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.
I don’t know about you but I LOVE carrot cake. My favorite sweet treat for sure!
Unfortunately, a slice of carrot cake (well at least the size slice that I would want) can really add some calories and sugar to my daily tally. Every once in a while it is OK. Life is about balance.
But I would love to have a little taste of it everyday. Instead of keeping a carrot cake around the house, which would be so tempting, I decided to whip up someCarrot Cake Bites.
I love the portion control that bite sized treats offer because it allows you to keep things in check. You can enjoy one or two and get your sweet fix without feeling that you are going into a sugar coma.
This recipe makes about 22 Carrot Cake Bites and they come in at around 100 calories and 4 grams of sugar per bite. Great nutrition stats for this yummy treat!!
Really, really simple. You don’t even have to turn
Here is what you need:
1 1/2 cups old-fashioned oats
1/3 cups unroasted pecans, chopped
1 tbsp ground flax seed
3/4 cup almond butter
3 tbsp agave nectar or honey
1/4 tsp ground cinnamon
3/4 cup (packed) grated carrot
1/3 cup raisins
Here is what you do:
In a large bowl, mix together the oats, pecans and flax seed.
Stir in the almond butter, agave nectar and cinnamon until well combined.
Stir in the grated carrot and raisins.
Using 2 tablespoons (packed) of the mixture for each bite, roll the mixture into bite-sized balls. Using a medium-sized cookie scoop makes this process easier. Also, spray your hands with cooking spray to stop the mixture from sticking.
Place the granola bites on a baking sheet, cover and refrigerate for 1 hour. Serve.
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
These Raspberry Oat Squaresare so delicious and healthy thanks to the 100% whole grain crust and low sugar filling. These bars also freeze well, so whip up a batch this week and stock up for your holiday parties and goodie giving. Happy baking!!
Raspberry Oat Squares
Crust
1 1/2 cup Rolled oats
1 cup Whole wheat flour
1/2 teaspoon baking soda
1/2 teaspoon salt
1/2 cup sugar (You can also try a sugar substitute such as stevia)
1 chia egg (1 tablespoon of chia seeds + 3 tablespoons of water. Let sit for 5 minutes)
1/2 cup Butter (Vegan friends can use earth balance)
1/4 cup maple syrup
2 tablespoons almond milk
Filling
1 Jar Low Sugar/Reduced Sugar Raspberry Jam (You can use any flavor of jam!)
Directions
Step 1 Preheat oven to 350.Line a 9 x 9 pan with parchment paper.Mix the chia egg (1 tablespoon of chia seeds + 3 tablespoons of water) and set aside
Step 2 In a large bowl, combine all the dry ingredients.
Step 3 In a small bowl, melt the butter (earth balance) in the microwave.Add the remaining wet ingredients (maple syrup, almond milk and chia egg). Stir together
Step 4 Combine the wet ingredients to the dry ingredients and mix well.Reserve 1/2 cup of the mixture for your crust and press the remaining dough into your lined 9 x 9 pan.Press down the dough to make a nice thick crust.
Step 5 Spoon your raspberry jam (or favorite flavor jam) on top of the crust. Spread out evenly.
Step 6 Take the remaining 1/2 cup or oat mixture and sprinkle on top of the filling. Don’t worry about it being perfect.
Step 7 Bake at 350 degrees for 30 minutes.Allow to cool, place in the fridge and then cut into bars.
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.
I never wanted to be an actor and to this day I don’t. I can’t get a handle on it. An actor wants to become someone else. I am a song-and-dance man and I enjoy being myself, which is all I can do.
Van Dyke was born in West Plains, Missouri, to Loren (nickname “Cookie”) and Hazel (née McCord) Van Dyke, but he grew up in Danville, Illinois. He is the older brother of actor Jerry Van Dyke, who is best known for a role on the TV series Coach. Dick’s grandson, Shane Van Dyke, is also an actor and directed Titanic II. Dick is of Dutch descent on his father’s side; his mother was a descendant of Mayflower passenger Peter Browne from England.
