A Thought-Leader In Family & Children’s Dance Classes | Houston, TX
Frame Dance is a thought leader in dance education, inspiring the next generation of movers, makers, and world changers by offering dance classes for adults & children, multi-generational ensembles, professional performances, networking events, and film festivals. We are nestled between West U and the Museum District.
We believe in developing the whole dancer, teaching critical life skills such as creative thinking, leadership, collaboration, and resilience through our artful and playful dance curriculum at our studio and in partner schools.
Our adult modern dance classes are designed to offer you the joy and magic that’s possible when you create space in your life to move, to grow, and to share in the creative process with a like-hearted community.
For more than ten years, Frame Dance has brought radically inclusive and deeply personal contemporary dance to Houston. Led by Founder and Creative Director Lydia Hance, whom Dance Magazine calls “the city’s reigning guru of dance in public places,” the professional company is made up of six acclaimed co-creators committed to collaboration. Frame Dance has created over 50 unique site-specific performances and nine dances for the camera screened in festivals all over the United States and Europe. With an unrelenting drive to make dance in relationship to environment, Frame Dance has created dance works for and with METRO, Houston Museum of Natural Sciences, Houston Parks Board, Plant It Forward Farms, CORE Dance, Rice University, Houston Ballet, 14 Pews, Aurora Picture Show, and the Contemporary Arts Museum. Frame Dance’s productions were described by Arts + Culture Texas Editor-in-Chief Nancy Wozny as “some of the most compelling and entertaining work in Houston.” Creative Director Lydia Hance is a champion of living composers and is dedicated to work exclusively with new music.
A healthy body is built by healthy, whole, unprocessed foods. If you want to eat well you need to have good, nutritious foods readily available.
Since your pantry and fridge are the base for your healthy meals, that is where we will start.
Here is a picture of our fridge, prepped and ready to go for the week and stuffed with vibrant colors and fresh, whole foods.
We eat most of our meals at home, in fact, we rarely eat out. So yes, we really do eat ALL of this food. By the end of the week, this fridge will be almost empty.
Remove these foods from your fridge
Conventional milk/dairy/butter
Processed Cheese
Artificial flavored and sweetened yogurt (Yoplait)
Juice
Soda
Packaged deli meats
Conventional eggs
Frozen dinners
Fill Your Fridge
Vegetables (the more color the better!)
Fruits
Organic, hormone free, vegetarian fed chicken
Organic, Omega 3 enhanced eggs
Organic, grass fed beef
Almond milk/Hemp milk
Organic milk
Organic cheese
Greek yogurt (Plain 0% or 2%)
Low sodium deli meats
Frozen veggies
Frozen fruits
Look for these brands of foods at the store, they are usually well balanced and provide healthier options.
Chobani
Nature’s Gate
Kashi
Earth Balance
Almond Breeze/Blue Diamond
Applegate
How can you change the foods in your fridge to support a more healthy and balanced lifestyle?
Leave a comment below and let us know. Be Well.
Jill 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.
For the next few of weeks, Tuesday Tunes will be spotlighting famous dance crazes throughout the decades!
This Tuesday Tunes celebrates the…
The spirit of the 1920’s was marked with a disdain for modesty and the breaking of traditions which brought the sensations of jazz music and the ideology and fashion of the flappers. The Roaring Twenties, also know as the Golden Twenties, was a time of raised skirts, bobbed hair and exciting parties filled with fun cocktails and wild dances. Dances like the Charleston, Black Bottom, the Shimmy (which was actually banned in certain areas)and many others took the world by storm and dancing to a whole new level.
Time is a funny thing. When you want more of it, it doesn’t seem to exist. When you’re anticipating something coming or going, you really wish that time would fly by. At least that’s been my experience. You see, I’m a planner, as I’m sure many of us are. How can you not be when you’re a working artist? Between scheduling rehearsals, performances, application deadlines, auditions, teaching gigs, meals, and maybe (just maybe) some personal time- one sometimes has to be quite diligent about putting things down somewhere. I find that when I do put those things down, though, often my mind will wander away into future- or past-ness. In rehearsals this last week, in every down minute that I had I realized that I was thinking to the weeks ahead, going over schedules to make sure that I hadn’t missed anything or adding new things to a growing To Do list to accomplish who knows when. Even this morning over breakfast, I was trolling through photos on my phone, going over where I had been and what I had done and missing people, places, and specific times in my life. The funny thing about time and all of this, though, is that in missing or not missing things both past and present I am missing what’s happening right now. Right in front of my face. Literally. My dog is asleep on one of his beds under a side table (a favorite spot of his), my coffee grows cold, and a slightly overcast DC gets a bit sunnier outside.
