Tuesday Tunes: Mickey Rooney

by Lydia Tuesday Tunes

Tuesday Tunes

 

Tuesday Tunes honors…

           Mickey Rooney

 

I don’t regret anything I’ve ever done. I only wish I could have done more.

Mickey Rooney was born Joe Yule Jr. on September 23, 1920 in Brooklyn, New York. He first took the stage as a toddler in his parents vaudeville act at 17 months old. He made his first film appearance in 1926. The following year, he played the lead character in the first Mickey McGuire short film. It was in this popular film series that he took the stage name Mickey Rooney. Rooney reached new heights in 1937 with A Family Affair, the film that introduced the country to Andy Hardy, the popular all-American teenager. This beloved character appeared in nearly 20 films and helped make Rooney the top star at the box office in 1939, 1940 and 1941. Rooney also proved himself an excellent dramatic actor as a delinquent in Boys Town starring Spencer Tracy. In 1938, he was awarded a Juvenile Academy Award.

Teaming up with Judy Garland, Rooney also appeared in a string of musicals, including Babes in Arms (1939) the first teenager to be nominated for an Oscar in a leading role, Strike up the Band (1940), Babes on Broadway (1941), and Girl Crazy (1943). He and Garland immediately became best of friends. “We weren’t just a team, we were magic,” Rooney once said. During that time he also appeared with Elizabeth Taylor in the now classic National Velvet (1944). Rooney joined the service that same year, where he helped to entertain the troops and worked on the American Armed Forces Network. He returned to Hollywood after 21 months in Love Laughs at Andy Hardy (1946), did a remake of a Robert Taylor film, The Crowd Roars called Killer McCoy (1947) and portrayed composer Lorenz Hart in Words and Music (1948). He also appeared in Breakfast at Tiffany’s (1961), starring Audrey Hepburn and George Peppard. Rooney played Hepburn’s Japanese neighbor, Mr. Yunioshi. A sign of the times, Rooney played the part for comic relief which he later regretted feeling the role was offensive. He once again showed his incredible range in the dramatic role of a boxing trainer with Anthony Quinn and Jackie Gleason in Requiem for a Heavyweight (1962). In the late 1960s and 1970s Rooney showed audiences and critics alike why he was one of Hollywood’s most enduring stars. He gave an impressive performance in Francis Ford Coppola’s 1979 filmThe Black Stallion (1979), which brought him an Academy Award nomination as Best Supporting Actor. He also turned to the stage in 1979 in Sugar Babies with Ann Miller, and was nominated for a Tony Award. During that time he also portrayed the Wizard in The Wonderful Wizard of Oz with Eartha Kitt at New York’s Madison Square Garden, which also had a successful run nationally.

Rooney appeared in four television series’: The Mickey Rooney Show (1954-1955), a comedy sit-com in 1964 with Sammee Tong called Mickey, One of the Boys in 1982 with Dana Carvey and Nathan Lane, and the Adventures of the Black Stallion from 1990-1993. In 1981, Rooney won an Emmy Award for his portrayal of a mentally challenged man in Bill. The critical acclaim continued to flow for the veteran performer, with Rooney receiving an honorary Academy Award “in recognition of his 60 years of versatility in a variety of memorable film performances”. More recently he has appeared in such films asNight at the Museum (2006)with Ben Stiller.  In 2011, Rooney made a brief cameo appearance in The Muppets and appeared in an episode of Celebrity Ghost Stories, recounting how, during a down period in his career, his deceased father appeared to him one night, telling him not to give up on his career. He claimed that the experience bolstered his resolve and soon afterwards his career experienced a resurgence. In 2014, Rooney returned to film scenes to reprise his role as “Gus” in Night at the Museum 3. It is currently unknown whether he completed his scenes and whether his death will affect the film’s production. Mickey Rooney died April 6, 2014, at the age of 93.

 

Mickey Rooney Jitterbugs With A Woman Twice His Height

 

Judy Garland and Mickey Rooney

 

Judy Garland and Mickey Rooney in Yankee Doodle Boy from Babes of Broadway

 

Fun Facts about Mr. Mickey Rooney

Mickey’s son Teddy Rooney appeared with him in Andy Hardy Comes Home (1958), portraying – who else? – Andy Hardy Jr.

