Ngoma Reader Magazine July/August 2015 Issue

NR

Washington, Washington, D.C.’s D.C.’s Dance Dance Magazine Magazine

Dissonance Dance Theatre Launches Its Summer DanceLab Step Africa Turns 20

Lorraine Spiegler: CityDance the Vision Unfolds May Kesler Works The Spine Knock on Wood Preserves DC’s Tap Community

www.ngomareader.org

July/August 2015

Dissonance Dance Theatre is seeking male and female dancers for its ninth season auditions. Auditions will be conducted in Washington, D.C. Sunday July 26th, 2015 Times: Registration 2:00pm-2:30pm Audition 2:30pm - 4:00pm Address: Adventure Theatre-MTC Studios 837 - D Rockville Pike (Wintergreen Plaza) Rockville, MD 20852 Audition fee $20 (Pre-register via Facebook Dissonance Dance Theatre/Ngoma Audition consists of a contemporary ballet class and combinations.

Dancers receive contemporary ballet technique classes four days a week. In addition, these emerging work with Dissonance Dance Theatre dancers gaining valuable work experience and the chance to work with guest choreographers and artists during DDT’s theatrical season. Selected trainees have the opportunity to perform at community engagements, artistic events and Dissonance Dance Theatre productions. Trainees are provided scholarships for Ngoma Center for Dance drop-in classes and workshops.

Daily classes run: *Tuesday-Thursday 6:00pm-9:00pm, Sundays 1:00pm-6:00pm * Additional times and days may be added to base schedule.

Trainees program runs from Aug 4th, 2015 to May 15th, 2016. Tuition for the Trainee program is $400 a month. Financial assistance available. Since its beginnings, Trainee dancers have received scholarships to nationally-ranked schools, college dance programs and dance company apprenticeships.

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www.ddtdc.org Photo by Shawn Short

Dissonance Dance Theatre

2015-2016 Trainee Auditions

Dancer: Shannon Evans

Dance Metro DC

Winter/Spring 2015 Productions

Your Dance Community Auditions, News, Performances and more...

www.dancemetrodc.org

Ngoma Reader Magazine Partner

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Ngoma Reader__Table of Contents Volume 2 Issue 4 Feature 8 Knock On Wood Strives to preserve Tap dance in DC.

By Damon Foster

12 Lorraine Spiegler enlightens us on the development of DC Dance and how CityDance is aiding her growth; an artist in our Director Spotlight.

By Donovan Johnson 17 From “School Daze” to international stages Step Afrika redefines step as an art form.

By Damon Foster

Photography Feature 20 Dissonance Dance Theatre Launches Summer DanceLab 2015 By Shawn Short Jeremiah Jones Health 27 Waking up the spine in the morning.

By May Kesler MA, Mth, PT Dancer Spotlight 30 Crishon Jerome speaks of Hip Hop and being a dad.

Cover Image: Shawn Short

Image from “Summer DanceLab” Pg 20

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NR Washington, D.C.’s Dance Magazine

Editor In Chief/Publisher Shawn Short

sshort@ngoma-center-for-dance.org

Editor Damon Foster

dfoster@ngoma-center-for-dance.org Contributing Writers and Editors Stephen Clapp Derek Clemente Damon Foster Ingrid Graham Donovan Johnson Tyler Lewis Tehreema Mitha Shawn Short Staff Photographers Jeremiah Jones Jade Enders Shawn Short Sergey Apasov

For advertisement information and news submissions, please email: NRmagazine@ngoma-center-for-dance.org

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“Hoofing” Towards a bright future Tap Dance School turns 20

By Damon Foster It’s 5:25pm in the evening at most unassuming dance studio space in Takoma Park, where the air is filled with a combination chatter and the sound of metal taps clanking against the wood floor. In the corner, two young students gaze at a poster of late tap legend Gregory Hines. “Wonder if I can become that good,” chuckles one the students as they meander off around the corner to start class.

Such a scene is common at Knock on Wood Tap Dance School, where youth and adults indulge in their love for tap and other percussive dance arts. Only one of three tap dance school in the entire U.S. of its kind, according to Co-Founder Yvonne Edwards, Knock on Wood celebrates its 20th anniversary—no small accomplishment for any non-profits arts organization in the Washington D.C. area. Edwards calls a labor of love, not just for her, but also for so many others involved.

“First of all, I am awestruck to the school as now seen two decades,” Edward said. “I feel unusually blessed to have a staff of amazing instructors who pour themselves into teaching this wonderful dance craft. Then you have the volunteers and supporters who sacrifice time, money, labor---all their own love of tap and Knock of Wood School” It’s opening in 1994, Knock on Wood has built a reputation in the local dance community as the “go-to” center for tap dance instruction.

Board member Dori Gillman former says the learning environment and caliber teaching sets the school apart.

“Knock on Wood is such a unique place. It’s a no pressure-filled environment. It’s a place of happy people who are happy because they tap dancing and having a good time. Each a place of love and encouragement and people remember that. Each year we see a large number of former students who return to D.C. or may be passing through and they have to come by and take a class.” Gillman said.

Gillman own relationship with Knock On Wood began with her two sons being enrolled in the classes. Now they are in their teens, and perform regularly with the school’s youth ensemble Capital Tap. Gillman now herself takes class.

“It wasn’t enough to just watch my boys enjoy tap dancing. Eventually I caught the tap bug and started coming to class—one the best decisions I could have made for myself. And that’s the beauty of tap, age is truly not a factor for you to enjoy the art form.”