Among his high school classmates in Danville where Donald O’Connor and Bobby Short, who both would go on to successful careers as entertainers themselves. Van Dyke’s mother’s family was very religious, and for a brief period in his youth he considered a career in ministry, although a drama class in high school convinced him that his true calling was as a professional entertainer. In his autobiography he wrote, “I suppose that I never completely gave up my childhood idea of being a minister. Only the medium and the message changed. I have still endeavored to touch people’s souls, to raise their spirits and put smiles on their faces”. Even after the launch of his career as an entertainer, he taught Sunday school in the Presbyterian Church, where he was an elder, and he continued to read theologians such as Buber, Tillich, and Bonhoeffer, whom he has said helped explain in practical terms the relevance of religion in everyday life.
During World War II, Van Dyke enlisted in the United States Army Air Corps where he became a radio announcer, later transferring to the Special Services entertaining troops in the Continental United States.
During the late 1940s, Van Dyke was a radio DJ in Danville, Illinois. In 1947, Van Dyke was persuaded by Phil Erickson to form a comedy duo with him called “Eric and Van—the Merry Mutes.” The team toured the West Coast nightclub circuit, performing a mime act and lip synching to old 78 records. They brought their act to Atlanta, Georgia, in the early 1950s and performed a local television show featuring original skits and music called “The Merry Mutes”.
In November 1959, Van Dyke made his Broadway debut in The Girls Against the Boys. He then played the lead role of Albert Peterson in Bye Bye Birdie, which ran from April 14, 1960 to Oct 7, 1961. In a May 2011 interview with Rachael Ray, Van Dyke noted that when he auditioned for a smaller part in the show he had no dance experience, and that after he sang his audition song he did an impromptu soft-shoe out of sheer nervousness. Gower Champion, the show’s director and choreographer, was watching, and promptly went up on stage to inform Van Dyke he had the lead. An astonished Van Dyke protested that he could not dance, to which Champion replied “We’ll teach you”. That musical won four Tony awards including Van Dyke’s Best Featured Actor Tony, in 1961. In 1980, Van Dyke appeared as the title role in The Music Man on Broadway.
Dick Van Dyke’s start in television was with WDSU-TV New Orleans Channel 6 (NBC), first as a single comedian and later as emcee of a comedy program. Van Dyke’s first network TV appearance was with Dennis James on James’ Chance of a Lifetime in 1954. He later appeared in two episodes of The Phil Silvers Show during its 1957–1958 season. He also appeared early in his career on ABC’s The Pat Boone Chevy Showroom and NBC’s The Polly Bergen Show. During this time a friend from the Army was working as an executive for CBS television and recommended Van Dyke to that network. Out of this came a seven-year contract with the network. During an interview on NPR’s Wait Wait… Don’t Tell Me! program, Van Dyke said he was the anchorman for the CBS morning show during this period with Walter Cronkite as his newsman.
From 1961 to 1966, Van Dyke starred in the CBS sitcom The Dick Van Dyke Show, in which he portrayed a comedy writer named Rob Petrie. Originally the show was supposed to have Carl Reiner as the lead but CBS insisted on recasting and Reiner chose Van Dyke to replace him in the role. Van Dyke won three Emmy Awards as Outstanding Lead Actor in a Comedy Series, and the series received four Emmy Awards as Outstanding Comedy Series.
From 1971 to 1974, Van Dyke starred in an unrelated sitcom called The New Dick Van Dyke Show in which he starred as a local television talk show host. He received a Golden Globe nomination for his performance but the show was less successful than its predecessor, and Van Dyke pulled the plug on the show after just three seasons.
In 1973, Van Dyke voiced his animated likeness for the October 27, 1973 installment of Hanna-Barbera’s The New Scooby-Doo Movies, “Scooby-Doo Meets Dick Van Dyke,” the series’ final first-run episode. The following year, he received an Emmy Award nomination for his role as an alcoholic businessman in the television movie The Morning After (1974). Van Dyke revealed after its release that he had recently overcome a real-life drinking problem. He admits he was an alcoholic for 25 years. After a few guest appearances on the long-running comedy-variety series The Carol Burnett Show, Van Dyke became a regular on the show, in the fall of 1977. However, he only appeared in half of the episodes of the final season. For the next decade he appeared mostly in TV movies. One atypical role was as a murdering judge on the second episode of the TV series Matlock in 1986 starring Andy Griffith. In 1989, he guest-starred on the NBC comedy series The Golden Girls portraying a lover of Beatrice Arthur’s character. This role earned him his first Emmy Award nomination since 1977.