At age nineteen became the first teenager to be Oscar-nominated in a leading role for Babes in Arms (1939).

During World War II he served 22 months in the U.S. Army, five of them with the Third Army of Gen. George S. Patton. Rooney attained the rank of Sergeant, and won a Bronze Star, among other decorations.

With the death of James Stewart on July 2, 1997, he is the last surviving entertainer of the forty-six caricatured in Hollywood Steps Out (1941).

MFA Monday: What is a Notochord?

by Lydia MFA Mondays

MFA right

 

 

 

Monday is no longer as blah with awesome insights into holding a Master of Fine Arts!

 

Here is another installment by MFA student, Angela Falcone. Enjoy!

 

 

What is a “notochord”?

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A former Kilgore College Rangerette and friend of mine, Carla Rudiger, came to our somatics class at Texas Woman’s University to introduce us to Body Mind Centering.  This ninety-minute introductory workshop changed the way I think, feel, and know my body.  Carla’s first request (before meeting) was to read “The Place of Space” (Interview with Bonnie Bainbridge Cohen on the Embryological Embodiment of Space) by Nancy Stark Smith and Andrea Olsen.  Below is my reflection on the process of the class.

My experience with the Body Mind Centering class revealed how much I do not know about my own body.  One of the most basic principles of Body Mind Centering is this idea of “support precedes movement.”  With that, the class was structured into four sections: reading about the embryonic process (Smith and Olsen article), visualizing the embryonic process (from sperm to egg) on a sheet of paper, watching Carla’s embodiment of skeletal structures of the spine on a Pilates ball, and, finally, trying the embodiment ourselves.  In the skeletal structure, she revealed three layers of the spine: the notochord, the intermediate plates, and the lateral plates.  The notochord is the innermost part of the spine.  In more anatomical terms, the notochord is “a flexible rod-like structure that forms the main support of the body, from which the spinal column develops” (The Free Dictionary by Farflax).  As Carla began rolling on the Pilates ball, she placed her attention and focus on her notochord through visualization.  During this somatic practice, her movement shifted ever so slightly.  When Carla began to involve the other spinal structures (the intermediate and lateral plates), I could also see Carla’s movement becoming fuller and richer.  I wanted so badly to embody this quality.

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This vulnerable demonstration opened my eyes to the importance of my own support system.  Her embodiment of the movement began with her deepest form of support, her spine and even more specifically her notochord.  Unlike most of my fellow classmates, I, personally, became less familiar with my connection the deeper we brought our attention to the notochord. (Perhaps this unfamiliarity stems from my training and upbringing, which lacks somatic practice in general.)  What I find ironic is the notochord layer is the most basic, deepest level of your body, but I quickly discovered that I am unable to embody this layer at this point in my life.  As Carla began taking us through more exercises, I found a lessened connection to my body. Which, frankly, scared me.  I began to tear up in class as I questioned my own support system, which then made me question my movement patterns.  I finally asked myself…have I been “faking it” my whole life?  If we choose to bring our attention and focus to our innermost layer of being, I believe our dancing can reflect that intellectual and physical connection.

All things considered, I am completely intrigued by this Body Mind Centering approach and want to take it a step further.  My future ambition is to begin taking classes this summer at Dallas Yoga Center to develop my own practice so that I may inform other dancers about this approach to embodiment.  I truly believe educators can begin at the core of the body (literally) to develop a more somatic approach for young dancers as well.  Let’s all jump on the bandwagon and preach finding the notochord!

For more information about Body Mind Centering, check out the website at www.bodymindcentering.com.

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Falcone1

Angela Falcone, a Houston native, graduated from Friendswood High School in 2007.  She was a member of the drill team, the Friendswood Wranglerettes, where she held the title of Grand Marshal.  After graduating, she followed her dream and tried out for the Kilgore College Rangerettes. She had the honor of being chosen as the Freshmen Sergeant and Swingster her freshman year, and received the greatest honor of being chosen as Captain her sophomore year. Following graduation from Kilgore College with an Associate in Fine Arts, she was accepted to the University of Texas at Austin, where she holds a B.F.A. in Dance.  Angela currently attends Texas Woman’s University in Denton, Texas where she is pursuing her M.F.A. in Dance.  She is specifically interested in shifting the paradigm of high school drill team by reinvigorating the choreographic process and bringing a somatic awareness to high school dancers’ bodies.