Through two decades, the school has seen it fair share of well…hard knocks. Economic recession took a toll on the school, forcing it to downsize opting for smaller studio spaces. Enrollment dropped and funding was menial, yet giving up far from Edwards’ mind.

“Sometimes you just have to ride the storm out. I’ve learned being at the helm of the beautiful institution to not give up. I tell myself, the students need the school.

The community needs us. We cannot give up,” said the 80 year-old, who still takes class herself.

Currently, the school resides in a multi-occupant building that also houses the Washington National Opera rehearsal studios and The LabDC, a break-dancing school. With three small studios within its area, Knock on Wood do what it does best—teaching tap. Enrollment has resurged in recent months to the delight of many.

Instructor Agnes Kovacs revealed that Knock on Wood bought her full circle back to her love for dance.

Born and raised in Hungry, where she studied ballet, Kovacs had walked away from dance shortly after coming to the U.S. “I didn’t start dancing again until after I had kids,” Kovacs said. “It’s funny, I always felt a little odd in ballet growing up, like I did not quite fit in, but now as an adult I found my voice in tap and the percussive dance arts. What I love about this Knock on Wood is the mission to inspire—not to impress—the community. The results speak for themselves.”

For now Edwards is happily content with Knock on Wood’s location, but revealed her vision of the next 20 years includes securing a new facility completely devoted to percussive dance arts instruction.

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Teaching Artist Job Opportunity

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7833 Walker Dr., 2 Floor • Greenbelt, MD 20770 • 301-446-3241 phone • 301-446-6082 tty • www.pgparks.com

Arts on a Roll is a program of the Maryland-National Capital Park and Planning Commission, Department of Parks and Recreation, Arts and Cultural Heritage Division in Prince George’s County, Maryland. Arts on a Roll is a mobile, on-demand arts service that can be booked for events or recurring workshops. Examples of events and programs include: festivals, community days, family gatherings, church events, birthday parties, after school programs, etc. The goal of this program is to partner with artists and educators to provide engaging and affordable arts services to the local community. Arts on a Roll travels to various locations to facilitate the workshops. The Arts on a Roll vehicle is located at our main office in Greenbelt, MD. Find out more about our programming at www.arts.pgparks.com or facebook.com/artspgparks.

Arts on a Roll is searching for teaching artists to lead specialized workshops in their area of expertise. We are seeking artist educators in theatre, performance, digital media (videographers, photographers, computer animators, audio technicians, etc.) dancers/choreographers, musicians/vocalists, visual artists (painters, sculptors, photographers, etc.), and creative writers/poets. Arts on a Roll is in immediate need of visual artists and musicians/vocalists, teaching artists who are available on weekdays, and teaching artists who have experience working with people with disabilities.

Requirements     

1 year of experience teaching in your artistic field The ability/willingness to work with diverse groups of people from young children to older adults The ability to maintain composure and effectively adapt to a variety of situations Experience in customer service and the ability to be a liaison to the community A valid driver’s license and the willingness to drive to various destinations in Prince George’s County and the surrounding DC Region

Schedule

The scheduling of our teaching artists is part-time, flexible and based on Arts on a Roll’s client needs. Working with Arts on a Roll is a wonderful opportunity to provide affordable arts services to local communities during the times that best fit one’s schedule.

Pay Rate

The hourly rate we offer is commensurate with experience, between $15 - $25/hour.

Information/Application

This is an ongoing call for teaching artists. Applications will be reviewed as they are received. For more information visit Arts.PGParks.com.

To apply, send a resume and cover letter to Arts.OnARoll@pgparks.com.

Styles of Tap Dancing Buck Dancing: Any solo performed by a man—traced back to the West Indies where Africans used the words po’bockorau which referred to rowdy, noisy, troublemakers. The Jig eventually came to be known as the Buck incorporating stamps, chugs, and toe bounces.

Buck and Wing: 19th Century term used as a catch-all phrase for many forms of percussive dance.

Juba: A competition dance inside a circle in which one dancer challenged the technical skill of another dancer in a series of solos, derived from an African step called the Giouba. Done flatfooted unlike the jig, the upper body was also involved in the movement.

The Jig and Reel: Irish dance form utilized both the heel and toe sounds while the body stayed erect virtually motionless with the hands held close to the sides or placed on the waist. The feet and legs executed elaborate and intricate movements. Also the Jig was associated with all forms of Black movement.

Sand Dancing: The dancer would sprinkle a pint of sand on the floor. There were no taps on the shoes and the dancer would shuffle, slide, shift, and dig into the sane to produce sounds; originated around 1876 Soft shoe: First known as Essence dancing. The Essence became the first popular dance that was of African-American origin. Essence dancing was smooth as if they were ice skating or gliding effortlessly. The dance was elegant, graceful, and refined and transitioned into a soft shoe.

Flash Acts: Because of the cakewalk at the turn of the century, circuses and carnivals hired African-Americans to dance. They began to learn acrobatics and tumbling then added somersaults, flips, splits, and other elements of the cakewalk. Thus when all these elements are combined with tap dancing, it is called Flash Acts.

Hoofing: Referring to a tap dancer-around 1890 also refers to a self-taught tap dancer Broadway: Associated with musical theatre—usually a big chorus production with flashy, sparkling costumes and formations and lines, very visual.

Rhythm Tap: Passed down from generations and traditions from hoofers of the early1900s characterized by heavy hitting tap dancing

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Dance Steps, Life and Visions: Lorraine Spiegler Dance steps, life and visions is a spotlight that showcases “the behind the scene” lens of local DC artists.

