MFA Monday

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.  

Free Events Thursday

Free Events Thursday

Cultured Cocktails with the Framers!

Every Thursday from 5-7pm.

Boheme Cafe and Wine Bar

307 Fairview St, Houston, TX 77006

So if you want to see what we are all about then come join us and meet the Framers of Houston,TX!

Price: Free!!!

 

Party with the French

Friday, March 07 at 6 PM

Discovery Green

1500 McKinney
Houston, TX 77010

This Friday, kick off a month of events sponsored by the French Consulate in Houston. The free outdoor event features music from French musicians plus Houston natives Wild Moccasins from 7 pm – 10 pm. Authentic French food and wine will be available or purchase.

Price: Free!!!

 

Azalea Trail

March 07- March 09

River Oaks Garden Club

2503 Westheimer • Houston, TX 77098

One of the surest signs of spring in Houston is the annual Azalea Trail. Houstonians and visitors view the spectacular gardens at Bayou Bend and Rienzi and visit River Oaks’ exquisite private homes and admire their breathtaking gardens.

Price: $5.00

 

Listen to classical music

Friday, March 7th at 8 pm

Houston Baptist University’s Dunham Theater

7502 Fondren

The Houston Civic Symphony, our local community orchestra, presents a free concert. The evening features Young Artist Concerto Winners plus Schubert’s Symphony No. 8 in B minor.

Price: Free!!!

 

Clear Lake Jewelry, Gem, & Mineral Show

March 8, 2014 – March 9, 2014 (Recurring daily) at Saturday 10-6, Sunday 10-5

7902 Fairmont Parkway, Pasadena, TX 77507

The show is oriented for the whole family. Come out to see and learn about rocks, gems, fossils and Geology. Special demonstrations of lapidary work are included for the entertainment of all show patrons. Approximately 30 quality dealers have been handpicked to bring a balanced variety of merchandise to appeal to as many people as possible and at reasonable prices. There will be tools, raw materials, and books for the hobbyist, many mineral and fossil specimens for the collector, and jewelry ranging from fun-to wear to the finest opals, diamonds and emeralds. An excellent special program for Boy Scouts and Girl Scouts hat provides hands-on experience will help with Geology related merit badges.

Price: $7 (Admission is cash only)

 

ROCO Chamber Series: Postcards from Paris and New Orleans

March 9 at  4:00 PM

Gremillion & Co. Fine Art

2501 Sunset Boulevard, Houston, TX 77005

Join us for Postcards from Paris and New Orleans featuring an oboe, clarinet, violin and viola quintet performance with music by Sergei Prokofiev and Dave Anderson, who was inspired by Prokofiev to write a jazz composition with the same instrumentation.

Price: $25; Student admission: $10

 

 

MFA Monday!

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.

 

———————————-

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 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.

Free Events Thursday!

Free Events Thursday

Championship BBQ Contest

 

Friday and Saturday, February 28th- March 1st from Noon- 11 pm

Reliant Stadium

All you can eat BBQ!

Price: $15

 

Downtown Rodeo Parade

 

Saturday, March 1st at 10:00 am

Price: Free!

 

Conoco 10K Run and 5K Run/ Walk

 

Saturday, March 1st at 9:20 am

Saturday, March 1st at 9:45 am

Find out more at http://www.conocophillipsrodeorun.com/events/10k/Pages/logistics.aspx

Price: $35

 

Sam Houston Race Park

 

Friday-Sunday, February 28th- March 9th  at 7:00 pm

Watch thoroughbred live racing this weekend and next weekend!

Find out more at http://shrp.com/  

Price: $7

 

Macbeth

 

Main Street Theater

Rice Village, 2540 Times Boulevard

February 27th- March 9th (Schedule daily)

Even though Macbeth is one of William Shakespeare’s shortest plays, Main Street Theater will be putting on an 80-minute version with no intermission courtesy of visiting director and actor Guy Roberts in a co-production with the Prague Shakespeare Company.