Tuesday Tunes: April Fools Style!

by Lydia Tuesday Tunes

Tuesday Tunes

Happy April Fools, Framers! Tuesday Tunes presents the more comical side of dancing in…

             How Not to Dance!

 

John Wayne…doing the Jitterbug (Yes you read that correctly)

 

Wednesday Addams Teaches Lurch the Latest Dance Craze

 

Groucho Marx Dancing in A Day at the Races

 

Lucy VS. Ballet

 

The Carlton Dance

MFA Monday

by Lydia MFA Mondays

MFA right

 

Confessions of an MFA: Day 3 – Thriller, Breakdowns, and Gingerbread Lattes

 

I read once that it takes the average person four months before they feel at home after moving into a new house or apartment.  I remember thinking how long that seemed.  I’ve always been someone who, once the boxes are unpacked, I feel like I am at home.  Perhaps it’s my lack of sentiment, or perhaps it’s my obsession with unpacking just overwhelms any other feelings I might have, but even in this last move, crossing over state lines, the house felt like ours right away.  Now, the city, that was a different story, but at least at the house, I felt like I was at home.

This past week was one of those weeks – the kind where, by Thursday, you get home from your day and just sit down in the middle of the hallway because the couch is just too far away.  Between my car breaking down on the freeway and my students practically vibrating from all of the Halloween candy, it felt like nothing could go right.  Yet, each night I got home, I felt great.  In fact, I felt better than I’ve felt since getting to Denver.

Of course, this made me feel stressed out.  Completely counterintuitive, I know – I was so baffled as to why I was feeling great when I was in the middle of the week that wouldn’t end that I felt like, of course, I had to be missing something.  What was wrong with me?  Was I a masochist?  Am I just completely motivated by stress?  Had I finally crossed over to the other side of crazy?  And then it struck me – it all felt so normal.  For the first time since moving, I felt normal.

Now, I think we can all agree that dancer normal is just not the same as other people’s normal.  Our sense of a typical day is just different than others.  Our weeks are filled with surprises: walking into your performance space to find it’s actually a circular stage ; giving a lecture about how we go to the bathroom before dance class only to have one of your students wet his or her pants halfway through barre; having a costume tear moments before going onstage and desperately hunting for safety pins, tape, glue, anything that will hold the seam together.  Our days are unpredictable, and I have come to rely on those surprises as my norm.

What I realized this week is that it’s not adjusting to my new schedule that has made me so uneasy the past few months.  Rather, it’s been my lack of confidence that I can handle all of the surprises that come along in my week.  But this past week, I had answers.  I knew my local mechanic where I could send my car.  I knew that I had the freedom to give up on trying to teach my classes on Halloween and just put on Thriller.  I even knew which coffee shop I could go to for a pick-me-up gingerbread latte.  And having those answers made me feel normal again – that I was having a typical week once again.

It’s this confidence that I’ve been missing in my new home.  Having to use a map to find the nearest Target, I felt like a visitor, and visitors don’t have answers to solve the everyday problems that arise in a new place.  But, when I woke up Friday morning of this crazy week, I felt comfortable.  I felt like I was at home. I looked at the calendar this morning and realized we have been living in our new city for exactly four months and two days.  I guess that study had some merit after all.

 

HeadShot2012Mary Grimes is a dancer, choreographer, writer, teacher, and working artist living in the Bay Area.  Since receiving her MFA in Performance and Choreography from Mills College, she has started working as a dance writer and critique, writing for such magazines as Dance and Dance Studio Life.  She has had to opportunity to work with accomplished choreographers including Trisha Brown, Yvonne Rainer, Molissa Fenley, and Marc Bamuthi Joseph.  Her choreographer has been presented nationally.  In the future, Mary hopes to continue her work as a dance writer and is excited to see where this path will take her.

MFA Monday: What’s the Magic Word?

by Lydia MFA Mondays

Happy Monday, Framers!