His film work affected his TV career: the reviews he received for his role as D.A. Fletcher in Dick Tracy led him to star first as the character Dr. Mark Sloan in an episode of Jake and the Fatman, then in a series of TV movies on CBS that became the foundation for his popular television drama Diagnosis: Murder. Van Dyke continued to find television work after the show ended, including a dramatically and critically successful performance of The Gin Game, produced for television in 2003 that reunited him with Mary Tyler Moore. In 2003, he portrayed a doctor on Scrubs. A 2004 special of The Dick Van Dyke Show titled The Dick Van Dyke Show Revisited was heavily promoted as the first new episode of the classic series to be shown in 38 years. Van Dyke and his surviving cast members recreated their roles; the program was roundly panned by critics. In 2006 he guest-starred as college professor Dr. Jonathan Maxwell for a series of Murder 101 mystery films on the Hallmark Channel.
Van Dyke began his film career by playing the role of Albert J. Peterson in the film version of Bye Bye Birdie (1963). Despite his unhappiness with the adaptation—its focus differed from the stage version in that the story now centered on a previously supporting character—the film was a success. That same year, Van Dyke was cast in two roles: as the chimney sweep Bert, and as bank chairman Mr. Dawes Senior, in Walt Disney’s Mary Poppins (1964). For his scenes as the chairman, he was heavily costumed to look much older, and was credited in that role as “Nackvid Keyd” (at the end of the credits, the letters unscramble into “Dick Van Dyke”). Van Dyke’s attempt at a cockney accent has been decried as one of the worst accents in film history, cited by actors since as an example of how not to sound.
In a 2003 poll by Empire magazine of the worst-ever accents in film, he came in second. According to Van Dyke, his accent coach was Irish, who “didn’t do an accent any better than I did.” Still, Mary Poppins was successful upon release and its enduring appeal has made it one of the most famous films of all time. “Chim Chim Cher-ee”, one of the songs that Van Dyke performed in Mary Poppins, won the Academy Award for Best Original Song for the Sherman Brothers, the film’s songwriting duo.
Many of the comedy films Van Dyke starred in throughout the 1960s were relatively unsuccessful at the box office, including What a Way to Go!, Lt. Robin Crusoe, U.S.N., Fitzwilly, The Art of Love, Some Kind of a Nut, Never a Dull Moment, and Divorce American Style. But he also starred (with his native accent, despite the English setting) as Caractacus Pott in the successful musical Chitty Chitty Bang Bang (1968), which co-starred Sally Ann Howes and featured the same songwriters (The Sherman Brothers) and choreographers (Marc Breaux and Dee Dee Wood) as Mary Poppins.
In 1969, Van Dyke appeared in the comedy-drama The Comic, written and directed by Carl Reiner. Van Dyke portrayed a self-destructive silent-film era comedian who struggles with alcoholism, depression, and his own rampant ego. Reiner wrote the film especially for Van Dyke, who often spoke of his admiration for silent-film era comedians such as Charlie Chaplin and his hero Stan Laurel. Twenty-one years later in 1990, Van Dyke, whose usual role had been the amiable hero, took a small but villainous turn as the crooked D.A. Fletcher in Warren Beatty’s film Dick Tracy. Van Dyke returned to motion pictures in 2006 with Curious George as Mr. Bloomsberry and as villain Cecil Fredericks in the Ben Stiller film Night at the Museum. He reprised the role in a cameo for the sequel, Night at the Museum: Battle of the Smithsonian but it was cut from the film. It can be found in the special features on the DVD release.
The Penguin Dance
Me ol’ Bamboo (Chitty Chitty Bang Bang)
Step in Time
Fun Facts about Mr. Dick Van Dyke
Often hosted game shows when he was a struggling actor. He hosted Mother’s Day (1958) and Laugh Line (1959) but turned down The Price Is Right (1956).
Older brother of entertainer Jerry Van Dyke.
According to his book “Those Funny Kids: A Treasury of Classroom Laughter”, by age 11 he had grown to 6′ 1″.
Is ambidextrous.
He enlisted to be a pilot in the Army Air Corps during World War II, but initially did not make the cut because he did not meet the weight requirement, as he was underweight. He tried three times to enlist, before barely making the cut. He actually served as a radio announcer during the war, and he did not leave the United States.