Written by Donovan Johnson CityDance School and Conservatory is effecting the landscape of dance in Washington D.C. Since opening in 1996, CityDance has carved a niche amongst area pre-professional training institutions. In 2007, Lorraine Spiegler became artistic director of the school At the helm, she has stirred the organization robustly, creating stand-out partnerships with Washington Performing Arts Society and with dance industry notables Rasta Thomas and Dance Theatre of Harlem. We caught with Lorraine to get her perspective regarding the growth and expansion of CityDance , and the overall future of dance in Washington D.C. 1. So where are you from originally Lorraine?

I was born in Washington, DC in Columbia Hospital for Women and raised in the city. My grandmother and father were also born in DC and both gave me a deep love of the nation’s capital. Growing up, I spent a lot of time at the Smithsonian in the museums and at the many monuments, libraries, national buildings and parks and learned a lot about the history and legacy of the city and its people. My father was a scientist who took us for long hikes in Rock Creek Park weekly. But many of my summer vacations happened with my family in Europe as most of my family on my mother’s side is French and Swiss and on my father’s side are Romanian.

2. What does dance mean to you?

Since age five that I wanted a life in dance. I feel happy and honored to have been able to make dance my life.

Dance is really the window through which I see students and the world. It is a sophisticated form of communication that transcends all boundaries and represents total freedom of expression for individuals and communities from around the globe.

3.How would you describe the DC dance scene?

The current DC dance scene and particularly the educational aspect involving the training of young dancers toward professional careers, the creation of future dance leaders, the cultivation of audiences and support for the art has developed from the early structures and models created by the many founding educators and directors in the city. They dedicated their lives to dance and to creating this essential foundation. Their early efforts creating schools and companies, setting up studio programs and projects, organizing performances and contributing to the development of new venues have allowed the following generations of dancers, teachers, choreographers and directors to now build their respective programs and audiences. These dance leaders, and there have been many, are to be respected highly--from Jones Haywood to Mary Day, Carla Perlo, Septime Webre, Rima Faber and Dr. Naima Prevots and many others.

The current scene is vibrant and vital with potential to impact the development of dance in the US nationwide.

From incubation programs for emerging choreographers to a multitude of smaller dance companies to the larger regional companies, commissions and projects... DC is ripe for the next stage of development of new companies and choreographers.

Recently there was an article written about the DC area as to the positive trajectory development of dance nationwide and a prediction that DC will become one of the next hubs for dance, given the vibrant activity across genres and communities and expression through schools, studios, companies, new choreography, national and international projects, festivals, breadth of genres and the community education/social development aspect of dance in DC.

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The DC dance scene is showing itself to be evolving, transforming and growing. The dance energy, in terms of expression, venues, and types of presentations, is of a high calibre and may prove very successful for the future.

4. Given your extensive experience, what do you feel you bring to the scene?

Dance pioneer Kurt Jooss who was co-creator of many of Laban’s ideas and books declared in the 1930’s that one day modern dance and classical ballet would be taught side by side and respected equally. Many years later we are living and working in that dance world-- an exciting time where the confluence of classical ballet and contemporary forms have finally merged and dance expression is at a very sophisticated place -- any idea can be explored and shared through the medium of dance and the influence of genres. The quality of training in the best dance institutions is at an all time high, the level of performance of the most prominent companies is remarkable and also at an all time apex.

It has always been my dream to establish a School and Conservatory in the nation’s’ capital where classical ballet and contemporary dance forms would be valued, taught and presented on an equal level and at a very high level of quality. At CityDance I am working with a strong team to accomplish this dream.

Also, central to all my dance work is the essential idea that the identification and nurturing of talent in young dancers and choreographers as well as future arts managers contributes to the development of the broad field.

Many of my former students are now working with me at CityDance. It’s an amazing joy and sense of fulfillment to know that I can pass on my knowledge to others and they will now take their places in the new dance scene from the artistic to administrative areas. There are various areas of dance management and expression that can grow from our next generation of CityDance Conservatory Dancers. At CityDance we believe in preparing this next generation from 10-13 up to 24-25. I encourage our dancers to be dance critics, future managers, and dance leaders of all sorts and view them as emerging art leaders in the DC scene. They will hopefully impact the future of dance we are creating here at CityDance, in DC that connects our community nationally and internationally.

5. How would you describe the growth of CityDance and its impact to the DMV dance community?

Through our growth we have been able to establish a CityDance OnStage program that connects our young dancers with valuable professional experiences. Our partnerships with Washington Performing Arts and companies such as Dance Theatre of Harlem, Koresh Dance Company and Gallim Dance facilitate theses long lasting experiences in our young talents. Not only are we presenting these companies, we create residences where professional company repertory is learned and performed by our dancers in venues around the city. We find innovative ways to bring our young talents in contact with nationally recognized dance professionals from the studio to the stage. We connect our dancers with these professionals to provide them with connections and performance opportunities that last and matter. This is where young, fresh talents meet professional repertoire and standards, and ignite a fire of passion in DC. Locally it has been our pleasure to create our CityDance Ignite Program where we seek out rising choreographic stars in DC and provide them resources to create and present new work on our Conservatory Dancers. Artists receive marketing, public relations and administrative support, in addition to free rehearsal space at the CityDance Center at Strathmore. Often they use the Conservatory Dancers in their work and present at key venues around the Washington area such as the Shakespeare Theater, the Hill Center, the Kennedy Center Millennium Stage, Dance Place and more.

