Capturing Art in Action: Getting to Know Devin Muñoz of Muñoz Motions
Despite the COVID-related challenges the dance industry has faced in 2020, dancers and choreographers have found unique ways to pivot to continue creating and sharing art. One of the predominant ways the industry has adapted is translating live shows to dance films for virtual audiences to view. By merging the arts of film, photography, and dance, Devin Muñoz’s Muñoz Motions captures the vibrancy and dynamism of live dance performances in an accessible and enduring manner. Being a dancer herself, Devin’s practice adds new layers of creativity, allows artists to hone in on their messages, and potentially reach larger audiences than imaginable.
By Madison Huizinga, DWC Blog Contributor
Photo Credit: Devin Marie Muñoz
Despite the COVID-related challenges the dance industry has faced in 2020, dancers and choreographers have found unique ways to pivot to continue creating and sharing art. One of the predominant ways the industry has adapted is translating live shows to dance films for virtual audiences to view. By merging the arts of film, photography, and dance, Devin Muñoz’s Muñoz Motions captures the vibrancy and dynamism of live dance performances in an accessible and enduring manner. Being a dancer herself, Devin’s practice adds new layers of creativity, allows artists to hone in on their messages, and potentially reach larger audiences than imaginable.
As a Mexican American, Devin grew up watching and participating in “ballet folklórico,” a traditional Mexican style of dance that values local folk culture and includes characteristics of ballet. As a toddler, surrounded by this style of dance, is when Devin’s love for the art form emerged. Devin officially began taking classes around age seven at a local community center. At first, these classes weren’t the most appealing to young Devin, due to the lack of control she felt in them. However, once Devin realized she had control over her body, she wanted to get even more involved. Originally from San Diego, Devin later took classes at a beautiful, small theater in Balboa Park, where she “felt like a princess.”
Photo credit: Devin Marie Muñoz
Devin’s interest in photography came about during her high school years. She recalls constantly hanging out in the dark studio in the photography department of Mercer Island High School, where she was a student. She used her mom’s old camera as a teenager to practice taking photos of stationary objects and printing them out at school. Later on, as a student at Cornish College of the Arts, Devin took an elective about “screen dance,” and from there began to realize that dance on film was an avenue she wanted to pursue. Knowing she wasn’t particularly interested in being a “star soloist” or making work for the stage, she desired to work with a medium that would grant her more control of what the audience sees in the work she creates. Devin describes the rest of her time in college as full of “trial and error,” as she refined her skills by photographing her friends and filming their rehearsals. In her senior year of college, Devin created three dance films, which helped her realize that creating and capturing dance on film was truly the career she wanted to follow.
While there is an undoubtedly strong, visceral connection audience members make with live dance performances, live dance lacks durability. A live show happens and then it’s over just like that. Thus, part of what drew Devin to dance on film is that filming shows allow them to live on perpetually. Devin strives to obtain the same vitality and intensity of live shows in her photographs by getting up close and personal with her subjects. Her works possess incredibly energetic and lively qualities that capture each of the dancers’ movements (hence the name “Muñoz Motions”).
Among her favorite projects is her work with Chicana artist Alicia Mullikin on the dance film collaboration EL SUEÑO, which centers on the experiences of women of color, particularly first-generation Americans. The project explores the experiences of pain and joy endured by women of color and what it means to control their own narratives. Devin appreciates being able to work with a cast that largely shares her cultural heritage, as it makes the work much more relatable.
Photo Credit: Devin Marie Muñoz
Following college, it struck Devin that there were only a couple of dancers of color in each piece she was performing in, and she was one of them. As a person of color, she describes the implicit competitive edge she experiences to get noticed in the dance world due to there being so few dancers of color cast in pieces. Devin explains it’s exhausting to search for people she can relate to and avoid “assimilating her dancing body” to fit in with others. Thus, in the dance world, she wants to see and hear more stories similar to her own.
Moving forward, Devin aims to channel all of her energy into Muñoz Motions and bolster her business. She strives to take more creative and professional risks to follow her true passion for film and dance. Listening, attending workshops, asking for help, and keeping people close that support and believe in her is what Devin is doing to continuously improve herself and Muñoz Motions.
Devin’s work is currently on display and available for purchase at Dancewear Center. To connect with Devin, check out https://www.munozmotions.com/ to view her work, as well as contact her for business inquiries. You can follow and contact Devin on Instagram @munoz_motions to view more projects and inquire about future ones.
Getting to Know DWC Staff Member Ethan Rome
If you would have told Ethan Rome before college that he would have a career in dance, he likely would have been a bit confused. What started as dabbling in his college’s breakdancing club has become an integral part of the dancer, choreographer, and DWC Director of Marketing’s life. From performing around the world to co-founding his own dance companies to overseeing Dancewear Center’s image, Ethan has acquired rich experience in the dance industry and plays a crucial role on the DWC team. Read on to learn more about how he got here.
Photo by Catlyn Griswell
Ethan Rome is a dancer, teacher, and choreographer in Seattle, Washington. He graduated from the University of Iowa with degrees in Dance, Psychology, and Entrepreneurial Management. From there he trained at Jacob’s Pillow Dance Festival and then relocated to Seattle.
He has danced professionally for the Khambatta Dance Company, the Seattle Opera, and his own companies: Forthun+Rome Dance Theater and Trillium Dance Collective. Ethan has performed and taught around the world including in Puerto Rico, Lithuania, India, Mexico, and Brazil.
Ethan has choreographed original works for the Seattle International Dance Festival, the University of Iowa, Gonzaga University, Ballet Chelsea, the Khambatta Dance Company, Price Arts N.E.W., Intrepidus Dance, and multiple pieces for his own companies. He has also received the Bridge Project residency and the James Ray Residency.
His choreography often explores psychological and philosophical concepts, as well as his Korean heritage. Ethan uses his background in hip-hop and martial arts to influence his contemporary movement.
If you would have told Ethan Rome before college that he would have a career in dance, he likely would have been a bit confused. What started as dabbling in his college’s breakdancing club has become an integral part of the dancer, choreographer, and DWC Director of Marketing’s life. From performing around the world to co-founding his own dance companies to overseeing Dancewear Center’s image, Ethan has acquired rich experience in the dance industry and plays a crucial role on the DWC team. Read on to learn more about how he got here.
When Ethan first began college in Iowa, he was intending on studying psychology to become a therapist. Nevertheless, he decided to explore some other areas of interest and ended up walking into his school’s breakdancing club. He started dancing with the club members and made some friends. During his second semester, some of Ethan’s breaking friends wanted to take a modern class for fun and Ethan decided to join them. “I thought, ‘Oh wow, this is pretty cool’ and so I decided to take the next class, and the next class after that…” he recalls, until finally he decided to pursue a double major in psychology and dance. He also achieved a Certificate in Entrepreneurial Management during his time in school.
After college, Ethan went to Jacob’s Pillow, home of one of the most prestigious dance festivals in the nation, for the summer in Massachusetts. “It was really awesome to be able to see all of the different professional companies that came in,” Ethan says. Attending the festival helped him redefine what he considered “contemporary dance” to be.
During his time at The Pillow, Ethan began sending out dance reels, which is how he got connected with Cyrus Khambatta of Khambatta Dance Company in Seattle, WA. Ethan moved to Seattle to dance with Cyrus and got the opportunity to tour all around the world, including India, Lithuania, Mexico, and Brazil. “It was really amazing to be able to travel to different places and see the differences in dance as well as the similarities,” Ethan reminisces.
Ethan eventually left Khambatta Dance Company to begin his own company with CarliAnn Forthun known as Forthun+Rome Dance Theater. The company performed throughout Seattle at various festivals and even traveled to Gonzaga University for a choreographic and performance residency.