 

Confessions of an MFA: Day 2 – The Magic Word

 

For most people, we hear the phrase what’s the magic word and immediately think of childhood.  Of course I remember robotically adding please to every question I posed, just in the hopes of avoiding the inevitable question that was sure to come if I didn’t say it.  As I get older, though, and continue to explore this crazy world of dance, I am starting to think that perhaps my mom was actually mistaken.  Please isn’t the magic word.  It’s a great word and one that should certainly stay in everyone’s vocabulary.  But the word that actually carries magic for me is one that is much shorter, yet so much harder to say.  No.

I have always been the queen of yes, especially when it comes to dance.  It has never been uncommon to find me, Sunday afternoon, in a princess dress, teaching the two year old birthday girl how to do a plié, and absolutely emitting bitterness that I didn’t have the ability to say no.  I feel like it is engrained in me to say yes first, think later.  It’s certainly a personality flaw – although, I have to say, I don’t think the years of being drilled with the rules of dance class etiquette helped any.  Every dancer I know is a yes person.  How else would post modern have come to be?  Respect it though I do, can you imagine the first meeting with your choreographer describing the piece?

Moving out to a new city and looking for new teaching positions, this yes tendency of mine has been in full effect.  Being the overly organized personality type that I am, I decided the only way to solve this problem was to create a no checklist based on all of the clues I should have paid attention to in the past when talking with potential employers.  If an offer had a “no” answer to any of the questions, I gave myself permission to say that magic little word.  Here is a section from my “Not For Me Checklist,” as I titled it

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Tuesday Tunes: Michael Flatley!

by Lydia Tuesday Tunes

Tuesday Tunes

 

 Today is the final day of our St. Patrick’s Day

celebration and what better way to end it than with…

 

 

The Lord of the Dance: Michael Flatley!

 

 

I will be a dancer until the day I die

 

Flatley is a native of the South Side of Chicago.  He is of Irish American background, being born to Irish parents. He began dancing lessons at 12 and, in 1975, became the first non-European resident to win the World Championship for Irish dance. He is a trained amateur pugilist as well as a proficient flautist, having twice won the All-Ireland Competition. In dance, Flatley was taught by Dennis Dennehy at the Dennehy School of Irish Dance in Chicago, then went on to produce his own show. After graduating from Brother Rice High School, on Chicago’s Southwest Side, he opened a dance school.

Flatley created and choreographed the original Riverdance and led the show to great success as the intermission act in the Eurovision Song Contest on April 30, 1994. Flatley then starred in the full-length show that was developed from the seven-minute number.

After the show’s first run in London, Flatley left Riverdance in late 1995 due to problems over creative control. He then produced, directed, and choreographed Lord of the Dance, which played mostly in arenas and stadiums instead of theaters. He also put together a dance production called Feet of Flames in 1998. He later went on to produce another version of that show with around 50% different numbers from the 1998 show. Titled Feet of Flames: The Victory Tour, he toured Europe in 2000 and the U.S. in 2001.

In December 2001, Flatley became the first recipient of the Irish Dancing Commission Fellowship award, an honorary degree in Irish dance, and was simultaneously made a Fellow of the American Irish Dance Teachers’ Association. Irish America magazine named Flatley Irish American of the Year in March 2003. In 2004, Flatley received an honorary doctorate degree from University College Dublin, and that same year received the prestigious Ellis Island Medal of Honor in New York.

Flately’s latest Irish dance show is Celtic Tiger, which opened in July 2005. The show explores the history of the Irish people and Irish emigration to the U.S., fusing a wide range of dance styles, including jazz. The show also includes popular elements from his previous shows, such as Flatley’s flute solos and the line of dancers in the finale.

In 2007, The Freedom of the City of Cork was conferred on Flatley at a ceremony in Cork’s City Hall. In 2008, he was conferred with the Freedom of the Borough of Sligo at a ceremony in Sligo City Hall. The Variety Club of Ireland presented Flatley with their Entertainer of the Decade Award in 2008.

In the fall of 2007, Flatley and a troupe of male dancers performed on Dancing with the Stars in the U.S. In 2008, he appeared as a guest judge on an episode of the show, filling in for Len Goodman. Also in 2008, he performed the solo “Capone” from Celtic Tiger on the show. Flatley was also the host of the 2009 NBC series Superstars of Dance.