As a mover and improviser, being present in the moment is something of a goal of mine. For me, being present means being aware and responsive to the temporal moment, tracking your internal choice making and external stimuli simultaneously. It’s of such interest that it even had an entire section of research devoted to it in my professional paper for my MFA. I bring this up because I realize how much of a slippery slope getting caught up in planning and reflecting can be, and how important it is to ground oneself in the now as much as we can. It is in these moments that I feel as if time expands and I can really do so much with what time I have, relieving stress and allowing me to appreciate what I have and what is presented to me.
Now how do we go about attuning ourselves to the now? Really I believe that this is a personal process, one that we develop with repetition and over time. In my practice, it’s about finding a pause or interruption. When improvising and moving from one score to another, a certain kind of momentum builds that is either physically manifested in the body or an internal momentum of choice making in which choices are made before they are fully realized, or both. As soon as I acknowledge that I’ve been riding this dizzying wave of momentum and that I might not be tracking or seeing certain possibilities, I quickly search for a pause or interruption so that I might re-engage in the now and gather a new sort of clarity. Applying this same process to our daily lives, as soon as I realize that I’m stressing about what is going to happen next week or when I’ll be able to take a day off, or if I’m reminiscing about the ‘good ol’ days’ and missing my friends from Texas terribly, I similarly try to find a way to pause or interrupt that process so that I can be more fully present in the moment.
In doing so, I’m better able to notice vibrant colors, textures, make connections that are more meaningful and authentic with others, and better appreciate myself and my potential (to name a few). I realize that maintaining this kind of perception, this responsive sense of seeing and experiencing, can be difficult. And all of this is not to say that we shouldn’t think ahead or look back, as both are wonderful reminders or where we’ve been and where we’re headed. But I firmly believe that if we take the time to pause or interrupt ourselves more frequently, that we’ll better be able to consciously craft our selves and track a more rich and meaningful path.
So for the sake of brevity, and to practice rather than preach, I’m going to bring this to a close. I don’t want to toil over what to write or whether or not this or that thing said will be a more relevant nugget of whatever; I want to cling to my belief that within each of us, our bodies and stories, lives wisdom that we all might draw upon and that by attuning to the temporal moment we might more readily access that. There is so much activity happening right now; the air is buzzing. Harness that energy and do something. In fact, if anything, I encourage you to always do something.
Go make something. Go see something. Go talk about something with someone. Find a way to disrupt your everyday so that you might appreciate the beauty and vitality of that moment.
Matthew Cumbie is a professional dance artist based in Washington, DC, and is currently a Resident Artist and the Education Coordinator for the Dance Exchange. As a company member with the Dance Exchange, he works with communities across the United States and abroad in collaborative art-making and creative research as a means to further develop our understanding of our selves and community in relation to the environment around us. He has also been a company member with Keith Thompson/danceTactics performance group, and has performed with Mark Dendy, the Von Howard Project, Sarah Gamblin, Jordan Fuchs, jhon stronks, Paloma McGregor, and Jill Sigman/thinkdance. His own work has been shown in New York, Texas, New Mexico, Louisiana, and at Harvard University. He has taught at Dance New Amsterdam, Texas Woman’s University, and Queensborough Community College. He holds an M.F.A. in dance from Texas Woman’s University.
You get more negative reactions than positive reactions as you go through life, and the big lesson is nobody counts you out but yourself…I never have, I never will.
Buddy Ebsen began his career as a dancer in the late 1920s in a Broadway chorus. He later formed a vaudeville act with his sister Vilma Ebsen, which also appeared on Broadway. In 1935 he and his sister went to Hollywood, where they were signed for the first of MGM’s Eleanor Powell movies, Broadway Melody of 1936 (1935). While Vilma retired from stage and screen shortly after this, Buddy starred in two further MGM movies with Powell. Two of his dancing partners were Frances Langford in Born to Dance (1936) and Judy Garland in Broadway Melody of 1938 (1937). They were a little bit taller than Shirley Temple, with whom he danced in Captain January (1936). MGM studio chief Louis B. Mayer offered him an exclusive contract in 1938, but Ebsen turned it down. In spite of Mayer’s warning that he would never get a job in Hollywood again, he was offered the role of the scarecrow in The Wizard of Oz (1939). Ebsen agreed to change roles with Ray Bolger, who was cast as the Tin Man. Ebsen subsequently became ill from the aluminum make-up, however, and was replaced by Jack Haley. He returned to the stage, making only a few pictures before he got a role in the Disney production of Davy Crockett: King of the Wild Frontier (1955). After this, he became a straight actor, and later won more fame in his own hit series, The Beverly Hillbillies (1962) and Barnaby Jones (1973).
BROADWAY MELODY OF 1936 (Buddy & his sister Vilma)
Buddy Ebsen dancing 1978
Donald O’Connor and Buddy Ebsen (a RARE clip)
Fun Facts about Mr. Buddy Ebson
Got the nickname ‘Buddy’ from his aunt, so Christian changed his name to Buddy Ebsen.
Was a Boy Scout.
