Eat Well Wednesday

Eat Well Wednesday Uncategorized

EWSA Logo

 

 

 

 

 

 

 

 

 

 

 

Love bread? This one is for you!

 

IMG_1516

 


Take a look at those whole grains!

In the age of busy lives and jammed packed schedules it can be hard to find time to prepare healthy, wholesome meals for you and your family.

I am not usually a fan of convenience, prepared “fast” food, but I have a great product to share with you that will not only make dinner a bit easier, but it will also provide the nourishment from whole, healthy foods that your body needs.

If you are a Texan you are familiar with HEB, the dominant grocery store chain here. They carry some pretty healthy store brand items that are easy to prepare and are well balanced too.

 

Next time pick up a loaf of this Multi-grain Bread in the freezer isle.  It is MULTI-GRAIN and has plenty of fiber and nutrients, thanks to the seeds, including flax.

 

IMG_1510

 

This is a great staple item to keep in the freezer, preparation is easy, and a wonderful whole grain option. A much better choice than the traditional french loaf bread that is comprised of processed white flour and lacking the fiber and whole grain nutrients to help fuel your body.

Toast a piece and spread some hummus on it, served with chicken and unlimited veggies and you had an awesome well-balanced meal.  This loaf is also works great with grilled cheese sandwiches, served along side homemade tomato soup.  Yum!

Thanks to this whole grain bread find, I am hopeful that packaged, convenience food is moving in the right direction. Getting healthier, heartier, and full of nutrients.

 

BE WELL!

 

 

0-1Jill Tarpey is leading us Wednesday by Wednesday into making better food choices and being more healthful. Tune in every Wednesday to get some great recipes and advice from someone who really knows health. In an effort to fuel her passion to serve as well has enhance the lives of others through their nutritional choices, she started Eat Well SA(San Antonio). Her vision is to educate you on how to incorporate a healthy array of foods into your life. Eat Well is not a diet, nor does it embrace any one specific dietary agenda. She also offers customized programs that are educational and teach you the tools you need to maintain healthy, well-balanced eating for your busy lives.

Tuesday Tunes

Tuesday Tunes

Tuesday Tunes

Liza Minnelli

 

My mother gave me my drive but my father gave me my dreams

 

Liza Minnelli was born on March 12, 1946, the daughter of Judy Garland and movie director Vincente Minnelli. She was practically raised at MGM studios while her parents worked long hours there and she made her film debut at fourteen months of age in the movie In the Good Old Summertime (1949). Her parents divorced in 1951 and, in 1952, her mother married Sidney Luft, with sister Lorna Luft and brother Joey Luft subsequently being born. Her father, Vincente Minnelli, later married Georgette Magnani, mother of her half-sister Christiane Nina “Tina Nina” Minnelli.

At sixteen, Liza was on her own in New York City, struggling to begin her career in show business. Her first recognition came for the play “Best Foot Forward” which ran for seven months in 1963. A year later, Judy invited Liza to appear with her for a show at the London Paladium. This show sold out immediately and a second night was added to it. Liza’s performance in London was a huge turning point in both her career and her relationship with her mother. The audience absolutely loved Liza and Judy realized that Liza was now an adult with her own career. It was at the Paladium that Liza met her first husband, Peter Allen, a friend of Judy’s.

Liza won a Tony award at age nineteen and was nominated for her first Academy Award at age twenty-three for the role of Pookie Adams in The Sterile Cuckoo (1969). Other dramatic roles followed and, in 1972, she won an Oscar for her performance as Sally Bowles in the movie Cabaret (1972). The seventies were a busy time for Liza. She worked steadily in film, stage and music. She and good friend Halston were regulars at Studio 54, the trendiest disco club in the world. Marriages to filmmaker Jack Haley Jr. and Mark Gero, a sculptor who earned his living in the theater followed. Each marriage ended in divorce.

Over the past years, her career has leaned more towards stage performances and she has a long list of musical albums which she continues to add to. She teamed with Frank Sinatra in his “Duets” CD and Sammy Davis Jr. joined them for a series of concerts and TV shows which were extremely well-received.