Flatley returned to the stage in 2009 for a limited run of the “Hyde Park” version of Feet of Flames in Taiwan. His return was met with multiple standing ovations and the run of shows had to be extended to meet the demand for tickets.

In 2010, he returned to headline the Lord of the Dance show, with performances in arenas across England and Ireland, Germany, Switzerland and Austria. Lord of the Dance 3D, the film of the return tour, debuted in theaters worldwide in 2011.

Also in 2010, Flatley launched The Garden of Music and Memory in Culfadda, County Sligo, the village his father left to seek a new life in America. The ceremony included a speech and an impromptu performance of one of his father’s favorite tunes.

In 2011, he was inducted into Irish America magazine’s Irish America Hall of Fame.

Flatley released a flute album titled On A Different Note in 2011. The 25 tracks include airs and tunes he has played in his shows, other traditional tunes, and new compositions.

 

 

Rivedance! Seven minutes that started in all at the 1994 EuroVision Song Contest

 

Feet of Flames Solo 1998 London

 

Dancing with the Stars 2008

 

Fun Facts About Mr. Michael Flatley 

 

Flatley was the first American to win the World Irish Dance Championships and he also won numerous All-Ireland Flute Championships.

From 1978 to 1979 he toured with Green Fields of America, and in the 1980s he toured with The Chieftains.

He received the National Endowment for the Arts’ National Heritage Fellowship in 1988.

In May 1989, Flatley set a Guinness Book world record for tapping speed at 28 taps per second.

Flatley was named one of National Geographic Society’s Living Treasures in 1991 for mastery of a traditional art form by a living person – the youngest person at that time ever to receive this accolade.

Flatley broke his own record for tapping speed in February 1998, by achieving 35 taps per second.

Flatley also received Guinness Book recognition in both 1999 and 2000 for being the highest paid dancer, earning $1,600,000 per week and for having the highest insurance policy placed on a dancer’s legs at $40,000,000.

MFA Mondays

by Lydia MFA Mondays

MFA right

 

 

Happy St. Patrick’s Day, Framers!

 

Confessions of an MFA: Day 1

 

Recently, I’ve been thinking a lot about connections in dance and the dance community.  I’ve come to the conclusion that, really, the relationship between a dancer and company, a teacher and school, an artist and product, all follow the path of a romance.  First, there’s a honeymoon phase – everything is exciting and new, every word spoken is brilliant, every action is appealing.  Then you stumble upon your first fight.  Suddenly, those parts that were once so endearing are now incredibly irritating and need to change right now.  Finally, you settle into a comfort with each other, knowing and accepting the quirks and, hopefully, making each other a little bit better.

Such has been the nature of my relationship with dance.  It feels as though there are constantly parts of me in each phase of the relationship, continuously cycling between fighting with each other and comforting each other.  We break up and get back together.  It’s a messy and confusing relationship, and perhaps not always the most healthy one.  But when it’s good, it’s so good, and so I can’t let it go.

About six months ago, I made a decision that, many days, feels like the craziest one I have ever made.  Without a job or a plan in place, I packed up an oversized Uhaul, attached my car to the hitch, and drove across six state lines to move from the Bay Area to Denver, Colorado.

For many people, this would be a big deal, you probably should have done it sooner situation.  For me, the queen of planning, organizing, and budgeting, this was an epic, earth shattering life change, one which I did not handle particularly gracefully.  There was a great deal of time spent crying into a blanket, staring longing at a bottle of wine and realizing it was only 1 pm on a Tuesday, and so opening it was not acceptable.  I think I probably said “I’m getting on a plane back home tomorrow!” at least ten times.

In this haze of tears and wine (although it didn’t get opened at 1 pm, it certainly was opened eventually), I started to reflect on what exactly it was that I was missing so intensely.  Of course I missed my friends and family and knowing my way around.  But what truly lay at the core of my sadness was that I felt so alone.  I no longer had a community of any kind that I belonged to, and that was something I hadn’t ever experienced.