After a relatively short history our Conservatory alums are of the calibre that they now entering Juilliard, SUNY Purchase, Alvin Ailey/Fordham, Point Park and are being accepted to professional ballet and contempo-

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CityDance Conservatory Dancers_Media 4 Artists

CityDance Conservatory Dancer Lara Segrillo & Partner_Media 4 Artists

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rary dance companies. Our first graduates are returning to dance with us, function as TA’s, summer teachers and fulfill internships as well as assume positions here at CityDance. In this way we are creating the next generation of dance professionals in the greater DC area, 6. Tell us about your family?

My family life, from the family I was born into, to my marital family spans multiple continents, from Rio de Janeiro to France. I’m happy to say my own daughter Lara, half-Brazilian, is captivated by the beautiful world of dance and has been dancing with CityDance. I consider myself to be lucky because the friends I have made in international work from the Caribbean Islands to Brazil, including students I have mentored here in the US and abroad, have created my collective chosen family and my relationships with them are all very close.

7. Tell us about “Dancing Toward Literacy”?

Dancing toward Literacy is a methodology I created and use in my work from the creation of concerts to the dance programs I direct at CityDance. This approach provides a structure for dance education that rests in the intrinsic relationship between dance and language and the way the brain learns both. Learning is not linear it is exponential. In addition to the language learning model dance is rooted in the global hammock of multi- cultural materials from which artistic expression is born for individuals and communities. I have had the pleasure of fulfilling several projects with the US Dept of Education, the National Symphony Orchestra, Kennedy Center-- Music that Moves, The Maryland State Arts Council with my Caribbean curriculum and my work at the American School in Rio de Janeiro based on this methodology.

8. Is it hard to be creator, educator, and administrator? How do you balance multiple hats?

Yes, it is hard to balance mostly because there is only so much time available to each of us in any one day... but it’s important to understand what is happening across the many layers of an institution. Each of them is important to the survival of the art; from relationships with parents and funders to relationships with students, teachers and artists.

It’s exciting to step from meetings about placement of new students and summer programming into studio work with a dancer who is going to present my choreography at YAGP or NYCDA or teaching classes. I enjoy taking the time to sit on the floor in the hallway with a student to help him or her with fitting dance shoes, placement of the feet and legs and the shaping of the foot and muscles or to discuss anatomical lines of movement in the body. My passion and excitement about my work drives me and keeps my momentum going and that allows me to balance multiple hats. I enjoy the thrill of what we have come to name the “CityDance minute.” So much is happening all of the time, filling every minute of the day!

9. What do you think would add to the enhancement of the DC dance scene?

I think the DC dance scene needs more collaboration and cooperation across key focal points. Think tanks and panels encouraging cross fertilization in various areas of dance, like dance history, criticism, education, curriculum development, artistic direction, new ideas in the field would enrich the DC dance community and its ability to promote itself here in DC and beyond.

10. Did anyone mentor or assist you for the life of a director? If so who?

I had my first directing job very young under Atti van den Berg Bermudez, former member of the famous Joos company at Theatre Dance in the Virgin Islands. Atti’s mentoring and the experience of the job itself at such a young age taught me so much about the demands in a leadership position. I was also directing in the midst of

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the wealth of Caribbean culture and the importance of responding and incorporating dance from throughout the Caribbean region was an important aspect of my on the job learning.

As a student of dance at the Washington School of Ballet and as one of the few teachers that Mary Day trained in her methodolgy, I have always thought that that those who were trained by her were cut from the same cloth and also forged by the same iron--- that was the Mary Day imprint. All of us who were trained by her have this swiftness and strength-- knowledge of detail in the creation of a dancer and courage to face the difficulties of a life in dance, from student to professional.

Naima Prevots inspired my vision and showed me that you have to understand history in order to take your place as a leader.

11. What more do you wish to accomplish in dance?

My goal is to cultivate the next generation of dancers. Boundaries are melting away and I have a strong focus on supporting the diverse group of talent across ethnic and racial backgrounds. It was so inspiring and perfect for our young dancers -- of all colors and who in my estimation must understand history and perspective to now take their places in the DMV and the global dance. I know that Dance Theatre of Harlem and the leadership involved with DTH has been so very important in paving the way for a spectrum of color and culture to participate and be successful in the ballet/dance world in the DMV community. I only have praise and respect for the battles that had to be fought and won and of course, continue to be fought and won today. These are the victories that allow all of our children-- all studying with us in the studio today and beyond to enjoy this freedom now and into the future.

12. What’s next for CityDance?

We will continue to bring nationally-acclaimed companies to set repertory on our dancers, teach master classes and network with them. I am thrilled that CityDance Conservatory Dancers have this unique opportunity to work with a myriad of professional companies and individual artists, to foster relationships at a young age that will shape their future and careers in dance. Our graduates are studying at colleges such as Juilliard, SUNY Purchase and are accepted into high level summer intensives, such as Jacob’s Pillow, indicating that their path of success is now assured. I am excited to see them take their place in top level companies from classical ballet to the best companies around the world.

13. If you had to tell a young artist in front of you who wanted to do what you do, what advice would you give them?

The longevity factor is important! You have to be persistent and cultivate all your talents in dance to the fullest degree. You have to be prepared for hard work and be courageous, do not underestimate fearlessness. Take leaps and learn from your mistakes and successes. Find your X factor, that quality that sets each dancer apart and cultivate your unique and special quality.