Price: $20-39

 

Last Tip of My Hat

 

10:00 a.m. – 5:00 p.m. every Sat. from March 1 until March 31
12:00 p.m. – 5:00 p.m. every Sun. from March 2 until March 31
10:00 a.m. – 4:00 p.m. every Mon., Tue., Wed., Thu., Fri. from March 3 until March 31

National Museum of Funeral History

501 Crawford St., Houston, TX 77002

Every rodeo season the National Museum of Funeral History does its part in the spirit of the Wild West with its “Last Tip of My Hat” exhibit, which celebrates death in the time of the cowboy. The usually modest event has been ramped up considerably this year. As always, there will be a traditional pine box coffin on loan from Cowboy’s Last Ride casket company in Early, Texas. These simple containers were a common method of burial in the West, since pine was plentiful and easy to work with. “A cowboy is a simple man, hard-working, and finds a pine box to be a fine representation of who he was in life,” Edward Castillo, owner of Cowboy’s Last Ride, said via email.

Also on display will be memorial folders from the funerals of the one and only Roy Rogers and his wife, Dale “The Queen of the West” Evans. The duo was featured in more than 100 different cowboy movies and television shows. You can see plenty of other funeral folders from Hollywood cowboys in the “Thanks for the Memories” section of the exhibit, including those belonging to Michael Landon, John Wayne, Gene Autry and Tom Mix. Also represented are Clayton Moore and Jay Silverheels (whom you may know as The Lone Ranger and Tonto, the ones from before the Johnny Depp movie).

Price: $7 to $10

 

 

 

MFA Monday

MFA Mondays

MFA right

Happy Monday Framers!

Enjoy the MFA Monday installment by

Dr. Alexis Weisbord!

We have a had a pleasure reading her posts,

and this one is sure to inspire and uplift! 

——————————

Part 2: Thinking Beyond

Five years is a long time and a lot can happen during that time. When I moved to California in August 2005, I didn’t know exactly where I was going to end up in June 2010, but I would have told you one definite thing: I would not be in Riverside County. Yet here we are in April 2013 and guess where I am… that’s right, Riverside County.

As I previously mentioned, I entered grad school with no attachments that I was obligated to attend to or return to, so I figured when it was all over and done with I could go wherever the wind took me. I envisioned applying for fellowships and visiting positions, and I was going to live my dream of traveling and moving. I did not have any interest in setting roots anywhere yet, and then the most amazing complication occurred: I met a wonderful partner. This was wonderful for all the reasons and benefits that make having a partner desirable: he was a tremendous support through the entirety of my exam and dissertation process, he happily pushed the cart at Trader Joes and didn’t judge me for the 12 bottles of wine I’d picked out, he calmly listened to me stress about the writing process, and he was never bothered by the odd hours I kept. But… and most people wouldn’t read this as a problem, he already had a job. Not just a job, a career. And one he really loves. He spends his days getting paid for something he would happily do for free most days. And if that wasn’t good enough, it is incredibly stable and has great benefits. Again, who would ever complain about such a wonderful fate?! Apparently me.

There I was, recently out of school, newly married, and tied down to a city (more like a town) where my degree was completely useless. In a desperate attempt to find some work that didn’t involve pouring coffee or serving food, I applied to teach at a local studio. They had a competitive team program that was good but not the best in town, they seemed to like the class I taught, and I thought I had a great interview. I was so willing to do this job I even offered the same (low) rate I was offering when I was first out of undergrad. Yet, the same day my degree was conferred I was notified that I didn’t get the job. I was beat out by a student in the community college program I was an adjunct in. As far as I can tell, this was because she probably offered a rate that was a fraction of what I offered. Two degrees in dance, a dissertation on competition dance, years of experience teaching in studios and colleges as well as almost a decade working for competitions and I was unable to get a job at a studio.

With the exception of a local community college program, I quickly realized that I lived in a wasteland for the arts, or at least for the kind I was trained and qualified for. I was, and still am, on faculty at the college; however, California’s badly damaged economy has limited the opportunities I will have at this program for years to come. I applied for both part and full time positions within a 100-mile radius, and after some time, I started to realize that taking a job with a 90+ minute commute (each way) was insane if I ever hoped to have a family and be a part of that family.