Beat out Johnny Carson for the role of Rob Petrie on what later became The Dick Van Dyke Show (1961) .
Won Broadway’s 1961 Tony Award as Best Supporting or Featured Actor (Musical) for “Bye, Bye Birdie” and a Grammy Award for the Mary Poppins (1964) soundtrack.
His comic inspiration was Stan Laurel. He says he was able to find him by looking up his name in the phone book in Santa Monica, California, where Laurel lived. He called and Laurel invited him over. The two became good friends. When Laurel died, Van Dyke delivered his eulogy at the funeral.
Says that his most memorable role is that of Bert the chimney-sweep in Mary Poppins (1964).
Overcame alcoholism in the 1970s.
In Britain, his attempt at a Cockney accent in Mary Poppins (1964) is so notorious that a “Dick Van Dyke accent” is an accepted slang term for an American’s unsuccessful attempt at a British accent. Despite that, he is quite popular in Britain.
Rob Petrie, Van Dyke’s role on The Dick Van Dyke Show (1961), was ranked #22 in TV Guide’s list of the “50 Greatest TV Dads of All Time” [20 June 2004 issue].
In his 30s and 40s, he had a talent for playing crotchety, eccentric old men. He played this kind of role in Mary Poppins (1964) as Mr. Dawes Sr. and in a The Dick Van Dyke Show (1961) episode where he played one of Rob Petrie’s elderly relatives.
Had played Lionel Jeffries’s son in Chitty Chitty Bang Bang (1968) even though Jeffries is actually six months his junior.
Was a heavy smoker for fifty years, smoking three packs of cigarettes a day for a time. He finally managed to quit using gum and patches.
Best known by the public for his starring roles as Rob Petrie on The Dick Van Dyke Show (1961) and as Dr. Mark Sloan on Diagnosis Murder (1993).
In 1968, he left Hollywood and bought a ranch in Arizona.
Did not appear in his first movie until he was 36.
Buster Keaton and Stan Laurel were two of his comedy idols. Both became fans of Dick’s classic TV series.
Received a lemon cake every Christmas from Charles Bronson, who lived nearby in Malibu, for 16 years.
Created most of his own comedy routines and physical schticks on The Dick Van Dyke Show (1961).
Helped his ex-The Dick Van Dyke Show (1961) co-star, Mary Tyler Moore get her own sitcom, in the 1970s.
Prior to being an actor, he was also a Sunday School teacher and an elder at a Presbyterian church, who ministered every Sunday.
Was longtime friends with Buddy Ebsen. Van Dyke hosted Ebsen’s memorial service on August 30, 2003.
Between Angela Lansbury, Norman Lloyd, Mickey Rooney, Ernest Borgnine, Betty White and Larry Hagman, Van Dyke is one of the stars never to retire from acting.
MFA Monday typically centers on musings from local holders of Master of Fine Arts, but for this series we’ve got something a little different! For the next three weeks we will get to hear from a contributor all the way from California…drrrrum rrrolll please:
Part 1 of 3
As I sit here trying to figure out how to start writing about my experience in graduate school, I am becoming keenly aware of my many mixed feelings about my time there and my time since. So here is to hoping that whatever comes out here makes some sort of sense, for me if no one else.
First let me say that if I could go back and do it all again, I would have waited a few years after undergrad before going to graduate school. I started my doctorate at age 22, immediately after completing my BFA. A lot happened in the subsequent five years of my life while I was in school and working on my dissertation. Your early twenties are incredibly formative years, but I wouldn’t know because I spent them ALL in school. So all I know is how formative graduate school can be.
The moment I learned that a field called “Dance Studies” existed, something in me shifted. Growing up with parents who were teachers and in an academically rigorous community, I have always enjoyed traditional learning. But dance was always my passion. Until college, I thought the two things existed separately.