14. What’s your zodiac sign?

The Chinese zodiac places me with the main elements of wood and fire and the combination ignites a passion for dance.

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Stompin’ on the Frontline Step Dance Company celebrates two decades of story-telling

By Damon Foster

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In 1994, Brian Williams launched his company Step Afrika with the hopes of taking the art of stepping to new heights. Two decades later Step Afrika celebrates its 20th anniversary is ranked among the top ten African-American-owned dance companies in the country.

dance forms like ballet, jazz, modern, or tap,” Williams said. “But after the movie came out, a buzz was created and within a matter of 3 to 5 years you saw the explosion of step teams cropping up throughout the community…in recreation centers, churches, high schools and so forth.”

Today the company of 11 dancers accompanied with a set of musicians and singers, tour both nationally and internationally including Johannesburg South Africa, home of Soweto Dance Theatre with whom Williams first formed an exchange program in Step Afrika’s early years.

Harris envisioned step-dancing in a more theatrical narrative sense as a base for full-length evening productions.

The pioneering concept garnered immediate support and Step Afrika was birthed.

“South Africa is a very important part of Step Afrika’s journey,” He said. “The cultural exchange with Soweto Dance Theatre set the wheels in motion of taking stepping as we know it, out the confines of collegiate Black Greek life and placing on it on major theater hall stages in the form of full length productions. I believe stepping has the same narrative power of ballet or a Broadway musical.”

Stepping consist of making rhythmical sounds and patterns creating by hands claps, foot stomps, slaps to the body, and is most often accompanied with chants, call and response, and song. According to The Art of Stepping Foundation, step-dancing derived from “Gumboot Dances” performed by South African mine workers as way to deal with the oppressive life of Aparthied.

In the U.S., step-dancing has been largely revered and practiced amongst collegiate African-American fraternities and sororities who often create step teams and put together step shows where the groups compete.

Step-dancing gained mainstream popularity in the late 1980s with the release of film director Spike Lee’s musical School Daze, which addressed issues of racism, classism, and skin-tone bias amongst the African-American community.

Harris himself was exposed to step-dancing during his undergraduate years at Howard University where he pledged Alpha Phi Alpha Fraternity, Inc. He referred to the release of School Daze as a defining moment for step-dancing.

“Before School Daze, stepping was somewhat exclusively found on the campuses of Black Colleges. There wasn’t much talk about it outside of college life and there definitely was not any youth training as you find in other

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“I saw step-dancing crossing cultural barriers and reaching a wide variety of audiences,” Williams said. “I believe what makes stepping so appealing is that immediacy of it. You don’t need a ballet barre or special shoes of any kind to step. One has everything he or she needs with their body. The body is the instrument. It’s with the body that we share our stories.”

Step Afrika! promotes stepping as an educational tool for young people, focusing on teamwork, academic achievement and cross-cultural understanding. It reaches tens of thousands of Americans each year through a 50-city tour of colleges and theatres and performs globally as a cultural ambassador. Step Afrika! holds workshops, residency programs and a variety of arts education activities for K-12 and college students in its home of Washington, DC and in cities around the world.

For more on Step Afrika visit www.stepafrika.org Image on page 17-18 Courtesy of Step Afirka Right image: Founder/Executive Director Brian Williams by the Napoleon Complex Project.

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Dissonance Dance Theatre

Summer DanceLab Launches @ UMD

(c) Jeremiah Jones

(c) Jeremiah Jones

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(c) Shawn Short

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(c) Shawn Short

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Dancer’s Exercises for the Spine

By May Kesler, MA, MTh, PT See www.maykesler.com for bio and contact information.

Drop one leg down so the foot is flat on the bed with a bent knee. Hug the opposite knee so that leg is 90 degrees to the floor. With your hands just below your kneecap, push the knee into your hands, but stop the movement with your hands. You will be using the hamstring muscles at the back of your thigh. Continue this push for 15 secs. Repeat 3 times. Then reverse using the other leg.

The first thing to do in the morning is roll.

Seriously though, dancing starts in the morning. Expand what you do instinctively to wake up your body.

Stretch like a cat, easily and drowsily. Roll leading with your arms then your foot, from your back to your side to your stomach, and back again, right and left leading.

Then hug your knees to your chest, opening your knees so your knees are in line with your shoulders, and gently rock your knees towards your shoulders. This opens up your lumbosacral spine and hips.

Next, put your hand on top of your thigh and pull your thigh towards your stomach, stopping the movement with your hand. Pull for 15 sec, repeat 3 times, repeat with other leg.

Then put both feet down in hooklying position and squeeze your ankles, knees and top of your thighs together, 15 sec, 3 times. This warms up and helps align your Sacroiliac joint, which is essential for HIGHER EXTENSION. Still holding one knee towards your chest, Drop one leg and stretch it out, so you are hugging one knee easily towards your chest and the other leg long, with a flexed foot so the back of the knee is lengthened to the bed.

This stretches the psoas anteriorly and gastrocnemius/ Achilles areas, for standing in alignment, accurate turnout and releve and jumps. Hug both knees in and repeat on the other side.

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Now drop the bent knee to the side so it crosses over you so you are lying on your side with the top leg ( (example right) knee slightly bent.

Let the top arm (example right arm ) and reach in it front of you as if you are trying to turn off the alarm.

Reach as far as you comfortably can, make a big circle around yourself with your arm while keeping your hand on the bed the whole time ( if you can and have no shoulder issues). Circle the arm up over your head and around to the back of you, letting your back roll towards your back as your arm goes back, and down towards your leg, around to the front of you again, letting your trunk roll towards your stomach as your arm go front.