I began to conceptualize what kinds of options might be out there for me. I began to think about all the other career paths I could explore that would require the skills of my PhD, even if it didn’t require the degree itself. I realized that since the jobs I thought I wanted five years earlier were not only difficult to come by because of the plummeting economy, but were even more difficult to find because I was now geographically limited.  Since the community I lived in had no jobs for me, it was time for me to create my own work.

I have more or less taken every position that has been offered to me. Any day of the week you can find me donning four or five different hats. I once went to an event where I represented three different organizations simultaneously. Since completing graduate school, I have taught part time at three different collegiate institutions (including in a Global Studies program), began managing a small, but busy, professional dance company, became part of a collective of choreographers that produces events and workshops locally, found a local studio that I love teaching at, and I started my own local dance company.  Meanwhile, I find ways to collaborate with long distance colleagues on scholarly work.

On my worst days I feel like my brain is going to fracture and cause me to lose my mind. On my best days I am completely fulfilled, feeling like I am not missing out on a single part of the wonderful world of dance. I get to teach all ages, and I get to perform when I want. I’ve learned that I love managing productions, and I never feel pressured when I sit down to write or research because it is always by choice. My days can be exhausting and I am excruciatingly underpaid because many of these positions are with brand new organizations that I am helping to build, but I see potential for a future in this wasteland that I live in. I see a future that I not only like, but a future that might just need someone exactly like me to help it succeed. The way I see it, no one may think that I am valuable now, but if I help to show them what I can do and what they are missing, then maybe one day there will be a local need for me and my degree.

I’d like to acknowledge that none of what I am doing in this effort is done alone. I have a small network of local colleagues who not only provide me opportunities but also support my endeavors. Together, I see us building a community that will not only provide for us but also for our neighbors. I am fully aware of the fact that my unstable lifestyle is made feasible by the fact that I have a partner whose stable job gives us many benefits, including health insurance. Because of this, I am able to take career risks that might not be smart decisions otherwise, so I recognize that this path may not be for everyone.

What I do encourage anyone, regardless of their marital status, geographic location or financial stability, to consider, however, are the many possibilities for their skills and degree. In academia, it is not uncommon to be conditioned to follow a narrow career path. But, just imagine what our world would look like if more arts administrators were MFAs or Ph.D. Imagine what it would look like if those on grant panels were working artists and not reps from corporations. Imagine if the majority of teachers in dance studios had MFAs. As other bloggers have said, you won’t be rich, but none of us go this direction for the money. So get creative about what you could do, because the possibilities are endless!

 

 

397136_10100231328148394_276944621_nDr. Alexis 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.

MFA Monday

MFA Mondays

MFA right

 

 

 

 

 

 

Happy Monday Framers!

 

Enjoy this MFA Monday installment by

Dr. Alexis Weisbord!

 

 

——————————

Part 2: Thinking Beyond

Five years is a long time and a lot can happen during that time. When I moved to California in August 2005, I didn’t know exactly where I was going to end up in June 2010, but I would have told you one definite thing: I would not be in Riverside County. Yet here we are in April 2013 and guess where I am… that’s right, Riverside County.

As I previously mentioned, I entered grad school with no attachments that I was obligated to attend to or return to, so I figured when it was all over and done with I could go wherever the wind took me. I envisioned applying for fellowships and visiting positions, and I was going to live my dream of traveling and moving. I did not have any interest in setting roots anywhere yet, and then the most amazing complication occurred: I met a wonderful partner. This was wonderful for all the reasons and benefits that make having a partner desirable: he was a tremendous support through the entirety of my exam and dissertation process, he happily pushed the cart at Trader Joes and didn’t judge me for the 12 bottles of wine I’d picked out, he calmly listened to me stress about the writing process, and he was never bothered by the odd hours I kept. But… and most people wouldn’t read this as a problem, he already had a job. Not just a job, a career. And one he really loves. He spends his days getting paid for something he would happily do for free most days. And if that wasn’t good enough, it is incredibly stable and has great benefits. Again, who would ever complain about such a wonderful fate?! Apparently me.

