are entering the industry or are currently working in the industry can benefit from our site. Dancers and designers now have a site that focuses on them and their talent. Our site is very positive and intimate. We are in the business of helping others. Whether it’s finding auditions or helping you with insecurities. We are here to help. We want people to understand that the world is at their feet, not the other way around.

6. What is the cost of membership and what are the benefits?

The cost to become a member of Concrete Dance Couture is $15 dollars a month. We believe that this is very reasonable for struggling dancers everywhere. Members get access to over 100 auditions all over the United States, they get special discounts for special gatherings we have with today’s top choreographers and dancers. Members get to hear the truth about the dance community and are warned about the superficial side of it. In our page “The Industry & You” we have industry insiders and CDC staff answering our member’s biggest questions about the industry.  They receive spiritual rejuvenation and support from us personally. Overall our members get educated, empowered and encouraged in every way to follow their dreams.

7. How do you choose your interview subjects?

I get asked that question a lot. It’s simple really. I believe that these people are brilliant and humble. I usually ask them and they say yes, I think that’s by the grace of God. The truth is, everyone that we have interviewed has been very kind and has given back to the dance community in some way. They have broken doors for hungry dancers, choreographers and designers. I wanted our members to hear them speak about their fears, what kept them motivated and their personal message to dancers everywhere.

8. What is it that you hope to accomplish through having this site?

I hope to help people’s dreams come true. I hope to have more people go after their dreams in a way the industry hasn’t seen before, but most of all I hope to have people everywhere spirits restored.

9. Is this your full-time gig or do you do other things as well?

This is currently my full time gig so you can imagine, I get no sleep (laughs) but I do have a lot of part time gigs. I seriously get no sleep.

10. What are the upcoming plans for the site?

I wish I could tell you. I take it day by day. This might sound weird but I do what God tells me to do. The one sure thing is that we have a couple of pieces of clothing coming out catered to dancers. Obviously we want to help dancers and designers everywhere but I don’t like to plan things too much. You can overwhelm yourself that way so I just let God lead and I follow, when he lets me know, you’ll know (laughs)!

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Filed Under: 10 Questions With... Tagged With: concrete dance couture, dance, jazmine-youmie francois

10 Questions With…Maria Hanley

February 26, 2010 by 4dancers

Today’s 10 Questions With… features a fellow dance blogger and educator Maria Hanley…

1. How did you get into dance and what are you doing right now?

My mom signed me up for dance class when I was 3 years old. I was a leader for the babies, an assistant, a teacher and then became a dance major. I then moved to New York City to earn my masters in dance education and here I stay. I live in NYC and look at myself as an independent dance educator. I teach for New York City Ballet’s outreach programs, I teach creative movement and tap at Mark Morris Dance Group, I am a movement specialist for a preschool and teach creative ballet at the Jewish Community Center in Manhattan. I am also building my own business called Maria’s Movers. I have a lot going on, but I love it!  I thank my mom for enrolling me many years ago! 

2.  Why did you start your blog?

 I started Move. Create. Educate to have a place to write down my ideas. I think of it as my journal. I go so many places in a day that this blog creates a “dance home” for my ideas, questions, and accomplishments. I love to write about my experiences teaching young children, opening and maintaining a business, and the importance of building a community of dance educators. 

3.  What do you feel are the most important things to focus on in terms of teaching little ones?  

I try to focus on being a positive role model for the little ones. You would be surprised how attached 2-3-4 year olds get to their teachers. They look up to me and all they want in return is to show that I listen to their ideas and give them a smile when I see them. Making class fun and exciting every week is a main focus too. I feel that it’s a privilege to be able to teach young dancers when they are so impressionable. I think it takes a certain kind of person to work with young children. Even though I am their teacher, they teach me something new every day! 

4. How do you think a community of dance professionals can help one another?

I think it is so important to be apart of a dance community. In fact, one of the goals of Move. Create. Educate is to create and support a community of dance teachers. Since starting the blog I have met some wonderful and amazing dancers and dance teachers. Building and inserting yourself into a community of dance professionals can widen your view, open up new opportunities, and allow you to grow as a dancer and dance teacher. I look forward to meeting and connecting new people everyday. 

5. Who are your all-time favorite dancers?

I love Gene Kelly, of course! Isadora Duncan is also one of my favorites! My all time favorite dancer is Douglas Dunn. I studied with him at NYU and he’s amazing.  He gets you to move in ways you never thought you could! If you are ever in NYC he teaches classes out of his loft apartment in Soho. A great experience in itself! 