She has had to deal with tabloid stories of drug abuse and ill-health and has had a number of high profile stays at drug-rehabilitation clinics. Her hectic schedule may have slowed down in recent years, but she still has a large following of immensely loyal fans who continue to cheer her on.

 

Liza Minnelli on the Judy Garland Show

 

Baryshnikov and Minnelli

 

Stepping Out

 

 

Facts about Miss Liza Minnelli

 

Her parents named her after Ira Gershwin’s song “Liza (All the Clouds’ll Roll Away)”

Says her mother gave her a sense of humor

1990: She received the Grammy Legend Award, making her one of the few artists who have won entertainment’s top four awards – the Oscar, the Tony, The Emmy and the Grammy.

Was briefly managed by KISS lead singer/guitarist Gene Simmons in the 1980s.

When she was young she befriended Marilyn Monroe.

Her mother, Judy Garland, and former father-in-law, Jack Haley, starred together in The Wizard of Oz (1939).

She and her mother, Judy Garland, were the first Oscar-nominated mother and daughter.

Godparents were Ira Gershwin and Kay Thompson.

Because Liza constantly traveled with her mother, she spent most of her childhood in hotels. She was the inspiration for the character of “Eloise”, who grew up in the Plaza Hotel. The books were written by Liza’s godmother, Kay Thompson.

While Frank Sinatra’s version of “New York, New York” is played at Yankee Stadium after every Yankee home win, Liza Minnelli’s version is played after every Yankee home loss.

Her favorite modern-day singers are Adele, Michael Bublé, Pink and ‘Lady GaGa’.

 

MFA Monday

MFA Mondays

MFA right

 

 

 

 

 

 

 

 

Happy Monday Framers!

Another busy week and another fabulous MFA Monday series! This is the FIRST post of three by Sue Roginski! Enjoy!

 

backyard

Sue Roginski graduated from Wesleyan University in 1987 with a BA in Dance and from the University of California Riverside in 2007 with an MFA in Dance (experimental choreography). She is a teacher, choreographer, and performer who has produced her own work as well as performances to benefit Project Inform, Breast Cancer Action, and Women’s Cancer Resource Center. In the past few years, Sue has had the opportunity to share choreography at Anatomy Riot (LA), Highways Performance Space (Santa Monica), Unknown Theater (LA), AB Miller High School (Fontana), Culver Center of the Arts (Riverside), Society of Dance History Scholars (conferences ’08 and ’09), The Haven Café and Gallery (Banning), Back to the Grind Coffee House (Riverside), Heritage High School (Romoland), KUNST-STOFF arts (SF), and Riverside Ballet Arts (Riverside). She also has been privileged to dance and perform with Susan Rose and Dancers since 2005. Sue teaches at Mt. San Jacinto College and Riverside City College and divides her time between Riverside and San Francisco where she had a ten year career as dancer and collaborator with the Margaret Jenkins Dance Company. Sue performs with Dandelion Dancetheater (Bay Area based ensemble) and Christy Funsch (SF dance artist) whenever possible, and in 2010 created P.L.A.C.E. Performance (a dance collective) with friend and colleague Julie Satow Freeman. Her ongoing creative process infuses choreography with improvisation.

—————————-

Part 1 of 3

At 40 I sent in my acceptance letter to the UC Riverside Department of Dance for the MFA in Experimental Choreography. I had been dancing in San Francisco for 17 years and was feeling the need for a change-shake-up-something new when I encountered an information session for UCR’s MFA/PHD program in SF.

200px-UC_Riverside_seal.svg

The Unknown 

It was a big deal to say the least to leave a community I was a part of for 17 years: a leap into the unknown. No worries about missing friends, community or city, graduate school sucked me in and under, and for two years I was immersed, overwhelmed, invigorated, challenged, inspired, overworked, and in desperate need of a comb or brush. Not that everyone does grad school the way that I did, but haircuts and daily moments of primping become a low priority when reading 300-500 pages a week become part of a dance experience. The program at UCR: “Critical Dance Studies” requires MFA students to take the PHD seminars. The four core classes blend cultural, historical, political and rhetorical “approaches” to the practice of making work as a choreographer. Rigorous in nature, theoretical and in depth, the program does not ask you to let go of everything you bring with you, but does require an open mind and sponge-like willingness to absorb what is covered.