There I was, recently out of school, newly married, and tied down to a city (more like a town) where my degree was completely useless. In a desperate attempt to find some work that didn’t involve pouring coffee or serving food, I applied to teach at a local studio. They had a competitive team program that was good but not the best in town, they seemed to like the class I taught, and I thought I had a great interview. I was so willing to do this job I even offered the same (low) rate I was offering when I was first out of undergrad. Yet, the same day my degree was conferred I was notified that I didn’t get the job. I was beat out by a student in the community college program I was an adjunct in. As far as I can tell, this was because she probably offered a rate that was a fraction of what I offered. Two degrees in dance, a dissertation on competition dance, years of experience teaching in studios and colleges as well as almost a decade working for competitions and I was unable to get a job at a studio.

With the exception of a local community college program, I quickly realized that I lived in a wasteland for the arts, or at least for the kind I was trained and qualified for. I was, and still am, on faculty at the college; however, California’s badly damaged economy has limited the opportunities I will have at this program for years to come. I applied for both part and full time positions within a 100-mile radius, and after some time, I started to realize that taking a job with a 90+ minute commute (each way) was insane if I ever hoped to have a family and be a part of that family.

I began to conceptualize what kinds of options might be out there for me. I began to think about all the other career paths I could explore that would require the skills of my PhD, even if it didn’t require the degree itself. I realized that since the jobs I thought I wanted five years earlier were not only difficult to come by because of the plummeting economy, but were even more difficult to find because I was now geographically limited.  Since the community I lived in had no jobs for me, it was time for me to create my own work.

I have more or less taken every position that has been offered to me. Any day of the week you can find me donning four or five different hats. I once went to an event where I represented three different organizations simultaneously. Since completing graduate school, I have taught part time at three different collegiate institutions (including in a Global Studies program), began managing a small, but busy, professional dance company, became part of a collective of choreographers that produces events and workshops locally, found a local studio that I love teaching at, and I started my own local dance company.  Meanwhile, I find ways to collaborate with long distance colleagues on scholarly work.

On my worst days I feel like my brain is going to fracture and cause me to lose my mind. On my best days I am completely fulfilled, feeling like I am not missing out on a single part of the wonderful world of dance. I get to teach all ages, and I get to perform when I want. I’ve learned that I love managing productions, and I never feel pressured when I sit down to write or research because it is always by choice. My days can be exhausting and I am excruciatingly underpaid because many of these positions are with brand new organizations that I am helping to build, but I see potential for a future in this wasteland that I live in. I see a future that I not only like, but a future that might just need someone exactly like me to help it succeed. The way I see it, no one may think that I am valuable now, but if I help to show them what I can do and what they are missing, then maybe one day there will be a local need for me and my degree.

I’d like to acknowledge that none of what I am doing in this effort is done alone. I have a small network of local colleagues who not only provide me opportunities but also support my endeavors. Together, I see us building a community that will not only provide for us but also for our neighbors. I am fully aware of the fact that my unstable lifestyle is made feasible by the fact that I have a partner whose stable job gives us many benefits, including health insurance. Because of this, I am able to take career risks that might not be smart decisions otherwise, so I recognize that this path may not be for everyone.

What I do encourage anyone, regardless of their marital status, geographic location or financial stability, to consider, however, are the many possibilities for their skills and degree. In academia, it is not uncommon to be conditioned to follow a narrow career path. But, just imagine what our world would look like if more arts administrators were MFAs or Ph.D. Imagine what it would look like if those on grant panels were working artists and not reps from corporations. Imagine if the majority of teachers in dance studios had MFAs. As other bloggers have said, you won’t be rich, but none of us go this direction for the money. So get creative about what you could do, because the possibilities are endless!

 

 

397136_10100231328148394_276944621_n

Dr. Alexis 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.

 

 

Free Events Thursday!

Free Events Thursday

              Howdy Framers!

     

Here’s what’s going on in Houston this weekend!

 

Cultured Cocktails with the Framers!

Every Thursday from 5-7pm.

Boheme Cafe and Wine Bar

307 Fairview St, Houston, TX 77006

10% of all proceeds go to Frame Dance. So if you want to see what we are all about then come join us and meet the Framers of Houston,TX!

Price: Free!!!