At first do this with a slightly bent arm and easy elbow, then repeat a few times and reach farther and farther with a lengthened arm elbow. This will warm up your shoulder and rotation of the spine, good for CONTEMPORARY DANCE MOVES, FLOOR WORK. TURNS AND PORT DE BRA.

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Finally, lying on your side, pendulum swing your leg front and back, easily and freely, with a flexed foot to the front and pointed foot to the back, lengthening your hamstrings back of the leg as you swing to the front, and the psoas anterior hip and quadriceps as you swing to the back. Go easily and medium pace at first, then slow down and go bigger as you warm up.. Add the circle of the arms for a more advanced move to get your whole body moving. When you have done a 6 circles, find a way to get to sitting in fourth position dancer’s choice of how to get there. Then flip your sitting fourth position to lie onto the other side and repeat. WHOLE BODY WARMUP. Repeat some of the parts of all of the above exercises that you found harder to do. Just like choreographing, slow some of them down, speed up, do small parts of the exercise, do it as small as you can, then as big as you can. Repeat on the floor instead of the bed. Use a mat as needed.

Finally, stand up. Put your ankles, knees, thighs tight together in parallel. Put your hands on your hips and squeeze the top of your thighs together, keeping your core activated, front of the ribs down, head in line with your spine, shoulders wide and down. Stand for 30 secs to one minute. CORE and BALANCE All of these exercises assume the person has no medical issues or injuries that require medical attention.

Increased pain of any type should be avoided. See your physical therapist (no prescription is needed to see a physical therapist in most states now unless your insurance requires it) or physician if you experience any pain or injury.

One of the greatest benefits of dance is that we are taught to be more aware of the sensations in our bodies. Use these exercises, or expand on them to warm up not only your joints and muscles, but the connection of the mind/spirit to the body. Be aware of your breath, the places you have of unneeded tension, and how your breath changes with movements that bring out your patterns of restriction. Note how you move differently on one side compared to the other.

Does your shoulder circle just as easily on the right as the left? Does your hip smoothly move from front to back? Which way is easier? Why? Can you imitate what feels good and easy to do on one side so it becomes easy to do on the other side?

Using those thoughts in your movement is almost more important than the movement itself, because it will affect the quality and awareness with which you move. And there is your dance – moving with intention and awareness, unlocking restrictions in your unique 3 dimensional spider web.

Three dimensional spider web? Explained in the next article! Copyright June 26, 2015 May Kesler, MTh, PT May Kesler, MTh, PT is available for master classes in Barre, ballet and modern dance, and choreography, as well as injury prevention and treatment for dancers.

She works as a physical therapist and massage therapist, specializing in manual therapy and movement education especially for dancers in Chevy Chase, MD Photos Property of May Kesler

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Daniel Nathan Photography @dnathanphoto

Dancer Spotlight: Crishon Jerome Dancer Choreographer Teacher

Crishon’s dancing experience dates back to the early 1990s when as a child he would freestyle battle for respect and bragging rights at the Underground, located in downtown Atlanta, where he grew up. However, his dance career began to take shape and evolve in the fall of 2005 when he joined Georgetown University’s premier hip hop team, Groove Theory, as a freshman.

Since then he has had several opportunities to choreograph and perform as a member of several professional and pre-professional dance companies. Among these companies are Culture Shock Dance Troupe, (Atlanta and DC), Joy of Motion’s DCypher Dance, GU’s Black Movements Dance Theater (BMDT); and Capitol Movement, Inc. Since earning a B.A. in Government and Psychology, Crishon has devoted himself toward perfecting his craft and helping others to do the same, while pursuing his professional career. As a performer and choreographer in the commercial entertainment industry, Crishon has traveled the world to places such as Spain, Italy, Portugal, Canada, Turkey, Egypt, Greece, Germany and Japan, where despite many cultural differences he has proudly discovered dance to be the common thread.

When Crishon is not dancing or directing his own projects, he spends his time enjoying fatherhood with his 4 year old daughter, Ella, who also dances. Crishon also has a passion for acting, fitness, fashion, and entrepreneurship. He is currently building his choreography, coaching and consulting business, CRōME, which encourages individuals toward “excellence in all things” and is also the name of his workshop-styled, drop-in class offered to adults at Joy of Motion Dance Center.

Crishon says he is thrilled to rejoin the Joy of Motion family as a faculty instructor and credits the studio with giving him his start years ago as a student. He is grateful for the opportunity to pursue his passion for dance and share his talent in hopes to educate, empower and inspire new generations of individuals to follow their dreams, bravely and unapologetically.

Credits: Nike, Under Armour, Frank Ocean, 4EY The Future, 3 Doors Down, Cirque du Soleil, VMAs, Rascal Flatts, The Band Perry, House of Cards, Kool & the Gang, Washington National Opera’s “Moby Dick”, “Bolden” and more.

1. Where are you from?

2. How old are you and what’s your zodiac sign?

I am a 28 year old Gemini, who enjoys long walks under the beach under a clear night sky, lol.

3. Where do you dance currently?

All over the world. I’m always off on some fun adventure, but I spend a good chunk of time in NYC, ATL, and LA 4. What’s in your dance bag?

Oh my goodness. Who knows? Always a couple pairs of socks, shirts and athletic undies. Adidas soccer pants and sneakers. A sweat towel. A bottle of water. Deodorant. Cologne and some oil I made in Cairo, Egypt a couple years ago. My passport. An extra phone charger.