Before the pandemic, Forthun+Rome Dance Theater disbanded and the chaos of COVID-19 quickly followed. However, through the pandemic, Ethan joined local dancers Catlyn Griswell and Melissa Krienke to dance together and make videos for fun. Soon, they realized that not only were they enjoying dancing together, but what they were producing was interesting to all of them. Trillium Dance Collective, a dance organization founded by the three dancers, was born. Trillium Dance Collective has performed at the Seattle International Dance Festival, makes various videos and films, and focuses on bringing unique outside elements into its dance and art creations, such as stainless steel cubes made by artist De Carbón Azul.
Photo by Catlyn Griswell
Ethan first began doing graphic design projects for Dancewear Center, such as creating the store logo, but recently he’s become the store’s director of marketing. “Essentially, that means that I am in charge of the image overall and how we can connect with people. I look at marketing as a tool for us to bring positivity to the people that want our stuff, our connection, our services, [and] our products,” he shares.
Ethan enjoys the flexibility that his role offers, as it allows him to pursue a lot of different avenues within the art world. He loves working on graphic design projects, planning out the big picture of the store, and getting to work in a positive environment. “The store, everything about Dancewear Center, [is] true to its values,” says Ethan. “It’s really good knowing that this is a place with integrity.”
As a dancer and choreographer, a change that Ethan hopes to see happen in the larger dance world is more funding for smaller companies. He believes that the insufficient funds allocated to the arts can “hinder a lot of people” and “stop a lot of dancers from even the thought of pursuing dance [professionally].” “If you are someone that likes to donate and has the capacity to do that, consider donating to smaller local companies and dancers...and if you are someone who just enjoys the art or enjoys dance, go and see a show,” he encourages.
From the wealth of knowledge he’s obtained from his dance experiences to his commitment to creating sincere art in various forms, Dancewear Center is thrilled to have the dynamic Ethan Rome as a part of the DWC staff!
Filling the Connection Gap: How Dancer for Dancer is Linking “Pals Around the World”
The COVID-19 pandemic isn’t the only phenomenon that’s caused the dance community to be a bit disjointed. A culture of competition and perfectionism has permeated the dance world, causing many dancers to see others as rivals rather than peers. To help alleviate the challenges that this type of environment can bring about, 17-year-old Samantha Parr has created the organization Dancer for Dancer to unite the dance community through open discussions, mental health support, and mentorship. Through Dancer for Dancer’s Pal Program and with the help of Pal Program coordinators like DWC staff member Emma Neilson, the organization is providing connection and support to dancers worldwide.
By Madison Huizinga, DWC Blog Editor
Samantha Parr, founder of Dancer for Dancer
The COVID-19 pandemic isn’t the only phenomenon that’s caused the dance community to be a bit disjointed. A culture of competition and perfectionism has permeated the dance world, causing many dancers to see others as rivals rather than peers. To help alleviate the challenges that this type of environment can bring about, 17-year-old Samantha Parr has created the organization Dancer for Dancer to unite the dance community through open discussions, mental health support, and mentorship. Through Dancer for Dancer’s Pal Program and with the help of Pal Program coordinators like DWC staff member Emma Neilson, the organization is providing connection and support to dancers worldwide.
Samantha began dancing when she was three years old and started to get involved more seriously with intensives and competitions around age 12. She’s attended intensives with Joffrey Ballet School, Pacific Northwest Ballet, and Ballet West and competed at the Youth America Grand Prix several times. At her studio in the Bay Area, Samantha has performed several lead roles in original ballets, as well as Clara in The Nutcracker. “I think the thing that keeps me dancing is my ability to express myself. At the end of long days, it’s nice to have something that I can work hard at. It keeps me grounded in a way and helps me focus a little bit,” Samantha shares. “I hope to continue to dance throughout college and beyond because I love it so much.”
The idea for Dancer for Dancer first came to Samantha in May of 2020, months into the COVID-19 pandemic. “I felt very disconnected from my ballet community in my studio,” she recalls. She remembers struggling to stay mentally healthy and falling out of love with dance a bit, due to the difficulty of learning at home. Samantha figured she must not be alone in these hardships she was facing, so she decided to schedule a Zoom call to connect with some dancers.
Samantha’s first Zoom call, with around 14 dancers, was towards the end of June. During the first several meetings, the dancers held discussions about racial inequality in the dance industry and later began talking about mental health among dancers. The Zoom calls began with dancers in Samantha’s area, but soon grew as others heard about them and as she informed friends from dance intensives she had attended. Little did she know one upcoming Zoom call would make her idea take extreme flight.
Samantha Parr, founder of Dancer for Dancer
Around January 2021, Samantha’s friend and Dancer for Dancer Ambassador Eleanor Green reached out to Casimere Jollette of the Netflix series “Tiny Pretty Things” to attend one of the Zoom calls. She said yes! Samantha and her cohorts organized a giant Q&A with Casimere and about 300 dancers from all over the world attended. “That’s kind of where it began to take off,” Samantha says.
Currently, Dancer for Dancer is extending its programming beyond Zoom calls through the Pal Program. “In ballet, there’s this unhealthy competition that I had experienced a lot when I was younger and it always left me feeling weird,” Samantha says. “I could have benefited from having an older dancer being my support system...That’s the inspiration for the Pal Program.”
Dancer for Dancer’s Pal Program contains two subsets: the D4D Mentorship Program and Pals Around the World. The D4D Mentorship Program consists of seven mentors from around the world aged 16-19. The mentors have been trained in giving mental health support by a professional and connect with younger dancers to give advice and provide guidance for wherever they are in their dance journey. The D4D Mentorship Program is open to younger dancers of all backgrounds who are interested in connecting with an older dancer, click here to sign up.
The Pals Around the World program is a global, virtual program in which any dancer of any age and from any dance background is paired with another dancer to correspond virtually for four weeks. Dancers can connect through Zoom, FaceTime, social media, texting, or any other medium they see fit. People are welcome to reapply for the program once the four weeks are up to connect with a new dancer. Samantha shares that Pals Around the World is a “chill” and “laid back” program where dancers have the opportunity to make friends with other dancers around the world. Participants also get “special access to D4D Pal Program workshops on mental health, self-improvement, and peer support.”
Pointe Shoe Fitter and DWC Blog Contributor Emma Neilson has recently gotten involved with Dancer for Dancer as a Pal Program Coordinator. Emma began dancing around age 13 to supplement her figure skating training. After training in ballet, jazz, modern, lyrical, and contemporary throughout high school, Emma graduated with her AA in Psychology from Shoreline Community College and then decided to take a gap year. Starting in 2019, she began training year-round at the International Ballet Academy in Bellevue, Washington where she is today.
Samantha Parr, founder of Dancer for Dancer
Emma came across Dancer for Dancer while scrolling through her Instagram feed. The organization’s account popped up as a recommended account for her to follow. After looking more into Dancer for Dancer and its offerings, Emma was amazed by its mission. She noticed that Dancer for Dancer was looking for coordinators and decided to apply. Shortly after that, Emma was interviewed and joined the team. As one of the Pal Program Coordinators, Emma’s role with Dancer for Dancer involves her collaborating with local studios in the greater Seattle area to see if they’re interested in participating in the Pal Program. There are numerous positions open at Dancer for Dancer, such as a Tik Tok Coordinator, Discord Moderator, and more, click here for more information.
Moving forward, the biggest change Samantha hopes to see in the dance world is for all body types to be accepted. She hopes that the “ballet body” ideal is eliminated and that companies start catering to dancers of all body sizes. “How your body looks doesn’t determine how your body dances and I feel like if the dance community is accepting of all body types, it would put less pressure on girls and boys to feel as if they have to fit into a certain mold that maybe they weren’t born like,” Samantha shares.
Additionally, Emma says that she hopes to see dance become more accessible to a wider range of people in the near future, specifically people of all ages, abilities, and socioeconomic classes. “Your age and what you think your physical capabilities are shouldn’t impact your ability to participate in something that gives you joy,” Emma states.
Dancer for Dancer was born to fill a gap that Samantha was witnessing in the dance realm. She was able to create a vessel to connect dancers in meaningful ways, something that was sorely missing and needed in the dance industry. For others who are interested in creating their own organizations, Samantha’s biggest piece of advice is for people to give themselves time to let their ideas sit with them. “Think about what the people are wanting or what you feel like they need more of,” she says. Once you figure out what your community is lacking, you can start finding ways to provide what is needed and build from there.