Magna Carta

February 14, 2014 – August 17, 2014 (Recurring daily)

Houston Museum of Natural Science

5555 Hermann Park Drive, Houston, TX 77030

An original edition of the “Magna Carta,” and the only known example of the King’s Writ – a letter from King John to the Sheriff of Gloucester announcing the signing of the Magna Carta – is headed to Houston from its home in Hereford Cathedral.

The Magna Carta is considered to be Great Britain’s most valuable export to the world and is a model upon which the United States Constitution was based. The Magna Carta continues to serve as the definitive document modeling basic civil liberties, and is the source of many of the most fundamental concepts of law. In more than 100 decisions, the United States Supreme Court has traced dependence on the Magna Carta for an understanding of due process, trial by jury, the importance of a speedy and unbiased trial, and protection against excessive bail or fines or cruel and unusual punishment.

Price: $25

40z Rock Annual Red Tea Party

February 23, 2014 from 2:00pm – 5:00pm

5415 Westheimer Rd, Houston, TX 77056

You’re invited to come out and join 40z Rock for a fun-filled afternoon of teas, desserts, and h’orderves . Not to mention, meet some fabulous women who ROCK spiritually, mentally and physically.

Price: $10

A Stroll Down Abbey Road

February 15, 2014 – February 23, 2014 (Every Sunday, Friday, Saturday)

17170 Mill Forest Road, Webster, TX 77598

Celebrate the 50th anniversary of the Beatles’ U.S. debut with the Bay Area Houston Ballet & Theatre. A variety of dance styles will be performed to Beatles classics. Some of the featured songs include Here Comes the Sun, Because, Eleanor Rigby, Black Bird, Yellow Submarine and Lucy in the Sky with Diamonds.

Price: $20

Found out more at their website at www.BAHBT.org

Electric Mardi Gras

February 21, 2014 – March 01, 2014 at 5:00p.m. – 1:00a.m., 12:00p.m. – 1:00 a.m.

(Recurring every 2 weeks Friday, Saturday)

21st and Strand, Galveston, TX 77550

At Mardi Gras! Galveston, the extravagance found in Texas’ largest Mardi Gras celebration starts with the beads! More than 3 million beads will be thrown at Mardi Gras! Galveston and that’s just the beginning of the elaborate parades, headliner performances, family events, feasting and other festivities that come with hosting Mardi Gras island style.

Price: $15

Find out more at http://www.mardigrasgalveston.com/electric/

Happy Hour Thursdays at MFAH

Every Thursday from 6-8pm

Museum of Fine Arts, Houston

The Museum of Fine Arts hosts Happy Hour Thursdays each week. MFAH admission is always free on Thursdays thanks to Shell and from 6 to 8 pm you’ll enjoy happy hour with tunes from a local DJ, light bites from Ladybird Food Truck and a cash bar. The museum is open til 9 every Thursday.

Price: Free!!!

ABCs of Organic Gardening

Saturday, February 22 at 10:15 am.

This is offered at both Cornelius locations: 1200 N. Dairy Ashford and 2233 S. Voss.

Free Clinic, held at all Calloway’s andCornelius locations. Organic gardening focuses first on the soil, as a critical component of a living ecosystem. The soil is filled with all sorts of living creatures that are often beneficial to garden plants. Thus, you might say that when an organic gardener fertilizes the garden, she “feeds the soil” rather than feeds her plants. Healthy lively soil provides the perfect home for healthy lively plants. This terrific clinic will cover how you can create that kind of healthy soil, right here in suburban Texas. Also, we’ll cover the Top Ten Garden Pests and offer some organic solutions.

Price: Free!!!

Exploring Houston’s Green History: Sam Houston Park, 1899−2014

The Heritage Society Museum Gallery

Founded in 1899, Sam Houston Park is the first and oldest municipal park in the city of Houston. This beloved historic green space was originally part of the land granted by Stephen F. Austin to John Austin in 1824. For the past 115 years, the park has served Houstonians as a center for outdoor recreation and social activities. This exhibit will showcase Sam Houston Park’s history as well The Heritage Society’s 60 year history of caring for this beloved city park.