The Uncomfortable

In a week I was IN, and there was no turning back. The first PHD seminar had us reading Michel de Certeau and Foucault, and in the MFA studio course dancing representations, we considered the dances that needed “program notes” and HOW to proceed in the making of a dance without those.  “Representations” includes a series of choreographic studies. Create a gendered portrait. Such a good assignment, but the hard part of course was actually being exposed to performing a solo again, being watched, and the feeling of being under a microscope. You must be willing to put your self out there and at times embrace the failure. The class not only consists of receiving feedback after sharing the study, but offering thoughts in the moment after a colleague performs her/his study. Dance, respond, observe, articulate, think, move, create, absorb, share, expose, unearth, contribute – just scratches the surface of grad school tasks.

Graduate school seems to have many of those performing moments. In seminar imagine that you’ve done all of the readings, have a solid understanding of what was read, and can contribute articulately to the discussion in class. I cannot imagine that. That was never the case for me. I would have a hard time grasping the reading material and through seminar would think intensely about what I could add to the dialogue. During year one I couldn’t/didn’t speak. I wasn’t ready at the time, but didn’t realize that. I spent many moments in seminar trying to figure out what to say. It was debilitating. I almost forgot I had been OUT of school for some time at age 40. Everyone was so smart! I could have just practiced listening, being.

Side Thought

Graduate school is a ton of work condensed into a short amount of time, so there is a lot of doing and expectations always dancing alongside the doing.

Process

As a dancer and performer, there is much emphasis placed on product, the performance, or the “show”. I feel as an artist there is ego involved so you want to be praised or complimented. It took me about a year to settle into the concept of process as the crux of an MFA rather than “performing”. Of course, show up, be in the moment, be present, but don’t over analyze what you are contributing each moment that you’ve just contributed something. Experiment and investigate AND hold onto a bit of you while you are moving outside of a comfort zone. After all it is you who got into the program.

———————-

Stay tuned for more from Sue next Monday!

Links We Like

Links We Like

New Year…New Everything!

 

New Gadgets!

 

Biometric keyless locks let you unlock or lock your entry door with just a quick scan of your fingerprint. Way cool!

Bio-metric key less locks let you unlock or lock your entry door

with just a quick scan of your fingerprint.

 

Why not decorate cables when you can't hide them?

 

 

 

 

 

 

 

 

 

 

Why not decorate cables when you can’t hide them?

 

Personal Fondue Mugs | Well Done Stuff !

 

 

 

 

 

 

 

 

 

Personal Fondue Mugs 

 

A vertical chess set.  Can have an active game going for weeks without it being in the way.

 

 

 

 

 

 

 

 

 

 

Who says there’s no room for a chess board?

 

Transparent Toaster

 

 

 

 

 

 

 

 

 

 

 

Transparent Toaster gives you clear view of bread’s crispiness

(About time!)

 

Living in a small apartment with a tiny balcony has a way of giving you perspective on how much space is "enough" space. But aside fro being a lesson in…

 

 

 

 

 

 

 

 

 

 

Got a small apartment? No problem!

 

New Recipes!

 

Mini Mexican Pizzas!

Mini Mexican Pizzas

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pesto Pasta with Sun Dried Tomatoes and Roasted Asparagus

Pesto Pasta with Sun Dried Tomatoes and Roasted Asparagus - A super quick and easy dish, perfect for those busy weeknights!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mini chicken potpies

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Broccoli, Ham, and Mozzarella Baked with Eggs Casserole 

Broccoli, Ham, and Mozzarella Baked with Eggs

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Peanut butter and nutella dessert crescent rolls ...such an easy and yummy treat! Only takes 3 ingredients to make!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Um…YUM!

White Cake with Snickers and Hot Fudge

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Free Events Thursdays!

Free Events Thursday

Secret Lives of the Stars

Houston Museum of Natural Science

Every Monday-Sunday. Various show times 10:30 a.m. to 4:30 p.m. daily.