Sources:
https://www.dancerfordancer.com/
https://www.dancewearcenter.net/e-neilson
https://www.dancerfordancer.com/mentorship
https://www.dancerfordancer.com/pals-around-the-world
https://www.dancerfordancer.com/pal-meetings
https://www.dancerfordancer.com/team-1
https://docs.google.com/forms/d/e/1FAIpQLSehUadFIwLc4-suEWfAwVkgDUuXsgqD6BYKsMW1fYjQv_7GYw/viewform
Cultivating Community: A Spotlight on Syncopation Dance Project’s Elbert Lubas
It’s no secret that dance is a costly and demanding practice, often completely inaccessible to families and communities lacking sufficient funds and resources. For many aspirational youngsters, obtaining proficient dance instruction is merely a far-fetched dream. But thanks to the nonprofit organization Syncopation Dance Project, this dream of dance training and performing has become a reality for many. Under the dynamic and skillful leadership of Artistic Director Elbert Lubas, Syncopation Dance Project strives to bring dance education and performance opportunities to everyone, particularly to underserved members of the greater Seattle community.
By Madison Huizinga, DWC Blog Editor
It’s no secret that dance is a costly and demanding practice, often completely inaccessible to families and communities lacking sufficient funds and resources. For many aspirational youngsters, obtaining proficient dance instruction is merely a far-fetched dream. But thanks to the nonprofit organization Syncopation Dance Project, this dream of dance training and performing has become a reality for many. Under the dynamic and skillful leadership of Artistic Director Elbert Lubas, Syncopation Dance Project strives to bring dance education and performance opportunities to everyone, particularly to underserved members of the greater Seattle community.
Elbert Lubas began dancing around age 10, performing in musicals, competing, and training in tap, jazz, ballet, and more. “Growing up, we didn’t have a lot of money so he had to work and pay for dance himself,” Elbert’s cousin and Syncopation Dance Company member Carlin Leyble shares. Elbert cultivated his passion for dance deeply, even performing alongside Janet Jackson as a backup dancer in his early teens. Elbert graduated high school early at age 16 and moved from his home in Guam to the United States to attend Stanford University where he studied marketing and communications. Elbert later went on to work in computer science. “It’s crazy to see how his brain works,” Carlin says. “As far as in [the tech] realm and then...the dance world and being able to choreograph and find the right music.”
In his early twenties, Elbert began teaching different styles of dance, including hip hop, jazz, and ballet. “He is a very well-rounded dancer and a fast learner,” Carlin emphasizes. He takes care to choreograph based on each dancer’s technique level and puts the right movement on each individual. Elbert also enjoys bringing his students and fellow instructors to dance conventions where they can learn from dancers around the nation.
Carlin shares that Elbert’s whole world revolves around dance and family. “Elbert is the type of person who does everything with a purpose,” she shares. “No matter where he goes, what he does, something is always inspiring him to create more. And I find that amazing.”
Elbert began Syncopation Dance Project in 2014 and since then he has collaborated with an abundance of outreach programs and local organizations to give children and young adults the opportunity to dance. Syncopation has worked with local Boys & Girls Clubs in Bellevue, Kirkland, and Redmond. The nonprofit has also collaborated with Sixth Day Dance to work with performers with physical disabilities, and students in SOAR Academy formerly located in Tacoma, WA. Syncopation even hosts free classes in a variety of styles open to anyone in the community eager to dance.
In addition to Syncopation’s community outreach, the organization also has a select group of well-versed dancers known as the Syncopation Dance Company. The Company works on originally choreographed routines and “serves to demonstrate the breadth of movement and storytelling in dance.” Amid the COVID-19 pandemic, Syncopation Dance Company has created several video projects, including concept videos for Josh Pineda’s songs “One in a Million Love” and “Manila.”
This July, Elbert set off to visit his family in Guam for a vacation. However, a few days into the trip, Elbert was admitted to the hospital for a stroke, which has greatly impacted his physical mobility. Even though Guam is a U.S. territory, they don’t accept stateside insurance, meaning Elbert’s medical bills have been extremely high and it’s uncertain how long his recovery process will take. His family can use all the help they can get to defer the cost of medical expenses. A GoFundMe is currently running to help cover Elbert’s medical recovery. People are encouraged to donate anything they’re able to, as any contribution helps.
“Seeing someone so intelligent and so talented lose [their movement] is really heartbreaking,” Carlin shares. “Having your outlet of expression not be fully accessible is heartbreaking.” The members of the Syncopation Dance Company are currently arranging fundraisers and training on their own, but are eager for their fearless leader to recover and return to the States. In addition to donating to the GoFundMe for Elbert’s recovery, any resources (such as advice, dance instruction, rehearsal space, etc.) to assist Syncopation Dance Company with its training are welcome. “Coming together as a dance community will really help,” Carlin says.
“Speaking from someone who is very close to Elbert, I know he would want me to tell others to continue dancing and don’t ever stop doing what you love and training to be the best dancer or athlete or artist you can be,” Carlin shares.
Elbert’s passion for dance shines through in every area of his life, from his inspired choreographic creations to his outreach with organizations in the greater Seattle area. While he is currently “recovering and showing amazing progress every day,” any support for Elbert and Syncopation Dance Project is appreciated.
To support Elbert’s medical recovery, donate to the GoFundMe set up by his family. People can also donate and reach out to Syncopation Dance Project to support the nonprofit and find out more ways to assist.
New Beginnings in the Midst of COVID-19 2 of 2
The past year and a half has been undoubtedly replete with hurdles, as much of the local dance community was left jobless due to COVID-19. Yet, through the hardships that unfolded throughout the pandemic, many were able to find unique ways to fill the gaps they were witnessing in the dance world. Dwelling in isolation served as a time for reflection and deep contemplation about how to emerge back into the dance realm. From private coaching to cross-training, from rebranding to expanding, and bridging the divide between dance and theatre, these organizations and individuals have created new beginnings for themselves amid adversity, leaving the local dance community better than they found it. Read on to learn more about these local artists and their latest endeavors.
By Madison Huizinga, DWC Blog Editor
The past year and a half has been undoubtedly replete with hurdles, as much of the local dance community was left jobless due to COVID-19. Yet, through the hardships that unfolded throughout the pandemic, many were able to find unique ways to fill the gaps they were witnessing in the dance world. Dwelling in isolation served as a time for reflection and deep contemplation about how to emerge back into the dance realm. From private coaching to cross-training, from rebranding to expanding, and bridging the divide between dance and theatre, these organizations and individuals have created new beginnings for themselves amid adversity, leaving the local dance community better than they found it. Read on to learn more about these local artists and their latest endeavors. We are continuing our feature of three more studios!
Creation Dance Studio
In April 2021, Creation Dance Studio moved to a new location with two new studio spaces. Additionally, the studio is expanding its adult/teen program to include classes like tap and hip hop and is now offering a complete youth program too. The youth program will offer jazz, hip hop, tap, lyrical fusion, ballet, and conditioning classes, as well as cheer and tumbling classes. “So much has led up to this brand new chapter for Creation Dance Studio and I am deeply grateful for the opportunity to provide classes for dancers of all ages on Mercer Island,” Owner Stevie Hagen shares.
For the past five years, Creation Dance Studio has offered adult ballet and pointe classes to dancers of all ages and backgrounds. The dancers have performed at retirement communities in Mercer Island and fundraisers, “with the goal of giving back and spreading the joy of dance to everyone around [them].” “We all have one huge thing in common - we absolutely love to dance,” Stevie says.
“If you had asked me if I wanted to be a dance teacher at the start of my senior year of college, I would have said no,” Stevie admits. She assumed that she would audition to join a ballet company after graduating from Cornish College of the Arts with a BFA in dance. She had no clue that a life of teaching and studio owning was in store for her. Stevie remembers the moment she figured it out. “I was taking [Cornish’s] required teaching methods class and began teaching a mock class in front of my peers and in that moment I knew that I wanted to be a dance teacher,” she recalls.