6. What is it about dance that you love so much?

I really love that being a dancer and dance teacher can be a JOB! Whenever someone asks me what I do (the dreaded question, right?) I say “I’m a dance teacher!” They seem very surprised and think it’s really amazing, but then I always think, do they really know what being a dance teacher is? I love that dancers have a way of connecting on a different level. I love that dance inspires me to be creative and in turn inspires children to love dance. 

7. What is the best dance advice you have ever heard?

I have heard a lot of advice, but the best advice I have ever heard is “A loud classroom is a learning classroom.” I always remember this advice when my class gets loud and excited. If the students are loud and are giving ideas, I know that they are learning and thinking. I try to gage my classes this way, it doesn’t work in every class, but for most it’s a helpful tool! 

8. What do you think it is important for parents to know about dance?

I think it’s most important for parents to know that dance can and should be fun and educational at the same time. Many of the mom’s I work with are my biggest fans. They know my class brings out the best in their child and so that is what they advocate for. I like to show the parents that learning dance is a process and the process should be exciting for them as well. I encourage my students to practice at home and to talk about what we did in class each week. The parents love to be involved and I love that they are so supportive. 

9. What changes do you think need to come about in the field?

I think dance teachers need to advocate for what they know works. As I visit public schools, it’s clear to me that most people have no idea what dance teachers even do. Dance teachers work hard and we deserve more credit and recognition. I believe dance educators can contribute to so much of a child’s education. We just have to prove that what we do is just as important as math and science. We need to get to a place where everyone puts math, art, science, and dance on the same level. 

10. Can you share any upcoming plans for your blog?

I want to introduce a new segment on the blog coming up soon. I would love to get some guest bloggers. Teachers in public schools, also choreographers who work with children and maybe even children themselves!

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Filed Under: 10 Questions With... Tagged With: douglas dunn, gene kelly, isadora duncan, maria hanley, maria's movers, mark morris dance group, move.create.educate, new york city ballet, outreach

10 Questions With…Javin Rogers

February 21, 2010 by 4dancers

One of the things I want to make sure that I do with this feature is give a voice to less traditional dance styles, as well as young performers who are putting their heart into what they do. To that end, today I would like to share with you some words from a young dancer who lives in Beloit, Wisconsin.

Here is 18-year-old Javin Rogers…

1. What type of dance do you do?

 Hip hop.

2. How did you get into this style of dance?

 I saw the way Usher and Micheal Jackson danced and it automatically made me want to be just like them.

3. What is it about dancing that you enjoy?

When im dancing I feel free and I love entertaining people. That makes me really enjoy dancing.

4. Can you tell me a little bit about the moves in hip hop?

There are alot of different styles in hip hop dance and the moves come about through the styles.

5. How do you learn new moves?

Practice and lots of music videos.

6. Where do you perform?

I perform for local artists, and talent shows.

7. What makes a good hip hop dancer?

Technique and the will to never give up.

8. Has the style changed at all since you started doing it?

The style changes a lot, theres a new twist on dancing every month.

9. What do you see coming up in this type of dance?

I think hip hop dance will always have some thing different to learn and it will make you step your game up.

10. What advice would you give to others who want to learn how to do hip hop?

I would tell them to practice every day, never let someone say you can’t do something, have fun but take it seriously.

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Filed Under: 10 Questions With..., 4dancers Tagged With: hip hop, javin rogers

10 Questions With…Violeta Angelova, Ballerina

February 19, 2010 by 4dancers

Today we have a special treat for 4dancers readers…an interview with Violeta Angelova…a young, and very talented ballerina…

1. Tell me a bit about your background in ballet.

I spent substantial time in the Vaganova training, then the Western school and am now immersed in American ballet.

2. What are you currently doing?

Right now I perform for The Suzanne Farrell Ballet at the Kennedy Center in Washington.

3. Can you share some advice for those who want to be a professional dancer?

Dancing is a commitment. And there is a difference between the lives of professionals in ballet and the lives of professionals in competitive dance for example. In any case it is hard work, so make sure you know what you want and what you are getting into.

  4. One thing I noticed about you is that you have a very creative spirit. Do you think that adds something special to your performances as a dancer, and if so, how?

It depends on the role or style I am dancing. Some parts allow more room for flair than others. I have been told I surprised people by elements I add. But I can’t really see myself so I can’t give more definitive answer here.