Bluetooth speakers. Toothbrush and toothpaste. Lotion.

Earbuds. Quarters. And a pen. Sounds like a lot, but it’s pretty standard.

5. iPhone or Android? iPhone, 6 Plus to be exact 6. Who inspires you in the dance world? Do you have a dance mentor?

A lot of people honestly, but I find the most inspiration in the ambition and accomplishments of my peers. Perhaps too many to name, but some long time inspirations include my fellow Culture Shock, DC alumni Joseph Nontanovan, Lyle Beniga, Tony Tsar, Jojo Diggs, Terrance TP Polite, Zach Lattimore as well as others like Ian Eastwood, my little sister Kaelynn Harris, choreographers Rich N Tone, Jamaica Craft, Aakomon Jones, and Travis Payne to name a few. In the end though, I’m motivated by hard work and daring creativity so I become super inspired when I see that in others. Relentless drive and dedication to being the best version of self always resonates with me... that and a commitment to excellence in all things.

As for dance mentors, I’m not quite sure that I do currently; however, I make it a point to check in with my brothers Anthony Burrell, Rob Rich, Jared Jenkins, Jose “Hollywood” Ramos, Codie Wiggins, Jeremy Strong, Santron Terrell and Okewa Garrett pretty consistently.

I was born and raised in Atlanta, Georgia at Grady Memorial Hospital.

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7. What do you love about hip-hop dance?

I love Hip Hop’s history. It’s fight for freedoms. It’s diligence to be heard in a world that refused to listen.

I love it as a rebellious revolution, an unprecedented resolution, and I even love it’s evolution. I love that hip hop is a culture communicating in languages that are versatile and universal. I love it’s inclusive diversity and it’s bold, unapologetic demeanor. Hip hop for me represents the freedom to Be. It gives one permission bravely be one’s self.

8. What’s your dream dance gig to work with?

My dream dance gig would be to first dance for the ultimate, late, great, legendary, extraordinary King of Pop, Michael Jackson and then join his creative team contributing ideas and choreography to some iconic, game-changing performance or production. Seeing as how that will never happen in this lifetime, I will settle for participating in the first dance project to take place in space. (*Working with Janet, Madonna, Prince and Maxwell, my favorite artist since 1998 are all a must on my list of goals) 9. Sneaker, Boots, Chucks, Loafers, or High Heels (lol)?

All of the above (minus the heels). I love shoes. All kinds. I want a Shoeseum in my house. Lately, I’ve been purchasing more sneakers though.

10. Single or Dating?

Dating.

11. How do you balance fatherhood and an on-the-go dance career?

Very gracefully! I’m on the go pretty often, but maintaining the balance is of paramount importance to me.

For that reason, Ella and I have our weekly daddy daughter adventures, where we paint the town pink and purple, while singing songs from Annie or Frozen.

Now when I’m gone for an extended period of time, we FaceTime each other pretty often, and that shortens the distance between us (yes she knows how to enter her moms password and FaceTime me on her own) Additionally, Ella is honestly the reason I go so hard. I want to be able to expose her to so much, plus giving her the world doesn’t come cheap and neither does her school

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lol. So I’m happy to grind for my baby. Plus, I can tell she is proud of me, and her excitement is even more motivation to keep the momentum going.

12. What would be your funniest dance moment?

Not sure I have one. I’ve split my pants several times... never found it funny.

13. Favorite dance moment?

I have so many, honestly. But most recently I was overcome with amazing emotion after making it to the end of 3 days of auditioning for the iconic Madonna and her upcoming Rebel Heart Tour. Was so close I could taste it! But beyond that the experience itself was unreal. We were taken on a journey, and the energy in that place made me feel things I could never describe and will thankfully never forget.

14. Explain CHROME? What was the inspiration?

CRōME - derives its name from the combination of my first and middle names, Crishon Jerome. It is my brand and emerging business, specializing in commercial choreography, coaching and consulting. Short for chromium, the hardest known metal in the periodic table, CRōME is characterized by its strength, beauty, corrosion and tarnish resisting properties, endurance, and it’s adaptability.

The inspiration emerged from a need to create something timeless and universal that would not only represent me but also honor my dad, Crishon Jerome, who was sadly killed when I was young. I wanted to build a brand that would resonate with many and serve as a reminder to operate with excellence in every endeavor.

The goal is to become an international lifestyle brand of distinction on par with LVMH. (Stop reading and look them up now!!!)

Today, it’s dance, tomorrow it’s education, fashion, films, fuel and clean energy, international development and much more.

15. Any advice for emerging dance makers?

Procrastination is the biggest thief of all time, and time is something that we can never recover once it has

passed. This is precisely why I value my time more than money. Money has the ability to come, go, and come back again, but time, well it’s just going, perpetually, and gone forever in an instant from one moment to another. The way we choose to spend our time determines our return. If used wisely, time can be the greatest investment; however, conversely, it can also be the biggest waste. So I implore you, my fellow investors, to spend your time intelligently. Do things to make the world a better place; invest in others, manifest dreams, travel, try new things, create memories, and build the life you want to live both for yourself and for your posterity. Anything less is not simply just a waste of time, but rather it too is a waste of life. So whatever you do, make sure you Do it with Passion, Do it with Purpose, and most importantly Do it NOW!!!