In the 1930s, Disney animators filmed him dancing in front of a grid to “choreograph”Wayne Allwine’s dance steps for the Silly Symphony cartoons.
Originally cast as the Tin Man in The Wizard of Oz (1939), Buddy was hospitalized as a result of inhaling aluminum powder used as part of his make-up. One chorus of “We’re Off to See the Wizard” in the movie and soundtrack album retain Ebsen’s original vocals as the Tin Man, recorded before he was forced to leave the production. Because of the prolonged hospitalization, he was replaced by Jack Haley (whose reformulated make-up used pre-mixed aluminium dust), and Ebsen’s scenes were re-shot using Haley. Footage of Ebsen as the Tin Man still exists, and was included as an extra with the U.S. 50th anniversary video release of The Wizard of Oz (1939).
After seeing Ebsen in Breakfast at Tiffany’s (1961), the creator of The Beverly Hillbillies (1962) wanted him to play family patriarch Jed Clampett. At the time, Ebsen was thinking of retiring, but the producers sent him a copy of the script, and he changed his mind.
Began his television series The Beverly Hillbillies (1962) at age 54.
Taught Judy Garland the shim-sham shimmy while they were at MGM.
Was a longtime friend of Dick Van Dyke, who hosted his memorial service on 30 August 2003.
He served in the Coast Guard during World War II as the executive officer on the Pocatello, a submarine chaser in the North Pacific.
Became a bestselling author at age 93.
Buddy Ebsen died on July 6, 2003. Just 3 weeks after his death, his longtime best friend, comedian Bob Hope, passed away.
Buddy Ebsen died just three months before his death, he celebrated his 95th birthday, on April 2.
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).
This Tuesday we are spotlighting the elegant and charming…
Leslie Caron!
Unfortunately, Hollywood considers musical dancers as hoofers. Regrettable expression.
French ballet dancer Leslie Caron was discovered by the legendary MGM star Gene Kelly during his search for a co-star in one of the finest musicals ever filmed, the Oscar-winning An American in Paris (1951), which was inspired by and based on the music of George Gershwin. Leslie’s gamine looks and pixie-like appeal would be ideal for Cinderella-type rags-to-riches stories, and Hollywood made fine use of it. Combined with her fluid dancing skills, she became one of the top foreign musical artists of the 1950s, while her triple-threat talents as a singer, dancer and actress sustained her long after musical film’s “Golden Age” had passed.
Leslie Claire Margaret Caron was born in France on July 1, 1931. Her father, Claude Caron, was a French chemist, and her American-born mother, Margaret Petit, had been a ballet dancer back in the States during the 1920s. Leslie herself began taking dance lessons at age 11. She was on holidays at her grandparents’ estate near Grasse when the Allies landed on the 15th of August 1944. After the German rendition, she and her family went to Paris to live. There she attended the Convent of the Assumption and started ballet training. While studying at the National Conservatory of Dance, she appeared at age 14 in “The Pearl Diver,” a show for children where she danced and played a little boy. At age 16, she was hired by the renowned Roland Petit to join the Ballet des Champs-Elysees, where she was immediately given solo parts.
Leslie’s talent and reputation as a dancer had already been recognized when on opening night of Petit’s 1948 ballet “La Rencontre,” which was based on the theme of Orpheus and featured the widely-acclaimed dancer ‘Jean Babilee’, she was seen by then-married Hollywood couple Gene Kelly and Betsy Blair. Leslie did not meet the famed pair at the end of the show that night as the 17-year-old went home dutifully right after her performance, but one year later Kelly remembered Leslie’s performance when he returned to Paris in search for a partner for his upcoming movie musical An American in Paris (1951). The rest is history.
Lise – An American in Paris (1951)
Daddy Long Legs (1955) – Sluefoot – Leslie Caron & Fred Astaire
Gene Kelly and Leslie Caron- An American in Paris
Fun Facts About Miss Leslie Caron
One of the few actresses to have danced with both Fred Astaire and Gene Kelly in the movies, other actresses that have also done this includes Judy Garland, Cyd Charisse, Vera-Ellen, Debbie Reynolds, and Rita Hayworth.
Member of jury at the Cannes Film Festival in 1980
Was president of the jury at the ‘Internationale Filmfestspiele Berlin’ in 1989.
For Peter Hall’s 30th birthday her present was – simply – a Rolls Royce.
Returned to work 3 months after giving birth to her son Christopher Hall to begin filming Gigi (1958).
Received the 2,394th star on the Hollywood Walk of Fame [December 2009].
Once romantically linked (1995-1996) to handsome “Laredo” actor Robert Wolders who married older actress Merle Oberon and was the companion of older actress Audrey Hepburn until her death in 1993. Leslie is five years older than Wolders.
She and her daughter, Jennifer Caron Hall, co-starred on an episode of The Love Boat (1977), in the parts of mother and daughter, both con artists, engaged in fleecing millionaires.
Jill 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.