An intelligent mind is indispensable to any artist. Especially if one is to enrich or challenge the audience. With dance you also need your body to facilitate your vision.

5. What is the high point of your career so far?

Carrying a show or meeting the President could qualify. But it was realizing that I have to follow what is within me and should not hide that I am different.

6. Can you tell me about any challenges that you have faced in dance and what you have done to overcome them?

I am an imperfect perfectionist. I cope with that every day. 

7. What does your warm-up consist of before a performance?

Usually it’s half an hour to an hour of warm-up exercises plus another hour for hair, make-up and shoes preparation.  

8. Can you share five items you can’t live without on tour?

Pointe shoes, underpants, water. Can’t live without them, hehe..

I like to be comfortable when traveling, so I take things. Sometimes situations have you go without the elements you enjoy. For me foam roller, foot roller, heating pad in winter, tea even in summer and iPod – these are all on the list.

9. You recently launched “The Vio Shop“. What does it have and how did that idea come about?

The idea just came to me. It was a while back and originally I dismissed it. Right now in the shop we have the “Angel” tutu, first model of the Viotard, gifts, among them posters. We might add more things in the future.

10. What is next for you?

Dancing, reading and hopefully spending more time on and showing original works.

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Filed Under: 10 Questions With..., 4dancers Tagged With: american ballet, ballerina, suzanne farrell ballet, the vio shop, vaganova, Violeta Angelova, viotard, western school

10 Questions With…Karen Stelling

February 14, 2010 by 4dancers

Normally I don’t do these “10 Questions” so close together, but I have to say I was excited about getting this one up! Karen Stelling has been kind enough to share some of her considerable knowledge about Flamenco dance with us today…you’re in for a treat! Who knows…it may even make you want to take a class…
Karen Stelling

1. Can I get your name, location and number of years of experience in the dance world.

My name is Karen Stelling and I currently work and teach in the Chicago area.  I have been studying, performing and teaching  Flamenco and Spanish Dance for over 30 years.

 2. Can you tell me what makes Flamenco dance unique?

Flamenco dance is just  one part of an entire culture that defines a community of people who came to  together in area of southern Spain, what is now known as Andalusia, over two hundred years ago.  To really understand Flamenco, to know it, requires one to understand and know the gypsy culture that birthed it.

In Flamenco “arte,” there was first the voice or the “cante,”  literally the crying out against life’s cruelty,  as well as happily expressing love of the land, of family and of life.  Then came the guitar to set it all to music  in a wide variety of rhythms or “palos.” Finally, after the singing and the guitar, came the dance. Ultimately, the dance is the outward physical demonstration of this culture, with its struggles as well as great joys that were endured and celebrated.   It is truly a “folk” art form in that at its roots, it is deeply embedded in the gypsy culture of Spain.  There is nothing akin to it in American culture with the possible exception of jazz music.

3. How difficult is Flamenco to learn, and what are some of the major challenges in doing it well?

Learning to dance flamenco requires a terrific amount of patience and practice.  Because it is largely improvisatory, just like any improvising, one has to acquire good “chops” and understand it all very academically first, before one can begin to let go of the boundaries and explore. This of course takes time!  But to become a knowledgable flamenco dancer, one must study all the different structures which can be in 3, 4, 6 and 12 count phrases!  Many students begin flamenco classes thinking it’s like latin dancing or salsa with easy 1,2,3,4 counts and then wonder why it is so hard to learn.  Each rhythm, or palo, has its own tempo, accents, style and musical structure including how to dance to the singing,  that must also be learned.  There are some dancers who will only perform one particular palo over and over again, because it fits their temperament and allows them the clearest expression.

4. In terms of technique, can you describe some of the things that Flamenco dancers must master?

Having a good sense of rhythm is paramount and because there is so much percussion inherent in most of flamenco dance, one has to know how to dance on the beat and in the counter rhythm or “contratiempos.”  Flamenco dancers have strong legs and feet…the pounding is part of the job!  Like ballerinas dancing on pointe, one just has to accept a certain amount of discomfort at first and then eventually, one doesn’t notice it any more.  I constantly encourage my students to go for it, put 100% energy into doing heelwork and to avoid doing steps in a weak fashion, “marching in place” rather than digging the feet into the ground.  The studio is the laboratory where you work this stuff out and make mistakes and get out of rhythm but that’s how you learn.   There is also a certain carriage of the body that has a distinctive flamenco look…the arched back, the arms in a very held position with elbows turned out and the “flores” or movements of the hands which need to be in sync with the rest of the dancer’s rhythm and steps. There needs to also be a strong connection to the earth underneath us.  The upper half of the body reaches toward the heavens but the hips and legs and feet all belong to the ground.  Most women have difficulty connecting to their physical, sensual selves and the ability to open up to the earth and yet this is imperative in flamenco.  To feel comfortable in one’s skin and move in a way that is non-pedestrian is very challenging.