Don’t let the title Secret Lives of Stars fool you: This has nothing to do with Hollywood gossip. Instead, this planetarium special is all about the stars in the night sky, from the massive to the tiny.

Sir Patrick Stewart (Star Trek: The Next Generation and X-Men) narrates the show, explaining the difference between planetary nebulas and supernovas and the like.

Price:$8.

Holiday in the Woodlands

The Woodlands Town Center

10001 Woodloch Forest
Spring,TX 77380

Daily until January 20th

Stroll through a spectacular fantasyland of light displays and glide across the ice at the Holiday in the Woodlands. The Donoho’s Jewelers Winter Wonderland, an array of holiday scenes illuminated with thousands of lights, surrounds the Woodlands Outdoor Ice Rink. The Wonderland includes decorated snowmen, angels, elves, toy soldiers and more. The rink, among the largest outdoor ice rinks in the region, conducts skate sessions for families. Navigate around the displays and shops on the Waterway Trolleys and the Waterway Cruisers; both are offering rides during the holidays.

Dates and times vary. For information, call 281-419-5630 or visit thewoodlandsicerink.com.

Price: Free to $10.50.

 

Russian Holiday Bazaar

Russian Cultural Center “Our Texas”

2337 Bissonnet, Houston, TX 77005

November 18, 2013 – January 15, 2014

Monday-Friday: 8:30 a.m. – 5:00p.m., Saturday: 11:00a.m. – 3:00p.m.

We offer a broad assortment of unique gifts that will satisfy the most demanding tastes. We have wooden figures of Father Frost and beautiful icons. There are lovely lacquer jewelry boxes, hand-painted with the Russian fairy-tale motifs and intricately carved containers made of birch bark. We also have vintage porcelain figurines by the famous Lomonosov (Imperial) Factory and golden wooden tableware called “Khokhloma.”Plus we have the famous Russian Matreshkas or nesting dolls.

Price: FREE!

 

Strawberry Picking at Blessington Farms

December 07, 2013 – May 03, 2014 (Every Tuesday, Thursday, Saturday) from 10am-3:30pm

Blessington Farms

510 Chisholm Road, Simonton, TX 77476

Gather the family and head over to Blessington Farms for u-pick strawberries! Enjoy picking and eating the most delicious strawberries. There are also lots of other Farm Funland festivities like hay rides, giant slides, pedal cars, chicken encounter, barrel train rides, hay maze and more. Blessington Farms is located 40 miles west of downtown Houston. Road trip!

Price: 

Strawberries $5/pound

$8/person for Farm Funland. (Children under 18 months enter for free)

 

The Age of Impressionism: Great French Paintings from the Sterling and Francine Clark Art Institute

December 22, 2013 – March 23, 2014 (Recurring daily)

Museum of Fine Arts, Houston (Beck Building)

1001 Bissonnet, Houston, TX 77005

The acclaimed international tour of The Age of Impressionism: Great French Paintings from the Sterling and Francine Clark Art Institute concludes in Houston at the MFAH. Showcasing the Clark’s renowned holdings of French Impressionist painting, this exhibition features 73 works of art by a stellar lineup that includes Edgar Degas, Édouard Manet, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. Also represented are Pierre Bonnard, William-Adolphe Bouguereau, Jean-Baptiste-Camille Corot, Jean-Léon Gérôme, Jean-François Millet, and Henri de Toulouse-Lautrec.

The Clark launched the collection tour in 2011 at the Palazzo Reale in Milan, coinciding with a three-year expansion of the Clark’s Williamstown, Massachusetts, facility. The MFAH is only the second, and the final, U.S. museum to host the exhibition.

This spectacular presentation tells not only the story of Sterling and Francine Clark’s devotion and passion for collecting but also of painting in 19th-century France, from the Orientalist works of Gérôme; to the Barbizon paintings of Corot and Théodore Rousseau; to the Impressionist masterpieces of Degas, Manet, Monet, Pissarro, Renoir, and Sisley; and concluding with the Early Modern output of Bonnard and Lautrec. Portraits, landscapes, marines, still life, and scenes of everyday life by 25 artists, spanning 70 years, are all on view.