As an artist, our community is my inspiration.  The work that my friends, colleagues, and mentors are doing is what motivates me to do the work that I am doing.  Without being a part of that community in a new city, I felt completely devoid of stimulation, devoid of creativity.  I felt alone with my tumultuous relationship with dance.

I came to the realization that the dance community is my web of well-being.  They are the people that I go to when I want to sing the praises of dance and when I need to vent on how dance has treated me.  They are, for lack of a better description, my girlfriends.  And even though our community may not always be in the honeymoon phase, I think we always reach a place of comfort and support.

Slowly, as the months have passed, I am starting to find my dance community here.  It’s certainly not something that can be forced, but something that I can keep trying to build and develop.  It’s a new relationship and I just hope to hold off our first fight for as long as possible.

 

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Mary Grimes is a dancer, choreographer, writer, teacher, and working artist living in the Bay Area.  Since receiving her MFA in Performance and Choreography from Mills College, she has started working as a dance writer and critique, writing for such magazines as Dance and Dance Studio Life.  She has had to opportunity to work with accomplished choreographers including Trisha Brown, Yvonne Rainer, Molissa Fenley, and Marc Bamuthi Joseph.  Her choreographer has been presented nationally.  In the future, Mary hopes to continue her work as a dance writer and is excited to see where this path will take her.

MFA Monday

by Lydia MFA Mondays

                   Happy Monday Framers! 

      Enjoy reflections by Angela Falcone! 

 

 

A Critical Assessment of “Drill Team” vs. “Concert Dance” Culture
 
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“Drill team” is its own culture in the dance world; it has its own set of expectations, language, behaviors, and customs.  A drill team is a group of trained dancers that perform precision in various dance genres during football halftime shows, local parades, and dance competitions. Over the years, I have noticed a regimented trend within drill team choreography.  After experiencing collegiate dance making processes and developing my own personal process, I believe the process of generating high school drill team choreography can be expanded and explored to parallel the ideals of concert dance making.

Typically, drill team choreographers have a limited amount of time with their dancers, while a wide range of choreographers in concert dance have residencies that last from a couple of days to a number of weeks.  Both processes also pose different outcomes.  The drill team choreographic process is final product based, whereas the concert dance world is more interested in the actual process. In attempts to introduce the drill team industry to the processes of concert dance, I believe there are various avenues to generate choreography.  Some examples of these avenues stem from Tere O’Connor’s “lines of research,” which is taken from a workshop with Headlong Dance Theater’s choreographers and Larry Lavender’s “IDEA model,” which comes from his book about “facilitating the choreographic process.”

As previously stated, Tere O’Connor’s “lines of research” would be an essential attribute to drill team dance making.  “Lines of research” is an investigation of particular obsessions that can be as simple as a hand gesture.  Exploring this single movement can then become a process in and of itself.  What is “interesting, evocative, [or] curious” about this particular movement and how many different ways can you explore this hand gesture through timing, direction, and manipulation? By investigating this single gesture, a person can be provoked to make an entire work about that one move (if they so desired).  This “lines of research” idea allows the movement to evolve and develop, rather than dictating what the movement should be.  In Tere O’Connor’s “blook” (his version of a book and blog), he mentions that he wants to “make work as a method for processing a constellation of ideas.”  In drill team, the final product is the goal, but by exploring O’Connor’s method, I would hope to see a shift in the mentality by allowing the process to be the rich, driving force of the work.

Another intervention of drill team that could be implemented is Larry Lavender’s “IDEA model.”  This model serves as a way to approach, generate, and manipulate choreography. “IDEA” is an acronym that stands for Improvisation, Development, Evaluation, and Assimilation.  While I believe drill team choreographers use some of these modes, I do think there can be more involvement with each of these four modes to enrich every aspect of drill team choreography.  In the chapter of Lavender’s book Contemporary Choreography: a critical reader, he mentions that all of these IDEA modes should be present in the creative operation of dance making. 

The one mode that is not present in drill team is improvisation.  The mode of “Improvisation” is essentially what it sounds like, experimenting and improvising with different movements with different bodies.  Reflecting on my background of drill team, improvisation is unheard of and somewhat frowned upon in this industry. My intention with this method would be to develop a movement dialogue with the choreographer and dancers, while also making and inventing different movement through a more artistic, personal, and vulnerable place.