5  How did you fall in love with Flamenco dance?

I remember seeing a company of dancers perform at Navy Pier in the early 70’s.  They had a little postage stamp of a stage to perform on but it was amazing.  I believe one of the female dancers was a woman named Carmen Mora who later became one of my favorite dancers.  Then, in 1975 when I had the chance to study with Nana Lorca at the Boston Conservatory of Music, I remember being completely overwhelmed by her beauty and grace at the closing concert of the workshop.  She had transformed herself from this tough teacher with no make-up to a stunning performer in amazing costumes and stage presence that lit up the theater.

6. What is it like to choreograph Flamenco dance?

The best and most accomplished flamenco dancers may or may not have “set” choreographies. Remember, flamenco originally was a jam session of the folks in the household or the little community.  It was made up on the spot and anyone who wanted to could stand up and sing or dance. This understanding is still prevalent among traditional flamenco dancers.  More frequently, the dancer works with the guitarist and singer to determine which palo will be performed and because the dancer knows how and when the singing will start and end,  he or she creates the dance in the moment.  Most traditional palos have set structures for verses, choruses, silences and so on. The best option is for the dancer and guitarist to co-create the music and choreography at the same time…then it truly is a one of a kind creation.

For me personally, to choreograph requires one to know the rhythm extremely well and to always honor the singing.  And because there is so much rhythm involved, on Monday, I may decide to accent here and here, but by Tuesday, I’ve “heard” something else altogether and now the accent is there and way over there!

7. What type of costuming is involved in Flamenco dance?

Nowdays, comfort is key and lightweight fabrics with fun designs are seen. Typically, women still wear dresses and top and skirt combination’s but many enjoy dancing in trousers which was popularized in the 30’s by the great Carmen Amaya. The traditional “bata de cola” or the dress with the tail, is still used frequently but is very carefully tailored and requires an excellent fit.  Women may also dance with “mantons” or large emroidered shawls which are often incorporated into their costumes.  Depending on the dancer, flowers are still worn in the hair, a distinctive flamenco look.

8. How can people who are interested in doing Flamenco find a reputable teacher? 

Usually by word of mouth but the best way is to ask around and learn something about the instructor’s background, e.g., where and with whom have they studied, what is their specialty and so on. It’s also good to take a number of classes with different teachers until one finds a good match.  Many students want to strengthen technique, others want choreography and still others a chance to perform.  A teacher may have a reputation as difficult but ultimately that means they challenge the student to really work hard and the payoff is great technique.

9. How are the arms in Flamenco different than other dance styles?

The arms are carried in front of the body, with elbows raised intentionally in all positions from top to bottom.  There is also a strong angular component when the arms are across the body.  The hands are also an integral part of the arm movements and not just because they are attached at the wrists!  The arms may come to a stop but the hands may continue the movement and rhythm.

10. Can you share something else about this dance style that you think readers may find interesting?

It truly is one of the hardest dance forms one will ever love!  It is not for the faint of heart because there is so much “multi tasking” going on in every class or performance…one must learn technique and use it well, know the variety of rhythmic structures and their accents, understand the guitar accompaniment, the singing, how to dance in a dress, use a shawl, a fan, castanets and dance in high heeled shoes!  Everything done in heelwork on one side, has to be done on the other side as well!   With all of it’s challenges, it allows a dancer the most expression one can experience while working within a time honored tradition.

And the best news?  Unlike ballet and other dance forms, where physically the body can no longer execute some movements and age is not a friend, in flamenco, an older body is not the enemy.  An older dancer can imbue her dancing with her life stories and experiences, thereby enriching the presentations. It is very inspiring to see dancers I knew from my “youth” still performing “old school” with just as much passion as they had twenty or thirty years ago!

I often say once you are sucked into the flamenco vortex, it is hard to escape but… why would you want to? Try a class at least once in your life and see for yourself!

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Dance History, Flamenco & Spanish Dance Tagged With: boston conservatory of music, carmen amaya, carmen mora, dance, flamenco, karen stelling, nana lorca

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