Price: Free on Thursdays; Not free otherwise

 

Mozart’s Jupiter Symphony

From: January 03, 2014 – January 05, 2014 (Recurring daily)

Houston Symphony

Jan. 3rd- 4th at 8PM; Jan. 5th at 2:30PM

Celebrate the New Year with two of classical music’s great superstars. First Mozart, who’s brilliance shines through in his sublime final symphony. In the Jupiter, drama, joy and energy are presented with the composer’s trademark elegance. The program opens by turning up the heat with the equally exciting Fire Symphony by Haydn.

Program:
Haydn: Symphony No. 59, Fire
Schnittke: Moz-Art á la Haydn- for two violins and chamber ensemble
Mozart: Symphony No. 41, Jupiter

Artist: Andrés Orozco-Estrada, conductor; Eric Halen, violin

 Price: It ain’t free…

Tuesday Tunes!

Tuesday Tunes

Screen Shot 2013-07-09 at 12.05.42 PM

 

              HAPPY NEW YEAR!

               

Today for Tuesday Tunes we are featuring the works of…

        Donald O’Conner

 

I was born and raised to entertain other people. I’ve heard laughter and applause and known a lot of sorrow. Everything about me is based on show business – I think it will bring me happiness. I hope so.

 

 

Though he considered Danville, Illinois to be his home town, O’Connor was born in St. Elizabeth Hospital in Chicago. His parents, Effie Irene (née Crane) and John Edward “Chuck” O’Connor, were vaudeville entertainers. His father’s family was from County Cork, Ireland.[3] When O’Connor was only a few years old, he and his sister Arlene were in a car crash outside a theater in Hartford, Connecticut; O’Connor survived, but his sister was killed. Several weeks later, his father died of a heart attack while dancing on stage in Brockton, Massachusetts.[4] O’Connor at the time was being held in the arms of the theater manager, Mr. Maurice Sims.

O’Connor began performing in movies in 1937. He appeared opposite Bing Crosby in Sing You Sinners at age 12. Paramount Pictures used him in both A and B films, including Tom Sawyer, Detective and Beau Geste. In 1940, when he had outgrown child roles, he returned to vaudeville. In 1942, O’Connor joined Universal Pictures where he played roles in four of the Gloria Jean musicals, and achieved stardom with Mister Big (1943).

In 1944, O’Connor was drafted into the Army. Before he reported for induction, Universal Pictures rushed him through production of three feature films simultaneously and released them when he was overseas. After his discharge, Universal (now reorganized as Universal-International) cast him in lightweight musicals and comedies.

In 1949, he played the lead role in Francis, the story of a soldier befriended by a talking mule. The film was a huge success. As a consequence, his musical career was constantly interrupted by production of one Francis film per year until 1955. It was because of the Francis series that O’Connor missed playing Bing Crosby’s partner in White Christmas. O’Connor was unavailable because he contracted an illness transmitted by the mule, and was replaced in the film by Danny Kaye.

O’Connor’s role as Cosmo the piano player in Singin’ in the Rain earned him a Golden Globe Award for Best Performance by an Actor in a Comedy or Musical. The film featured his memorable rendition of Make ‘Em Laugh. O’Connor was a regular host of NBC‘s Colgate Comedy Hour. He hosted a color television special on NBC in 1957, one of the earliest color programs to be preserved on a color kinescope; an excerpt of the telecast was included in NBC’s 50th anniversary special in 1976. In 1954, he starred in his own television series, The Donald O’Connor Show on NBC. In 1968, O’Connor hosted a syndicated talk show also called The Donald O’Connor Show.

O’Connor overcame alcoholism after being hospitalized in 1978. His career had a boost when he hosted the Academy Awards, which earned him two Primetime Emmy nominations. He appeared as a gaslight-era entertainer in the 1981 film Ragtime, notable for similar encore performances by James Cagney and Pat O’Brien. It was his first feature film role in 16 years.