Deena Dunning was one of Stevie’s biggest teaching inspirations, as she assisted with Deena’s adult ballet program “Ballet With Deena.” Deena had stage 4 breast cancer at the time and would show up to teach dance regardless of how she was feeling. “Subbing for her was the greatest honor and getting to know the adult dancers that had followed her from location to location was truly special,” Stevie says. She recalls meeting with Deena at a Starbucks one afternoon and her passing the program onto Stevie. Deena passed away a week later. “I embraced the opportunity to continue Deena’s beautiful legacy and soon after Creation Dance Studio was founded in 2016,” Stevie shares.
Throughout the COVID-19 pandemic, safety was a top priority for Stevie when teaching dancers at CDS. The CDS adult program and many of Stevie’s private lessons were able to meet over Zoom for 15 months before returning to Creation’s brand new studio space in person. “We will continue to do everything that we can to be creative and flexible as we keep our dance community healthy and strong.”
Stevie expresses that she knows she has succeeded as a teacher when each student leaves her classes feeling “encouraged, capable, and knowing that they are enough exactly as they are.” She shares that it breaks her heart to see passionate dancers slowly beginning to believe that they aren’t enough because they don’t fit a certain mold. Excessive criticism and pressure can diminish a dancer’s true love for the art form. “Dance is so much more than a body type or reaching perfection,” Stevie stresses. Thus, she channels her energy into encouraging her students, focusing on movement rather than physique, and instilling confidence in each dancer she teaches. “If we, as a dance community, could return to that foundation of why we dance, that moment when we stepped into a class for the very first time and fell in love, I truly believe that the dance world would be a better place,” Stevie says.
Elevated Forms dance+fitness
Elevated Forms Dance + Fitness provides dance and fitness programs that teach dancers valuable cross-training exercises and techniques to prepare them for the professional realm. Founder Alexandra Roumanis offers in-studio or in-home classes designed to help build strong pre-professional dancers. These classes feature Progressing Ballet Technique (PBT) exercises, ballet technique training, as well as “contemporary, jazz, and acrobatic movements.” Alexandra stresses that her programs are designed to be adaptable and attainable for dancers to meet their “individual needs and goals.” She provides a variety of different class formats, including “weekly technique training,” “weekly cross-training for injury prevention, strength and flexibility,” and even one-week intensives. There are one-on-one or private group sessions available, in addition to in-studio or virtual workshops. Alexandra also offers more general personal training with an emphasis on pilates and barre-style exercises, and Elevated Barre classes, which are “dance-inspired” and designed for movers of all levels. Free workouts are even available on the Elevated Forms YouTube channel.
Photo by: Nicole Firestone
Alexandra began dancing around age three and began pursuing it more seriously around age 10. Throughout her teenage years, she focused more specifically on ballet. However, throughout high school, she also developed a deeper interest in contemporary dance, attending summer programs at Alonzo King LINES Ballet and the San Francisco Conservatory of Dance. While pursuing her BFA in Dance Performance and Choreography at Texas State University, she further cultivated her love for modern and contemporary ballet styles. After graduating college, Alexandra moved to Seattle and began interning with Velocity Dance Center and dancing with Khambatta Dance Company. She also worked as the operations and marketing manager of SQUID MGMT, an artist management company. Later realizing she was more interested in being in the studio, Alexandra took on more teaching, something she had always done throughout college.
Amid dance studios closing in 2020 due to COVID-19, Alexandra had several students ask her if she would teach private lessons, which she agreed to do. Unsure of what the landscape of dance would look like in the following year, Alexandra created Elevated Forms as a way to formalize the lessons she was providing. She specifically works with students who are serious about dance, wish to pursue it professionally, and are interested in improving their technique. Certified in a variety of dance teaching and cross-training methods, such as Progressing Ballet Technique and Sugarfoot Therapy, Alexandra’s everchanging vision is to provide her clients with a program that they can eventually practice independently to supplement their dance training. “Ideally...I want to let them go and fly on their own,” she says.
Alexandra stresses the importance of cross-training in dance as a way to make dancers stronger and prevent injuries. It upsets her to see such young dancers suffering through horrible injuries that stick with them for life. Thus, her practice is aimed at finding ways to implement cross-training into dancers’ routines and finding unique ways to make it interesting and enjoyable.
Glass House Dance
Glass House Dance is excited to announce its partnership with the City of Maple Valley’s Parks & Recreation Department. Starting this September, Glass House Dance will be expanding into the Maple Valley, Covington & Black Diamond communities by offering a variety of dance classes at Lake Wilderness Lodge. Registration for these classes begins this August through the City of Maple Valley’s Parks & Recreation registration page. In addition, Glass House is expanding its Sammamish location by adding a fifth dance room. Coming out of the COVID-19 pandemic, Glass House has secured the suite next to its usual studio space in light of growing classes & programming
Glass House Dance is going on its sixth year of offering the Sammamish, Issaquah, and Redmond communities year-round classes in ballet, hip hop, jazz, acro, lyrical, and contemporary. The studio also possesses a plethora of competitive and performance teams.
Co-Owner Larisa Eronemo grew up training as a competitive studio dancer and later earned her BFA in Dance from Arizona State University and MFA in Dance Choreography from the University of Arizona on a full-ride scholarship. After working at a university, she returned to studio life as a dance teacher. She has choreographed for the concerts of artists like Brett Michaels, George Thorogood, Third Eye Blind, Joan Jett & The Blackhearts, and many others. Larisa is also a nationally and internationally recognized judge and “guest master teacher”.
Co-Owner Ryan Eronemo’s dance journey began in high school. After breaking his hand left him unable to continue playing football, Ryan took a girl’s PE dance class, and his dance career built from there. He has performed, taught, and judged across the country and around the world, including venues in Asia and Europe. Ryan has appeared in music videos that have premiered on SkyTv in Canada and MTV Europe and is an “international master teacher” that’s taught across three continents.
Throughout the COVID-19 pandemic, Glass House Dance was able to meet state occupancy requirements and keep its classes running outdoors and by renting out spaces next to the studio. Glass House Dance is actively searching for a permanent location in the Maple Valley/Black Diamond community, but in the meantime, the studio is partnering with the City of Maple Valley to offer weekly classes with Glass House instructors & pedagogies. Glass House is beginning with 10 weekly classes through this partnership, but is looking forward to offering more classes as they fill up.
Larisa and Ryan live near Maple Valley and decided to spread their operations south when they were searching for dance classes for their daughter in the area. “There are not very many [dance] providers in this area and [South King County is] one of the fastest growing areas in King County,” Ryan says. “We thought we could have a unique voice and offer something valuable to the community.”
Glass House Dance’s programs are centered around inclusion. “If you want to dance, no matter what your body type is, what your skill level is, what you're able to commit in terms of time: we have a place for you no matter where you’re at in your dance journey,” Ryan says about Glass House Dance’s offerings.
From the rubble of the COVID-19 pandemic, the dance community of the greater Seattle area is coming together in inspired ways. These private coaching sessions, cross training endeavors, rebranding and expansion efforts, and more signal that the dance realm in our little corner of the world is only getting stronger following adversity.
New Beginnings in the Midst of COVID-19
The past year and a half has been undoubtedly replete with hurdles, as much of the local dance community was left jobless due to COVID-19. Yet, through the hardships that unfolded throughout the pandemic, many were able to find unique ways to fill the gaps they were witnessing in the dance world. Dwelling in isolation served as a time for reflection and deep contemplation about how to emerge back into the dance realm. From private coaching to cross-training, from rebranding to expanding, and bridging the divide between dance and theatre, these organizations and individuals have created new beginnings for themselves amid adversity, leaving the local dance community better than they found it. Read on to learn more about these local artists and their latest endeavors.