As explained above, there are numerous possibilities that are feasible for the drill team industry.  My ambition is to one day shift the paradigm of drill team choreography by infusing the principles of Larry Lavender and Tere O’Connor into the world of drill team by diving deeper into the work and creating richer developments and opportunities of movement in order to lead up to a process-based final product, instead of simply a final product.

 

 

IMG_0739Falcone3Falcone2 (1)

Angela Falcone, a Houston native, graduated from Friendswood High School in 2007.  She was a member of the drill team, the Friendswood Wranglerettes, where she held the title of Grand Marshal. After graduating, she followed her dream and tried out for the Kilgore College Rangerettes. She had the honor of being chosen as the Freshmen Sergeant and Swingster her freshman year, and received the greatest honor of being chosen as Captain her sophomore year. Following graduation from Kilgore College with an Associate in Fine Arts, she was accepted to the University of Texas at Austin, where she holds a B.F.A. in Dance.  Angela currently attends Texas Woman’s University in Denton, Texas where she is pursuing her M.F.A. in Dance.  She is specifically interested in shifting the paradigm of high school drill team by reinvigorating the choreographic process and bringing a somatic awareness to high school dancers’ bodies.  

Tuesday Tunes: Jean Butler

by Lydia Tuesday Tunes

Tuesday Tunes

 

 

It’s March! Tuesday Tunes is all about Irish Dancing and its most famous dancers!

 

           Jean Butler

 

 

 

Jean Butler was born in Mineola, New York. Her mother, Josephine, is from County Mayo in Ireland. She has an older brother, Michael, and a younger sister, Cara. She started ballet and tap classes at the age of four. She eventually quit both. She began Irish dance lessons at the age of six, which she quit promptly. “I hated it,” she says. “They made me stand with my arms at my sides for two hours. So, I left. I was too young.” She tried Irish dance again at age nine, this time with a different dance teacher, Donald Golden, whom she considers to be one of the most influential people in her life. About a year into Irish dance, she became very serious with it and quit the soccer and baseball teams.

Jean has performed with Green Fields of America and Cherish the Ladies. She debuted with The Chieftains at Carnegie Hall at the age of seventeen, and toured with them on three continents. In England, Butler met Irish dancer Colin Dunne and they performed together in Mayo 5000 in 1993.

In 1994, under the invitation of producer Moya Doherty, she performed in a seven-minute intermission piece at the Eurovision Song Contest entitled Riverdance. The piece was co-choreographed by Butler with Michael Flatley. The response was so explosive that it was extended into a full show, starring Jean Butler and Flatley. The show toured for about a year. Flatley then abruptly left the show over creative control; six months later she was joined by Colin Dunne. They then danced at the famous Radio City Music Hall in New York City, New York. This was later put on DVD. After a long and extremely successful run with the show, Butler also eventually left Riverdance.

She and Dunne (who had by then also left Riverdance) collaborated again to create the show Dancing on Dangerous Ground, which was based on the ancient Irish legend of Diarmuid and Gráinne. It opened in London in 1999 to critical acclaim, and then in New York.

She premiered “Does She Take Sugar?” on 12 April 2007 at the Project Arts Centre in Dublin.[10] With Colin Dunne and George Hook she is a judge on the Radio Telefís Éireann reality series Celebrity Jigs ‘n’ Reels.

She retired from active dancing in 2010.

In January 2011, it was announced that she had designed and released her own jewelery line. The collection was launched at Showcase Ireland at the RDS later that month.

 

Riverdance 1995: The Countess Cathleen

 

The Late Late Show: Tribute to Michael Flatley 1998

 

Andy’s Bar  byKila

MFA Monday!

by Lydia MFA Mondays

MFA right

       Happy Monday, Framers!

 

For those of your who might not know…The “MFA Monday” series features the musings of local Master of Fine Arts holders. Enjoy their thoughts on the process of attaining an MFA!