O’Connor appeared in the short-lived Bring Back Birdie on Broadway in 1981, and continued to make film and television appearances into the 1990s, including the Robin Williams film Toys as the president of a toy-making company. He had guest roles in 1996 in a pair of popular TV comedy series, The Nanny and Frasier.

In 1998, he received a Golden Palm Star on the Palm Springs, CaliforniaWalk of Stars. O’Connor’s last feature film was the Jack LemmonWalter Matthau comedy Out to Sea, in which he played a dance host on a cruise ship. O’Connor was still making public appearances well into 2003.

The most distinctive characteristic of O’Connor’s dancing style was its athleticism, for which he had few rivals. Yet it was his boyish charm that audiences found most engaging, and which remained an appealing aspect of his personality throughout his career. In his early Universal films, O’Connor closely mimicked the smart alec, fast talking personality of Mickey Rooney of rival MGM Studio. For Singin’ in the Rain, however, MGM cultivated a much more sympathetic sidekick persona, and that remained O’Connor’s signature image.

O’Connor nearly died from pneumonia in January 1998. He died from complications of heart failure on September 27, 2003 at age 78 at the Motion Picture & Television Country House and Hospital, in Woodland HillsCalifornia. His remains were cremated and buried at the Forest Lawn–Hollywood Hills Cemetery in Los Angeles. O’Connor was survived by his wife, Gloria, and four children. Gloria O’Connor died from natural causes on June 4, 2013, aged 84.

 

Incredible balloon dance!

 

Make ‘Em Laugh from Singin’ in the Rain

 

Walking My Baby Back Home

 

 

Fun Facts About Mr. Donald O’ Connor 

 

Judy Garland, whom he knew as a child, was one of his best friends.

Was suppose to co-star with Bing Crosby in the perennial film classic White Christmas(1954) in 1954 but was sidelined with pneumonia and replaced by Danny Kaye.

Allegedly didn’t enjoy working with Gene Kelly while filming Singin’ in the Rain (1952), because he found him to be a bit of a tyrant on set.

Made his film debut at age 12 in Melody for Two (1937) with his two brothers, Jack O’Connor and Billy O’Connor, doing a specialty routine. Billy died a year or two later after contracting scarlet fever.

Despite failing health in 2003, he made appearances at the Roger Ebert Overlooked Film Festival and the opening of the Judy Garland Museum.

While he’s hesitant to select a favorite film, he’s quick to single out his favorite performance: “Call Me Madam (1953) – my favorite number is in there with Vera-Ellen. It’s the number I do out in the garden with her to “It’s a Lovely Day Today”. It’s a beautiful lyrical number. I think she was the best dancer outside of Peggy Ryan I ever danced with”.

 

MFA Monday

MFA Mondays

Got a case of the Mondays?

 

Well, this will surely lift your spirits! Another installment of musings from Master of Fine Arts holder, Heather Nabors! Enjoy!

 

heather

 Heather Nabors is the Assistant Director of Dance Programs at Rice University. Heather relocated to Houston this summer from North Carolina. Heather has been a teacher and freelance choreographer in NC since 2005. She served as an adjunct faculty member at Catawba College, Greensboro College, Elon University, and UNCG. In 2012, Heather founded ArtsMash, a collaborative arts concert in NC. Her work has been presented at ArtsMash, The Saturday Series, UNCG Dance Department Alumni Concert, Greensboro Fringe Festival and the American Dance Festival’s Acts to Follow. She has choreographed over 14 musicals in NC for community theaters and local high schools including RentOklahoma! ,The King & I, Legally Blonde, Little Shop of Horrors, and Children of Eden. Heather received her MFA in Choreography from The University of North Carolina at Greensboro.

 

 

 

Stop, Collaborate, and Listen

 

I am an only child. When I was seven, my favorite t-shirt exclaimed “I’m the boss” in 70’s iron on fabulousness. I did not enjoy sharing my toys with my younger cousin. I did not appreciate being told what to do by anyone. I would create countless dances in my bedroom and force my mother to watch every last one of them.  It took a little while, but eventually I grew out of this self-centered phase (well, for the most part) and over the years, I have learned how to work quite well with others.