By Madison Huizinga, DWC Blog Editor
The past year and a half has been undoubtedly replete with hurdles, as much of the local dance community was left jobless due to COVID-19. Yet, through the hardships that unfolded throughout the pandemic, many were able to find unique ways to fill the gaps they were witnessing in the dance world. Dwelling in isolation served as a time for reflection and deep contemplation about how to emerge back into the dance realm. From private coaching to cross-training, from rebranding to expanding, and bridging the divide between dance and theatre, these organizations and individuals have created new beginnings for themselves amid adversity, leaving the local dance community better than they found it. Read on to learn more about these local artists and their latest endeavors. We will feature three more next week!
Adage Ballet Studio
Adage Ballet Studio offers private ballet coaching to students of all ages and abilities. ABS’s offerings are designed to supplement the training that students receive at their studios. Rather than dividing its lessons into age-defined levels, Adage Ballet Studio divides its classes into three tiers based on “technical achievement and the nature of individual needs observed.” The Preparatory tier is for pre-pointe dancers with at least two years of ballet training. The Primary tier, split into three sub-tiers, trains dancers in pointe shoes and educates them on “ballet theory and injury prevention.” Finally, the Adagio tier is designed for dancers with at least five years of ballet training who are working towards mastering the “highest levels of classical ballet.” Students may sign up for solo, duo, or trio sessions with coaches Abby Jayne DeAngelo and Guillaume Basso.
Abby Jayne, both a coach and owner of ABS, began dancing at a young age under the esteemed Marcia Dale Weary at Central Pennsylvania Youth Ballet (CPYB) in Carlisle, PA. She trained at CPYB throughout her childhood, attending numerous summer programs and performing frequently. Around age 16, she attended a program at the School of American Ballet. Upon returning home, she suffered a major injury: three stress fractures in her left metatarsals. She was out for almost a year and left to reflect on the rigorous dance training she had experienced leading up to that point. Eager to continue dancing, she ended up joining Pacific Northwest Ballet as a Professional Division student in 2016 and was promoted to an apprentice position and the corps de ballet in 2019.
What led Abby Jayne to create ABS was witnessing the “many gaps in the dance world and how people’s bodies are treated...mentally and physically.” In particular, she stresses the importance of providing dancers with education on how to prevent and treat injuries so they can dance in a sustainable manner. She had begun working privately with a few students who desired extra assistance outside of their routine classes. She would teach classes out of her apartment or in the students’ homes. When the pandemic hit Seattle, more and more students began asking for private lessons virtually and in person. During this time of teaching, Abby Jayne thought about how many students had been turned away from ballet because they were told they didn’t have the “right body” or didn’t “learn fast enough.” She realized that “everyone is on their own timeline” when it comes to training in ballet.
Adage Ballet Studio is designed to “foster each individual” and help people get to “the highest level of ballet technique for themselves.” Abby Jayne hopes to create a ballet environment that encourages “compassion” and is “nurturing” of its dancers holistically. Her mission is to “instill joy and love and inspire growth” in her students, not just as dancers, but as human beings.
Aspire Kinetic Arts
Aspire Kinetic Arts offers unique programming in both dance and theatre. In the fall, the studio will offer semester classes for “littles” (ages 3-6), pre-teens (ages 7-12), and teens (ages 13-19). The genres Aspire Kinetic Arts will focus on include creative movement, pre-ballet, ballet, pointe, jazz, and tap of varying levels. Aspire also plans to have drop-in classes in ballet, jazz, tap, and fitness, as well as master classes that are open to the public. Aspire Kinetic Arts will also feature workshops on dance and theatre, as well as additional art-related realms, such as costuming, lighting, and self-care as an artist. This summer, Aspire Kinetic Arts will also have a variety of summer programs, including “littles camp,” “performing camp,” a ballet intensive, and a “musical theatre intensive.” The facility itself will consist of three studios which can be easily reconfigured to create a black box performance space.
Director and Co-Founder Erin Crall Scott began dancing at age five, focusing more seriously on ballet around age 11. She has experience training around the country and globe, dancing at the Pacific Northwest Ballet School, Colorado Ballet, and the Hungarian National Dance Academy’s summer intensive. Erin has performed professionally with Cincinnati Ballet, ARC Dance, as a guest artist, and at the Hungarian National Ballet. She has trained in a variety of ballet styles, including Cecchetti, Balanchine, and Vaganova, and has abundant experience with jazz and tap styles as well.
Theatre Program Director and Co-Founder John Crall Scott began dancing around age eight, inspired to tap after watching Gregory Hines perform. He was encouraged to take up ballet training around the age of nine or ten. In high school, John’s love for theatre blossomed and has continued on throughout his life. Being able to learn while working in theatre with various choreographers and directors was the “best education” for him. He has experience performing with a variety of local organizations, such as Village Theatre, Seattle Repertory Theatre, Seattle Opera, and more.
Erin and John have a love for teaching, so opening up a studio had always been a shared dream. They believe that having a place where people can receive excellent training in both dance and theatre will be incredibly useful for performers, as the two art forms overlap quite a bit. Their vision is to provide comprehensive arts education that covers the wide range of roles that go into dance and theatre production, whether it’s being a performer, a costume designer, or a stage manager. Erin and John want Aspire Kinetic Arts to become a community hub for artists, envisioning their black box theater being a space for local artists to put on performances and events.
Aspire Kinetic Arts strives to provide an equitable education to all students, in part by hiring a diverse staff and being respectful to students of all social identities and backgrounds. Erin stresses the significance of educating students on the histories of art forms like ballet, so we can all “appreciate [their] beauty” while understanding their “troublesome legacies.” The pair also plans to launch a nonprofit that will go hand-in-hand with Aspire Kinetic Arts. They will conduct outreach and host performances that will donate portions of proceeds to communities that have less access to live performances. “We’re committed to building an environment that is healthy and supportive,” Erin says.
Body Language Studio
Formerly known as Cornerstone Studio, Body Language Studio has recently opened in the Renton Highlands and offering an abundance of programs. In addition to weekly technique classes for children in ballet, pointe, contemporary/lyrical, hip hop, breaking, and more, the new BLS Select Team and Breaking Crew will compete at local competitions and partake in community performances. BLS is also thrilled to offer teen/adult classes for dancers of all skill levels in a variety of styles, including ballet, hip hop foundations & funk styles, social dancing, and hula.
A unique aspect of Body Language Studio’s offerings will be its breaking program. BLS will host breaking “battles” and frequent dance cyphers, where people can dance freely, socialize, and enjoy music played by a DJ. Body Language is also looking forward to implementing skill-based assessments to provide structure for students as they move up in dance levels and to encourage students to “work towards short-term goals on a regular basis.”
In terms of performances, an annual production of The Nutcracker, a spring recital, and a winter showcase of the BLS Select Team will be staples at Body Language Studio.
Executive Director Lea Aparis has danced since age 3 and has competed nationally in ballet, jazz, tap, hip hop, lyrical, musical theatre, and more. She danced for the Seattle Supersonics Dance Team for three seasons and graduated from the University of Washington with a major in Economics and a minor in Dance. She also has experience judging for local dance competitions and guest performing in local productions. Lea has been teaching for over two decades and has been running Cornerstone Studio for 11 years.
Co-Director Jerome Aparis is a member and co-founder of the renowned breaking crew Massive Monkees. The Massive Monkees have won the 2004 B-Boy World Championship in London, England, and the 2012 R-16 World Championship in Seoul, Korea. The group also finished third overall in MTV’s America’s Best Dance Crew in 2009. Jerome has judged and won awards at numerous b-boy events around the world. He has also performed on the Seattle Supersonics Boom Squad, which is where he and Lea first met.
When Lea took ownership of Cornerstone Studio 11 years ago, she aimed to diversify the studio’s offerings to reach more students, offer representation across the staff, and provide well-rounded training. This desire led her to reach out to Jerome to teach breaking over the summer and it was a hit with the students. Since then, breaking has been a huge part of Cornerstone’s business.