 

 

Nothing Ventured, Nothing Gained

 

In my two previous blogs I talked about things that I missed in my graduate school experience, due to either the limitations of my program or of my own imagination. In writing about these experiences, it is my hope that others will have the opportunity to take advantage of these powerful resources that are within reach but may be easy to miss. However, I certainly don’t intend to diminish my graduate school experience; indeed, they were some of best years of my life, both personally and creatively. To that end, here are some of the top things I gained from graduate school:

 

Not everyone likes my work and that is OK. For an artist, rejection is the pits. It is a massive blow to the ego the first time someone says something negative about one’s work. “How can they not like something that I poured my heart and soul into? I shall now crawl into a small hole and weep!” In graduate school, along with plenty of positive feedback from faculty and peers, I got a lot of honest constructive feedback about things that weren’t working. No one wants to hear that their work isn’t beloved by people they respect, but it helps you grow. I made a lot of good work in graduate school and I also made some real crap. Thanks in part to the criticism I received, I can now better distinguish between the two. Learning to take and give constructive feedback is essential to a choreographer. You do not have to take all suggestions that are given to you, but you should always listen. It is hard to be objective about your own work; it is your baby and your baby is beautiful, right? Be open to an outsider who may see something you are missing.

Don’t apologize for your work. Your work should express who you are. Will you be that same person in 5 years? Probably not, but that is not the point. Don’t change your work to suit someone else’s opinions. Everyone is my graduate program was very diverse and our aesthetics were wildly different. We had choreographers who believed in pure technical movement, work with a strong socio- political outlook, work that was fun and light, and everything in-between. It was easy to compare my work to my fellow classmates’ and feel like I didn’t stack up. My work has always run more towards the abstract side of things, and at times, I felt like my work lacked substance compared to that of my classmates. It needed to say more and be more. I needed to be an ARTIST!, not an artist. Eventually, I learned to embrace my own personal style and creative process. I learned to express my own voice and appreciate my own artistic sensibilities.

Surround yourself with a good support system. I would not have made it through graduate school without my fellow classmates. Graduate school is completely overwhelming at times. It can feel like a giant hamster wheel of rehearsals, papers, costume purchases, and job responsibilities. I was very lucky to find some terrific friends that became family to me. Lean on each other and you will make it to graduation day together.

If you love what you do, don’t give up! When I see acquaintances or classmates, they always ask if I am still dancing. Everyone seems pleasantly surprised that I am still “keeping the dream alive.” Here’s the bottom line: I have hated every non-dance job I have held. I hate sitting behind a desk; it makes me physically itchy. My body wants to move! I have never wanted to do anything else, so I keep plugging away. It has been a lean and hard life at times, but I never seriously consider giving it up. Being an artist requires resourcefulness, perseverance, and a willingness to sacrifice. You probably won’t be able to afford expensive gadgets, vacations, or a new car. You may have to take side jobs and hustle every skill you have into something that makes you employable. It is not the right life choice for everyone, but it has always been the right one for me. In graduate school, it is easier to maintain your focus, but in the real world the lack of money becomes a little more real. Remember why you love dancing and what you worked for in graduate school. Use that support system of fellow grad students. You will all be in a similar boat and can throw each other a life preserver when one of you falls overboard.

Go to school because you love dance and want to learn more. Graduate school is expensive and time consuming. Graduate school doesn’t guarantee you a job. Graduate school is extremely stressful and frustrating as hell at times. If you are lucky enough to get a TA (teaching assistant or any job on campus), your salary will be low and your work load will be significant. However, I have never regretted my choice to attend graduate school. I went to graduate school because I love choreographing and I was able to fully immerse myself in the art of creating dance for three wonderful and challenging years. If you choose to pursue an MFA, do it for the experience and you will be rewarded.

Don’t be afraid to start over. You can start a dance with a great idea, but sometimes it just doesn’t take shape. You can craft it and change phrases around, but it just doesn’t feel right. In graduate school, you learn to roll with the punches and start pieces a million times until they finally take shape. As an adult, change can be terrifying and pretty sucky, but it is sometimes necessary. This past fall, I moved to Texas to take my current job at Rice University. I loved my life in North Carolina, but professionally, I was stagnant. I knew it had to change. I decided to approach this move like the new section of a long work. I use those skills to start building a new work and a new beginning. I am excited to see how the next phrase develops.

 

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heatherHeather 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 Rent, Oklahoma! ,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.