Although I have danced since I was a child, I’ve never thought of myself as much of an artist. When I was given the choice to write a thesis or choreograph a concert for my Senior Project in undergrad, I only considered the concert option for about 15 seconds. I wanted to write. I was interested in the research process and wanted to be a part of something that blew people’s minds the way Dance Studies did for me when I was 19. After dancing and thinking separately for two decades, I was excited to discover a place where both worked together. I’m not suggesting that choreographing and performing doesn’t require both activities simultaneously, because it certainly does. For me, growing up dancing meant just replicating with no thinking. And while I logically understand that both can, and do, happen in the same body at the same time, I am not sure I have ever fully understood how to make that happen for myself. Even to this day, I don’t fancy myself much of an artist and am incredibly insecure about my own artistic process and choreographic product. But give me a page and I will write! Give me an inspired theoretical text and I will happily analyze movement! In fact, at my going away party before I moved for grad school, I remember a conversation with a dear girlfriend and brilliant choreographer. She couldn’t quite understand why I was choosing to subject myself to even more schooling immediately after graduation. I remember telling her, “I want to be able to write about what you do. I want help people know it exists and remember that it exists for the rest of time.” So when I was 22, that was my plan: To write. About dance. Beyond that, I had no idea what graduate school and a doctorate in dance meant. This should have been my first clue…
I was excited for the letters after my name. I was excited because it sounded cool. But, frankly, the whole thing was hardly planned. I applied because it came recommended from a trusted mentor and I didn’t have any other plans. I honestly didn’t think I’d get in. In retrospect, I wish I hadn’t. I wish I could have taken an extra year to work, even if it meant working as a caterer, to think about life, about myself, and what I wanted in my future. I could have read more, increased my vocabulary, and written more. I would have interacted with more people, learn what life was like outside of that of a full-time student, and simply enjoyed a moment in my 20s before real life became too permanent and demanding.
I think that year in between would have helped me avoid the panic attack I had the third week of classes. Towards the end of a seminar, in a small and crowded room, after trying to stay calm for several weeks, the realization that I simply had no idea what I was doing came flooding over me. It turns out everyone in graduate programs are REALLY smart (usually). It’s like having a class full of only the smart kids that raise their hands. Let me clarify, it’s not “like” that, it is that. This is really intimidating for the quiet 22 year old who is keenly aware of her own inexperience. So in that moment, I couldn’t figure out why I’d moved away from everything I knew. I couldn’t figure out how I came to sit in a room with so many people who were so much smarter than me. I was convinced that I’d never succeed, that I’d possibly even truly fail for the first time ever. Suddenly, the classroom door got farther and farther away, the tears welled up and I realized that I would not get through graduate school without crying in public…
Now, I’m not suggesting that a year serving food and working for minimum wage would have kept me from crying in graduate school, but I do think it would have made me more confident and more self-assured. I think I could have come in with a better perspective of the world and not one developed solely from books and research. Or maybe even a master’s program would have helped. I thought I was on the fast-track because I was special, smarter than the average bear. And I might have been. But no matter how good I felt when I got that acceptance letter, no matter how smart I may have been in undergrad, I found myself in a room with a collection of people that still, to this day, are the smartest people I know, with more experience, more knowledge, and more skill than I had in that moment. If there is one thing I am confident in in life, it’s my intelligence. But graduate school is NOT real life. These people were/are really brilliant. I was too inexperienced to have confidence in my own intelligence in that moment (and many more to follow).
The one thing I wish someone had told me before I went to school was: “Wait, not yet, maybe next year.” Graduate school is only what you make of it, so be sure you have all the tools and resources you might need to get the most out of it. It’s like trying to paint the walls before you’ve done the primer. It’ll get done, but the color could be sharper and last longer if you prime it first.
Stay tuned for more from Dr. Alexis Weisbord!
Dr. Alexis A. Weisbord received her BFA in Dance from University of Minnesota and her PhD in Critical Dance Studies from UC Riverside. Alexis was a competitive dancer in high school and later spent over ten years directing dance competitions throughout the US. Her dissertation was entitled “Redefining Dance: Competition Dance in the United States” and she has a chapter, “Defining Dance, Creating Commodity: The Rhetoric of So You Think You Can Dance,” in the forthcoming Oxford Handbook of Dance and the Popular Screen. Alexis has held positions as Lecturer in Global Studies at UC Riverside and Associate Faculty in Dance at Norco College. Currently she is an Associate Faculty member at Mt. San Jacinto College, Managing Director for The PGK Dance Project in San Diego, and founder/co-director of an emerging dance company, Alias Movement.