From the moment Jerome and Lea connected, they envisioned how they would merge their passions and “take what they both do so well to the next level.” Having their own studio together is something the couple had always talked about, but the timing had never been completely right. It wasn’t until COVID-19 hit that Lea and Jerome began doing some deep reflection about Cornerstone Studio and analyzing their options moving forward through the challenges of the pandemic. When a space in the Renton Highlands became available, it was as though the stars had finally aligned. Lea and Jerome decided to take a leap to rebrand their business and relocate to a new and improved location.
Body Language Studio looks forward to continuing offering programs that promote diversity, inclusion, and safety in a fresh environment. “We know that the new space will give us the energy, the momentum, the inspiration, the creative spark, and the joy that... everybody else needs,” Lea says. “It’s something that’s even bigger for everyone to look forward to.”
Evergreen City Ballet’s Bennyroyce Royon on Promoting Diverse and Comprehensive Training
For over 25 years, Evergreen City Ballet has provided high-quality dance education to the South King County community. Following “innovation, collaboration, and community building” as the pre-professional ballet school’s pillars, Artistic Director Bennyroyce Royon strives to redefine dance education in the PNW by centering a variety of cultural histories and promoting holistic training.
By Madison Huizinga, DWC Blog Editor
Photo Credit: Kuo-Heng Huang
For over 25 years, Evergreen City Ballet has provided high-quality dance education to the South King County community. Following “innovation, collaboration, and community building” as the pre-professional ballet school’s pillars, Artistic Director Bennyroyce Royon strives to redefine dance education in the PNW by centering a variety of cultural histories and promoting holistic training.
Bennyroyce’s true connection to movement began with learning folk dances as a young boy in the Philippines. “For a while, I was saying that I started with ballet, but I didn't,” Bennyroyce states. Moving to the United States at 12 years old, Bennyroyce describes the process of being “Americanized” and exposed to Western styles of dance. “I forgot about my actual beginning connection and… root in terms of movement,” he explains. Having this recognition of the true origins of his connection to dance is “informing the way he’s moving forward right now,” as an artist and teacher.
Growing up, Bennyroyce always had a knack for expressing himself through music and couldn’t find himself connecting to American sports. Around 16 years old, he stumbled across a piece in the Auburn Reporter saying that Evergreen City Ballet was auditioning teenage boys and offering scholarships. His interest was piqued. Bennyroyce remembers calling ECB to introduce himself and mildly exaggerating his dance experience and technique level. Upon being asked if he was flexible, Bennyroyce laughs, recalling placing his leg on the kitchen counter and thinking “yeah, I’m pretty flexible.”
After his audition, Bennyroyce was offered a scholarship from Evergreen City Ballet. His teachers, including Founding Artistic Director Wade Walthall, “instilled the love of ballet [in him].” His training became more rigorous as he dove deeper into the practice and attended summer programs. On one occasion, during a field trip in New York, Bennyroyce recalls standing in front of The Juilliard School and telling his friend “I’m going to go there next year.”
“I had a lot of work to do, it was very tough,” Bennyroyce emphasizes.
And he certainly put in the work. Bennyroyce was accepted at Juilliard, where he worked with major choreographers like Mark Morris with Paul Taylor, Ronald K. Brown, Elliot Feld, Jessica Lang, and many more. He danced with teachers who worked under some of the masters of American dance, such as Martha Graham and José Limón.
After graduating, Bennyroyce’s first job was at The Metropolitan Opera, and he later danced with companies such as Rasta Thomas’ Bad Boys of Dance, Carolyn Dorfman Dance, and Sidra Bell Dance New York. He danced in Montreal with Cas Public, and later with Armitage Gone! Dance Company, before beginning his choreographic journey. He began the project-based dance company Bennyroyce Dance in 2010 and has received choreographic commissions from Atlanta Ballet and Ballet Hispánico.
Following his time dancing on Broadway in the original cast of The King and I, Bennyroyce began “meditating on [his] impact and…[his] legacy as an artist.” An opportunity opened up at Evergreen City Ballet to become the artistic director. After advising and consulting for the ballet school, he applied and got the role.
“My goal is to bring the world of dance here [to ECB and the City of Renton] and really serve the South King County region because that’s where my heart is,” Bennyroyce says. Being able to provide “access to dance of the highest caliber is really important and transformative,” he stresses.
Bennyroyce shares the obstacles he has faced in the dance world, including anxiety, depression, and body dysmorphia. He describes himself as an “atypical” artistic director, in the traditional sense, pointing out that he has a “booty like J-Lo” and feet that aren’t as flexible as others. An encouraging message he strives to share through his work is that “whatever body type, color, size, or expression you [have], you can do it.”
A large part of Bennyroyce’s vision in dance is “provid[ing] opportunities to a diverse group of individuals.” He shares how much the American dance industry favors European aesthetics, which is why he decided to stay in the United States to “contribute to the American landscape of dance in [his] own little corner.”
Since its conception, Evergreen City Ballet has offered “rigorous, well-rounded, and holistic” dance education for toddlers at 20 months old, all the way up to adults. Live accompaniment and an expanded modern program are aspects of ECB that Bennyroyce particularly takes pride in. In the coming year at ECB, Bennyroyce hopes to expand the definition of a “pre-professional ballet school,” to show the community that “ballet is just one of the foundations of dance.”
Next year, Bennyroyce is excited to announce that Afro dance will be a part of Evergreen City Ballet’s curriculum. “The African diaspora has been a source of inspiration and foundation for some of the movement styles we have now,” Bennyroyce stresses. “I think it’s important for my students to access that.”
Evergreen City Ballet also plans to offer programming on wellness, including classes on nutrition, meditation, and cross-training. Bennyroyce believes it’s important for ECB students to harness a holistic approach when understanding self-development in dance.
The ballet school is also looking forward to continuing putting on its annual student-choreographed show, “Elevate.” Evergreen City Ballet also offers an annual production of The Nutcracker that tours locally to Bellevue, Renton, and Auburn, as well as a spring production and showcase.
It’s important to Bennyroyce that his students leave ECB being “intelligent, articulate, empathic, and compassionate” individuals, whether they become professional dancers or not. What he hopes to see in the local dance community is a “more connected network of artistic directors, educators, and artists.” He is “brimming with ideas” about how to provide more opportunities to Seattle artists, and is excited to reveal them in the future.
Envisioning Representation: Julius Juju Flores Shares His Vision for Artistry in Motion
Artistry in Motion (AIMco.) is an up-and-coming local dance company, founded in 2020 during the COVID-19 pandemic by Julius Juju Flores. AIMco. features mostly commercial dance, focusing on athletics and a showcase feel. As Julius likes to say: “it's a dance company but we're so much more than that.” On July 25th, AIMco. is having its live show “Artistry in Motion Collective: FROM THE TOP!” which will be a celebration of many dances and art forms, including wacking, voguing, and drag. Tickets are available here.
By Emma Neilson DWC Blog Contributor
Photo Credit: Sean E. Nyberg
Artistry in Motion (AIMco.) is an up-and-coming local dance company, founded in 2020 during the COVID-19 pandemic by Julius Juju Flores. AIMco. features mostly commercial dance, focusing on athletics and a showcase feel. As Julius likes to say: “it's a dance company but we're so much more than that.” On July 25th, AIMco. is having its live show “Artistry in Motion Collective: FROM THE TOP!” which will be a celebration of many dances and art forms, including wacking, voguing, and drag. Tickets are available here.
Julius began dancing at the age of 15 at an after-school program. Julius had a hard childhood, and dance served as a coping mechanism and an escape from reality. He mentions that his early dance path was made easier because he was exposed to many male dancers his age and color.
After a while, Julius joined the Honolulu Dance Performing Company that offered him a full-ride scholarship whilst in high school. The following year he traveled to Los Angeles, California where he participated in an intensive and competition. In 2008, Julius was accepted to and began attending California Pacific College of Performing Arts. It was here that Julius received his BFA after training for two years and touring for two more. When speaking about the touring aspect of the program, Julius says “we would travel all over the world and do outreach programs to youth… It was a [really] great experience. We got to work with unfortunate kids who didn't have much, we got to work with kids in juvie… we were just trying to change perspective[s] for all these kids through dance and music…”
“I think I found myself. That’s my biggest gain. You know, we all go through that path of just not knowing who [we] are, and I think I definitely found myself and found who I am and what I can really do. ”
Photo credit: Sean E. Nyberg
Julius later moved back to Hawaii to work as a co-director at his old dance studio, where he also took on the competition team. He eventually moved to San Francisco, where he participated in Alonzo King LINE’s professional training program for a year. After this “pretty amazing” experience, Julius relocated to Seattle, WA, where he has been based ever since.