16. Between performing, teaching, and choreographing, which do you gravitate to the most...why?

Both performing and teaching. What I learn while performing or preparing for a performance informs what I am able to bring into the studio. They both involve communication, but effective communication requires building connections with the music, movement, audience, choreographer and most importantly with self. Though both performing and teaching are self gratifying, the goal is often to invoke a response from an intended audience. I enjoy the intimate exchange of teaching; it is the equal sharing of wisdom and life lessons learned between student and teacher. It is an ongoing discourse, where the instructor, operating as the facilitator for learning, should be as open to learning as the students, who are not simply there the become better dancers but are also present to become better students.

Daniel Nathan Photography @dnathanphoto

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Community Directory African-American Managed Dance Companies African Dancers and Drummers Melvin Deal, Founder 1320 Good Hope Rd Southeast Washington D.C 20020 202-399-5252 www.facebook.com/africanheritagedc Cacho Dancers and Drummers Bonita Cacho, Founder/Artisitic Director 202-607-0164 Coyaba Dance Theatre Sylvia Soumah, Founding Artistic Director 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600 www.coyabadancetheater.org Dissonance Dance Theatre Shawn Short, Founding Artistic Director Resident Company of Ngoma Center for Dance

P.O. Box 2377, Washington D.C 20013 202-540-8338 www.ddtdc.org EdgeWorks Dance Theatre Helanius J. Wilkins, Founding Artisitic Director P.O.Box 73396 Washington D.C, 20056 (202) 483-0606Â www.hjwedgeworks.org Farafina Kan Mahiri Fadjimba Keita, Founding Artistic Director 3802Â 34th Street, Mt Rainier, MD 20722 http://www.farafinakan.com Just Tap/Sole Defined Quynn Johnson, Ryan Johnson Founding Artistic Director www.quynnjohnson.com

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KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.org Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202)210-7120 www.memoryofafricanculture.org Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org

World Dance Companies D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org Furia Flamenco Estela Velez ( Director) Joy of Motion Dance Center 5207 Wisconsin Ave NW Washington, D.C 20015 (703) 568-4404 www.furia-flamenca.com Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301)617-2712 www.jayamangala.org Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad Dancers Christel Stevens( Co Director) Adriane Whalen (Co Director) 4166 South Street, Arlington, Va, 22206 (703) 799-0282 www.nomaddancers.com

Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Silk Road Dance Compay Dr. Laurel Victoria Gray, Urban Artisty Founder and Artistic Director Junious Brickhouse (Founder) P.O. Box 11346 8001 Kennett Street Takoma Park, MD 20913 Silver Spring, MD 20910 301-585-1105 202-431-4202 www.silkroaddance.com www.urbanartistry.org Tehreema Mitha Dance The National Hand Dance Founding Artistic Director Association 8509 Pelham Rd, P.O. Box 70006 Bethesda, MD 20817 Washington, D.C. 20024 (301) 581-9520 www.nationalhanddanceassociation.org www.tmdancecompany.org

Community Directory Dance Schools and Institutions Angel of Hope Ministries, Inc Rev. Claudia H. Harrison Developing the Physical through Dance and Health Awareness www.angels-hope.org Coyaba Academy Sylvia Soumah, Founder and Artistic Director Dance Place 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600” www.coyabadancetheater.org Dance Dimensions Dakyia Lambert (Artistic Director) 7979 Parston Dr District Heights ,MD 20747 301-420-1567 www.dimensions-inc.com Dance Institute of Washington Fabian Barnes, Founder and Artistic Director 3400 14th street NW, Washington, D.C 202-371-9656 www.danceinstitute.org Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003 www.marylanddancestudio.com District Dance Arts Cristine Davis, Director Classes held at the Capoeira Spot 2008 Rhode Island Ave NE Washington, DC 20018 www.districtdancearts.com Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite R Capitol Heights, MD 20743 301-333-2623 www.divine-dance.com

Duke Ellington School of the Arts Charles Augins, Dance Chair 3500 R street NW , Washington, D.C 202-282-0123 www.ellingtonschool.org Howard University Theatre Arts Dept - Dance 2400 Sixth St NW, Washington, D.C 20059 howarduniversitydancemajor@yahoo.com 202-806-7050/7052 www.coas.howard.edu/theatrearts/dance Jones-Haywood Dance School Saundra Fortune-Green, Artistic Director 1200 Delafield Place NW Washington D.C 20011 202-441-1099 www.joneshaywood.com Making Moves Dance Collective Inc Amber L. Comer, Artistic Director Kellie N. Sellers, Artistic Director 5640 Sunnyside Avenue, Suite E Beltsville, MD 20705 301-220-1500 www.makingmovesdc.org Ngoma Center for Dance Shawn Short, Founding Artistic Director P.O. Box 2377 Washington D.C 20013 202-540-8338 www.ngoma-center-for-dance.org Northeast Performing Arts Center Rita Jackson (Founder) 3431 Benning Rd NE Washington, D.C 20019 202-388-1274 www.nepag.org Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs

The Davis Center Beatrice E. Davis-Williams 6218 3rd Street N.W. Washington D.C 20011 202-277-6110 www.thedaviscenter.net Ubuntu Nankama Dance Studio 3802 34th Street, Mt Rainier, MD 20722 Words, Beats, & Life Inc. 1525 Newton Street, NW Washington, D.C 20010 202-667-1192 www.wblinc.org Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108 Baltimore, MD 21211 410-235-9003 www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland Street Baltimore, MD 21216 Phone:(443) 984-1418/1419/1420 Fax:(410) 669-4418 www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance

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$15 advance / $20 at the door For tickets, visit www.joyofmotion.org

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