One of the best lessons I have learned from my work in musical theater is the art of collaboration. As a choreographer, I am used to being in charge. It is my dance and I make the final decisions. (“I’m the boss,” remember?) When I am choreographing a musical, artistically, I am the low woman on the totem pole. I have been fortunate to work with good directors who respect my opinion, but I know that if my choreography interferes with singing or action on the stage, I have to rework it. The music and dialogue are set, so I have to be flexible. I have a healthy ego, but I know when to leave it at the door. It is a trait that has served me well and has allowed me to continue working.

My graduate school did not have a combined performing arts department and I don’t remember any department co-mingling or collaboration. The only non-dancers I saw enter the dance building were the pianists who accompanied our technique classes. One semester, I ventured out a bit and took an art class with a fellow dancer. We were the only non-art majors in the class and our classmates regularly spent class staring at us as if we belonged to some exotic species of bird. Unfortunately, I never considered venturing to the music building and asking a music student to write a piece for me. When I first experienced the intense collaborative process of putting together a musical, I realized what I had been missing. I had always enjoyed the feedback process offered in choreography class, but I had never worked with anyone outside my field. It was refreshing to get a non-dance perspective on things and bounce ideas off other artists with radically different backgrounds.

A few years ago, I met a lovely musician and asked him to create a score for me. This collaboration was one of the most exciting and frustrating experiences of my life. I am a task driven list maker. My partner for this collaborative process was a little more laid back. I had to develop a new set of skills that allowed for freedom on both ends and didn’t squash his or my artistic voice. I also had to loosen the reins and put faith in his ability to create something that enhanced my work and expressed his point of view.  I videotaped my rehearsals and we viewed them together. I tweaked my work to fit his notes and he found the nuances in my movements and used that to fuel his writing. The piece turned out well and I loved this collaboration so much that I am marrying the composer. (I can now have free music whenever I want it! Yay!)

As choreographers, we can become isolated and lose our sense of community and collaboration. It is easy to get tunnel vision and miss connections with other artists that can inform and reinvigorate our work. Furthermore, I have seen many choreographers lose jobs and burn bridges because they never learned to play well with others. Use your graduate school experience to form partnerships outside the dance community. Collaborate with painters, musicians, filmmakers, and mimes. Take in all the art on your campus and let that fuel your creativity. It is great to be surrounded by a supportive group of dancers, but there is much to be learned from artists in other disciplines as well.

 

2×5 with Liminal Space, a success!

Composers Performances/Screenings

Hi Framers,

I hope you had a joyous Christmas and have some funky New Year’s plans.  I had fun checking out Emily’s New Year’s Party advice on the Links We Like Friday today.  (check it out!)

Joel Luks of Culturemap wrote this about our work:

“Hance, as she explained, responded to the music by creating a framework anchored by clearly defined matrices that expanded from their contained spatial area, both in terms of the use of space and the movement vocabulary. What began with four dancers walking in unison, which echoed the tonal center of the music, broke away into independent pathways that developed into leaping solos, duets and trios.

Her approach mirrored the aesthetic of minimalism, which exploits what can be achieved with a limited number of elements.

What was remarkable in Hance’s choreography is that she offered another access point for listeners to synthesize the perceived monotony of Reich’s work. Whether on purpose or by accident, the dance provided an opportunity to better understand the score while juxtaposing an emotional abstract narrative that centered on how it feels to be released from a restrained environment — a triumph for Liminal Space, Hance and dancers Jacquelyne Jay Boe, Laura Gutierrez, Ashley Horn and Alex Soares.”  You can read the whole article here.

I wanted to post some incredible photos from the performance of Steve Reich’s 2×5 that we did earlier this month with Liminal Space Contemporary Music.  The photos are by David DeHoyos and we are so thankful to him!

You can click on any of the photos and view the gallery.

Warmest wishes and as always,

To Art,

Lydia

Links We Like!

Links We Like

Hi Framers! I hope you all had a great Christmas! Now, if you’re already getting ready to ring in the New Year, here are some great and fun ideas to celebrate 2014!

 

     New Years Eve Party!