When asked what he has gained and what the biggest takeaways from his extensive years of training are, Julius replies “I think I found myself. That's my biggest gain. You know, we all go through that path of just not knowing who [we] are, and I think I definitely found myself and found who I am and what I can really do.”
Julius says that he found his passion for choreography while he was based in California. He mentions that he often had the opportunity to assist instructors. When talking about his tour experience, Julius says “I think that's when I fell in love with just creating and teaching… and then [that] eventually evolved [in]to doing workshops and traveling and doing competition pieces.”
Upon being asked about the origins of Artistry in Motion, Julius says “I've always honestly wanted something for my own… I was always ambitious and I always wanted to be my own boss.” He continued on saying, “…quarantine definitely was eye-opening for me because I had a lot of time for myself and it made me really realize what I wanted to do with the rest of my life and what I know I could accomplish.”
Julius describes starting Artistry in Motion as “the biggest obstacle [he’s] ever had to [take on].” Starting and operating the company was and is a huge challenge for Julius, especially because of the time he decided to start it. The arts world was going through a crisis because of the pandemic, with many companies shutting down, arts funding being cut or non-existent, performances being canceled, and more. However, Julius lists many reasons why starting a company has been worth it. From giving him a purpose to giving the underrepresented a voice, Julius wants to reach out to the community.
In addition, Julius spoke about another challenge he’s had: “finding the right support, especially during this time.” “I know everyone has their own obstacles and challenges that they all have to go through, but just finding the right community [has been difficult],” he shares. While finding support can be a challenge, especially in realms like the dance world where not everyone is accepting of all genders, sexual orientations, races, and more, Julius speaks on how open Seattle is and how supportive the arts community here is.
Towards the end of our conversation, I asked Julius to give our readers advice on starting their own company and taking creative risks. He gave a true gem of advice: “there's never [going to] be a perfect time. So you just really have to go for it.”
When asked what he wants to see change in the larger dance industry, Julius says he “want[s] the BIPOC and the LGBTQ+ [communities] to be... more highlighted… I want to highlight the individuals and the underserved communit[ies].” He shares that the hardest part of his dance training was hiding his sexuality. In the dance world, there typically isn’t male-to-male partnering and Julius wants to change that, in part by having an all-male company.
AIMco. has an upcoming show on July 25th that will heavily feature the LGBTQ+ and BIPOC communities. There will be wacking, voguing, drag queens, and a viola player, just to name a few acts. Julius is so excited to bring all forms of art to the stage, not just dance. “Dance is a universal language,” and Julius is looking forward to giving a voice to marginalized communities.
“There’s never [going to] be a perfect time. So you just really have to go for it.”
AIMco.’s Mission and Vision Statement-
WE TRAIN WITH PASSION, DANCE WITH HEART AND AIM FOR SUCCESS.
By Emma Neilson
Emma Neilson is a pre-professional dancer from Seattle, WA. She started dancing at the “late” age of 13, and decided to pursue a possible professional career at age 19. She is currently a Professional Division student at International Ballet Academy in Bellevue, WA. She is a registered Barre fitness and Flexistretcher instructor, as well as a current ambassador for To The Pointe Nutrition.
Dance for All Abilities
For an artform with a long history of exclusivity, accessibility can be a difficult topic for many dance studios. Counter to traditions of gatekeeping, elitist training, and a hyper fixation on perfection, local studio Issaquah Dance Theater (IDT) offers a dance class tailored for neurodivergent and physically disabled students. The Best of My Abilities (BOMA) is an inclusive dance program founded by dancer and paraeducator, Emmy Fansler.
By Ella Kim, DWC Blog Contributor
For an artform with a long history of exclusivity, accessibility can be a difficult topic for many dance studios. Counter to traditions of gatekeeping, elitist training, and a hyper fixation on perfection, local studio Issaquah Dance Theater (IDT) offers a dance class tailored for neurodivergent and physically disabled students. The Best of My Abilities (BOMA) is an inclusive dance program founded by dancer and paraeducator, Emmy Fansler.
IDT has provided these dance classes since 2016. Fansler describes the class as being open to any and every one regardless of their mobility. When discussing over FaceTime who can be a BOMA dancer, she warmly recalled working with students in wheelchairs and explained, “if I can’t figure out a way to make it work for everybody, that’s on me.”
Photo by Hailey Waters
BOMA introduces students to a variety of dance styles, focusing primarily on encouraging movement and relationship building. Dance becomes a setting from which students can learn to help each other, trust each other, and trust themselves. By making the joy of dance accessible, the class also spreads the life skills dance teaches to students. Movements become obstacles the dancers learn to approach together.
The classes normally have a very flexible structure, often tailored to the particular group of dancers in each class. Building relationships between dancers is a large focus of the program. Fansler often pairs dancers who can physically support another person with dancers who need support. They move across the studio holding hands or helping guide each other around in turns.
The COVID-19 virus created huge challenges for dance studios, and IDT is no exception. On March 13th, Washington state governor, Jay Inslee, closed all schools, prompting the studio to move classes to a virtual format. Washington has continued to have strict restrictions surrounding COVID-19 safety. The state is currently working towards reopening, allowing for heavily regulated gatherings, so IDT hosts some of its classes in a hybrid in person and online format. BOMA classes have remained completely virtual since March 2020 for the safety of its participants.
For BOMA, this means a more consistent structure for each class. They begin with a guided warm up based within dance movements, move into a stretch sequence, and finish with putting together a dance routine. Instead of using touch to support each other through movements, dancers are modifying movements individually (for example changing a choreographed turn into a sway of the body and arms). The dancers are currently exploring salsa, using salsa footwork to inspire the warm up and listening to salsa music throughout the class.
“A lot of times dance is seen as this ridiculously exclusive world, really what you need is a body and a space.”
The benefits of BOMA are closely related to the successes seen in Dance Movement Therapy (DMT), and recent research points to dance having a positive impact on people with Autism. A study led by Malin Hildebrandt (professor at the University of Heidelberg in Germany), published in 2016, explains how dance can support the embodiment approach to managing negative symptoms caused by Autism.
The embodiment approach is a new thought process guiding some research on Autism. It breaks from the traditional focus on the mind’s impact on the body. Hildebrandt explains embodiment as the belief that “our perception of the world, and thus also our interaction with it, is entirely mediated by our bodies”. This approach assumes the mind and body have a fundamentally reciprocal relationship. Dance is rooted in the cooperation of body and mind, making it a great activity to strengthen that relationship.
Emmy Fansler, BOMA Program Founder
Hildebrandt’s study recorded a reduction of negative symptoms in people with Autism after ten weekly sessions of manualized DMT. The sessions consisted of encouraging individuals to manipulate the quality of their movements, mirroring exercises (copying each other’s dancing) in pairs and groups, and verbal processing about how the dancing made participants feel. IDT’s BOMA classes are not certified DMT sessions; however, they contain many of the same elements, focusing on encouraging dancers to expand or manipulate their natural movements and facilitating dancing together in pairs and groups.
Hildebrandt found that the 2 symptoms most alleviated by dance therapy were anhedonia (inability to feel pleasure) and blunted affect (difficulty expressing emotions). This fits with the embodiment theory, “because the subtypes most affected by the intervention… are more closely related to diminished self-perception as the connection of bodily states to emotions.”
BOMA began as an independent project of Fansler when she lived in Kansas. She worked as an adaptive PE paraeducator, where she would invite her students from PE to her after school dance classes. When asked about the origin of BOMA, Fansler remarked with a laugh that she created an accidental dance studio.
Eventually, Fansler moved to Washington, bringing BOMA with her. “I keep the name wherever I’ve gone because it makes sense for your abilities in all ways”.
IDT’s Artistic Director and owner, Kevin Kaiser, also works to make dance education more accessible. When asked how the program came to IDT, Kaiser stated in an email that he had been seeking to create a program like BOMA, so “when I learned that Emmy has a passion and a very clear vision for this type of program it was an easy decision for me”.
BOMA welcomes other IDT students to volunteer in its classes. Current student at IDT, Hannah Jacobson, helped with some classes two years ago. When interviewed over FaceTime, Jacobson described her experience, “it wasn’t like I was giving directions… I would do the combo with them and it was like I was a part of the class”. In the couple of classes she assisted, Jacobson noticed, “a very family environment”.
One thing that really stuck with Jacobson from her time with BOMA is how the class worked on challenges together. Instead of pulling a dancer aside if a problem arises, Fansler brings the class together in a circle and they help the dancer through it. Jacobson remembered one class when a dancer’s vocal ticks were winding up another dancer. Jacobson recalled that, “we worked together to help them calm down. It was as a group. We collectively came back to a circle and talked for a couple minutes”. Her lasting impression of BOMA is that, “everyone works through everything together”.
A foundational goal of this program is to build relationships between students. By assisting each other to learn more challenging movements, the dancers learn to trust each other. Fansler works to facilitate a safe atmosphere where the dancers can trust, experiment, and grow. Fansler warmly recounted a former student who had an aversion to authority figures but was receptive to help from peers. The student would not let Fansler touch her but would hold hands with other dancers as she moved across the floor. Proud of the dancer’s growth throughout the program, Fansler shared that the dancer was even comfortable being lifted by other students by the end of the year.
Photo by Hailey Waters
Fansler’s accepting and creative approach to each dancer's challenges is a hallmark of the program. BOMA focuses on what the students are able to do, not their limitations. Fansler’s voice was full of care as she responded to being asked what the goal of BOMA was for the participants. “I want them to feel safe and like they belong, and I want them to celebrate the things they can do instead of [being] boxed in by what they are told they cannot”.
The BOMA class is included in the IDT’s annual recitals. The dancers work on their own piece throughout the year and perform it on stage in the spring.
This month, BOMA’s current class of six dancers will perform in IDT’s recital. Changing COVID-19 restrictions make the exact format of the show uncertain, but the class is already working on creating their piece.
By offering a dance class tailored to students with disabilities, IDT is opening the gate to dance education and breaking down the traditional barriers of who is considered a dancer. Fansler notes, “a lot of times dance is seen as this ridiculously exclusive world, really what you need is a body and a space.”
Ella Kim began dancing at 4 years old. She focused primarily in ballet until finding a love of modern and contemporary dance in high school. She is currently pursuing a BFA in Dance at George Mason University. On breaks from school, she's had the opportunity to dance as a guest artist for Trillium Dance Collective. Ella enjoys investigating different aspects of the dance world and is thankful to DWC for giving her a platform.
Entering the “Conversation Lab”: Karyn Tobin and Ian Howe Share Their Dance Company Apropos Motus
Amid the COVID-19 pandemic, dancers, choreographers, and dance viewers were all separated from one another, isolated to the confines of their homes, and stripped of the opportunity to perform and do what they love. Thus, in 2021, Karyn Tobin and Ian Howe decided to launch Apropos Motus
By Madison Huizinga
Madison Huizinga has been dancing for 13 years, and her favorite styles are ballet and contemporary. Currently, she attends the University of Washington and is studying Communications, Business, and Dance. Madison is presently a company member with Seattle-based dance company Intrepidus Dance. She loves working at Dancewear Center because it allows her to help local dancers find the best shoes, apparel, and equipment possible to further their dance goals and careers. Dance has always been a positive creative outlet for her to express her emotions—so it’s always nice to meet members of the local dance community that relate!
Outside of dance and work, you will find Madison exploring new cafés and restaurants around Seattle, hiking, reading, and traveling.
Photo credit: Devin Marie Muñoz | @munozmotions (left) HMMM Productions (right)
Photo Credit: Lars Myren
Amid the COVID-19 pandemic, dancers, choreographers, and dance viewers were all separated from one another, isolated to the confines of their homes, and stripped of the opportunity to perform and do what they love. Thus, in 2021, Karyn Tobin and Ian Howe decided to launch Apropos Motus, a dance company in the Seattle area aimed at creating work that fosters fluid, open-ended conversations among dancers and audience members. While the idea for Apropos Motus has been in the works for a couple of years, Karyn and Ian thought that the unfolding aftermath of the pandemic would be the perfect time to start a company that works to bridge gaps between individuals.
Karyn began dancing at age four with a primary focus on classical ballet training at Johansen Olympia Dance Center in Olympia, WA. She later joined the studio’s pre-professional company Ballet Northwest at around age 12, where she performed many classical and contemporary works. Following high school, she attended Cornish College of the Arts where she earned her BFA in dance. Since she’s graduated, Karyn has danced professionally with a variety of artists and companies, including 3rd Shift Dance, Hypernova Contemporary Dance Company, and The Guild Dance Company.
Photo credit: Devin Marie Muñoz | @munozmotions
Ian recalls his love for dance beginning at age five when he saw Savion Glover tap dance on Sesame Street. He began dancing at a small studio in Woodinville, WA, and later moved to Backstage Dance Studio where he was heavily involved with competition dance. While he began his training in tap, he soon began training in every style Backstage had to offer. After he graduated from high school, Ian worked as a dancer and singer on the cruise line Holland America Line for about eight years. In 2011, Ian moved back to Washington and began teaching, choreographing, and performing. In 2018, he became the owner and artistic director of Pacific West Performing Arts, a dance studio located in Snohomish and Lake Stevens.
Both dancers felt a strong pull to the art of dance as young adolescents. Karyn explains being drawn to dance due to its potential to express and “communicate deeper things that [she] wouldn’t in just a verbal conversation.”
Photo credit: Brett Love | @eruditorum.co.uk | https://www.eruditorum.co.uk/
The pair met around 2017 when they were both working with the same dance company. The two soon became familiar with the other’s movement style, got used to performing with one another, and a friendship blossomed. About two years ago, the duo met for dinner and began throwing around the idea of putting together some sort of dance project. Karyn and Ian went back and forth about what a dance company would like for them, how they would organize it, and more. Since then, their brainstormed ideas have evolved into a concrete company: Apropos Motus.
Photo Credit: HMMM Productions
The name of the company itself holds a particular significance to Karyn and Ian. The duo didn’t want their company’s name to just function as a label, but rather carry meaning itself. “Apropos” refers to being “both relevant and opportune,” while “motus” derives from the Latin movere meaning “to move” or “set in motion.” Fittingly, Karyn and Ian saw 2021 as an “apropos” time to create a company that disseminates the art they want to see in the world, specifically in the aftermath of COVID-19.
Apropos Motus is currently working on solos, and perhaps duets and trios, as well as simply workshopping choreography on one another. With various COVID-19 restrictions lifted, the company plans to eventually shift to producing large-scale live shows. However, in the meantime, Apropos Motus will film their dance works.
Apropos Motus’ focus will be “ever-evolving”; Karyn and Ian reject the idea of fitting the company into a rigid, predefined box, as that can feel limiting. During the pandemic, Karyn points out how conversations among artists were largely limited. She identifies how we’ve all understandably “retreated into ourselves more than ever.” Through Apropos Motus, Karyn and Ian hope to bring people back together and stimulate conversations that have been limited. They wish for their company to function as a “conversation lab” to “bridge the gap between people right now.”
Ian shares that Apropos Motus wants to be “fluid with what [they] present, how [they] present it, and who [they] present it to.” The pair wants the themes people take away from their works to be varied, open-ended, and largely up to the viewers’ perceptions. Removing control of what the audience takes away from its art will allow Apropos Motus to function as an “open-ended experiment” that rejects singularity and embraces complexity.
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