 

What to serve…

dance___graffiti_by_shikimori23 2d7fb457613f0d3adacab5c0c2023eb0

 

 

 

 

 

 

 

 

 

What to drink…

8c7e18aab8ba8b1228d8a39859bfab9f Blue_Sparkling_Star

 

The Blue Star:

Champagne, Blue Curacao and Vodka 

 

 

 

 

 

 

 

What to wear…

Last-Minute-New-Year’s-Eve-Party-Decoration-party-hats Last-Minute-New-Year’s-Eve-Party-Decoration-funny-accessories

 

 

 

 

 

 

 

 

How to decorate…

2013-11-15_Biggs-sophisticated-new-years-eve-party_diy-elegant-serving-tray_main

Last-Minute-New-Year’s-Eve-Party-Decoration-green-idea-old-champagne-bottles

Last-Minute-New-Year’s-Eve-Party-Decoration-table-food-embellishments

 

 

 

 

 

DIY-glitter-New-Years-candles Last-Minute-New-Year’s-Eve-Party-Decoration-blowers-garlands

 

 

 

 

 

 

 

Tuesday Tunes!

Tuesday Tunes

Screen Shot 2013-07-09 at 12.05.42 PM

 

 Merry Christmas Eve Framers!

 

Judy Garland!

One of the brightest, most tragic movie stars of Hollywood’s Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.

She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Frank and Ethel Gumm. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2 years old when Baby Frances repeatedly sang “Jingle Bells” until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled “The Gumm Sisters”, along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.

Her family life was not a happy one, largely because of her mother’s drive for her to succeed as a performer and also her father’s closeted homosexuality. The Gumm family would regularly be forced to leave town owing to her father’s illicit affairs with other men, and from time to time they would be reduced to living out of their automobile. However, in September 1935 the Gumms’, in particular Ethel’s, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular ’30s song “Judy” and film critic Robert Garland. Judy’s career did not officially kick off until she sang one of her most famous songs, “You Made Me Love You”, at Clark Gable‘s birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.

Prior to this her film debut in Pigskin Parade (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However, following her rendition of “You Made Me Love You”, MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This soon produced the downward spiral that resulted in her lifelong drug addiction.

In 1939, Judy shot immediately to stardom with The Wizard of Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song, ‘Over The Rainbow’, earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for meatier adult roles instead of the virginal characters she had been playing since she was 14.

By this time, Judy had starred in her first adult role as a vaudevillian during WWI in For Me and My Gal (1942). In November 1943, Judy  began filming Meet Me in St. Louis (1944), which proved to be a big success. The director Vincente Minnelli highlighted Judy’s beauty for the first time on screen, having made the period musical in color, her first color film since The Wizard of Oz (1939). He showed off her large brandy-brown eyes and her full, thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together. Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in The Clock (1945), and it was during the filming of this movie that the couple announced their engagement on set on 9 January 1945.

But married life was never the same for Vincente and Judy after they filmed The Pirate (1948) together in 1947. Judy’s mental health was fast deteriorating and she began hallucinating things and making false accusations toward people, especially her husband, making the filming a nightmare. She then teamed up with dancing legend Fred Astaire for the delightful musical Easter Parade(1948), which resulted in a successful comeback despite having Vincente fired from directing the musical. Afterwards, Judy’s health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.

On returning, Judy made In the Good Old Summertime (1949), which was also Liza’s film debut, albeit via an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of The Barkleys of Broadway (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on Annie Get Your Gun (1950), Judy was suspended yet again before making her final film for MGM, entitled Summer Stock (1950). At 28, Judy received her third suspension and was fired by MGM, and her second marriage was soon dissolved.

Judy signed a film contract with Warner Bros. to star in the musical remake of A Star Is Born (1937), which had starred Janet Gaynor, who had won the first-ever Academy Award for Best Actress in 1929. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but  Judy lost out on the Best Actress Oscar to Grace Kelly for her portrayal of the wife of an alcoholic star in The Country Girl (1954).

At age 41, she made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963). She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London, that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her much of her life, on the 22nd of June 1969 at the age of 47.She is still an icon to this day with her famous performances in The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and A Star Is Born (1954).