Heritage Family Day
1−4 p.m.
Find out how Houstonians lived after they began to build a city and create homes of their own. Enjoy hands-on activities, crafts, a mock-excavation and refreshments. Take a tour of 1823 Old Place. Co-sponsored by Archaeological Institute of America Houston Society.

Price: Free!!!

MFA Monday!

MFA Mondays

               Hi Framers, Happy Monday!

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!

 

 

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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.

Free Events Thursdays

Free Events Thursday

Cupid’s Corner at Woodforest

February 7, 2014 at 10 a.m. to 8 p.m.

Woodforest Homefinder Lodge

101 Elk Trace Parkway, Montgomery, TX 77316

With sweethearts in mind, Woodforest is planning Cupid’s Corner 10 am-8 pm Feb. 7 at the Woodforest Homefinder Lodge, 101 Elk Trace Parkway. Vendors will have an array of gifts — jewelry, wine, truffles, children’s clothing and home décor items. Enjoy Valentine’s Day treats and wine while browsing and kids can enjoy crafts while parents shop. Staff will put finishing touches to gifts at the wrapping station. Visitors also can buy Papa John’s pizza 4-8 pm at special Valentine’s Day prices.

Price: Free!!!

Dark Light: The Micaeous Ceramics of Christine Nofchissey McHorse

February 7, 2014 – May 11, 2014 (Recurring daily)

Tuesday – Saturday, 10:00 AM – 5:00 PM; Sunday, 12:00 – 5:00 PM

Houston Center for Contemporary Craft

The opening will also feature Spectra: Work by Adrian Esparza in the Front Gallery. Open studios by current resident artists to follow talks. In “Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse,” Houston Center for Contemporary Craft (HCCC) presents works by one of the most innovative contemporary forces in Native American pottery. Working from traditional materials and techniques, Christine Nofchissey McHorse’s vessel-based art blends the boundaries of pottery and sculpture, erasing the line between function and form.

As the Navajo artist’s first traveling exhibition, the show exhibits the unadorned sophistication of the sultry curves, black satiny surfaces, and modern forms of her Dark Light series, created from 1997 to present. An amalgam of Puebloan, Navajo, and contemporary influences, each sculpture possesses a cultural splendor that is as fertile as the Northern New Mexico riverbeds where McHorse harvests her clay. Through the unadulterated beauty of micaceous clay and with Puebloan construction techniques learned from her Taos mother-in-law, McHorse transforms her sketches into voluminous shapes that swell upwards like a natural spring. Dismissing the rudimentary forms that define Native American ethnic identity in craft, she returns to primordial shapes, akin to the modern aesthetic of Henri Moore. Experimenting with shape, mass, volume, and line, she creates organic vessels in the vein of her ancestors, who recognized the spiritual power of water, air, and earth.

Price: Free!!!

The Peking Acrobats 

February 7, 2014 at 7:30pm

Jones Hall

This troupe of China’s most gifted performers, complemented by live musicians playing traditional Chinese instruments, returns to Houston for one night only! The Peking Acrobats have redefined audience perceptions of Chinese acrobatics. For more than 50 years they have held audiences of all ages spellbound with vibrant presentations of their ancient folk art. They perform daring maneuvers atop a precarious pagoda of chairs; they are experts at trick-cycling, precision tumbling, somersaulting and gymnastics. They defy gravity with amazing displays of contortion, flexibility and control. They push the envelope of human possibility with astonishing juggling dexterity and incredible balancing feats, showcasing tremendous skill and ability.

Price: $8-$10

Homestead Heritage Day

February 8, 2014 at 10 am – 4 pm

Jesse H. Jones Park, Humble, TX 77338

Bring the family for a “living history” look at 19th century Texas settler life. Enjoy the sights and sounds of folk music, blacksmithing, black powder weaponry, open fire cooking, and more as the skills of times past are demonstrated by scores of authentically outfitted reenactors.

Fun for the whole family!

 Price: Free!!!

Made for Magazines: Iconic 20th-Century Photographs

Feb 9, 2014 – May 4, 2014

Drawn entirely from the MFAH collection, Made for Magazines: Iconic 20th-Century Photographs surveys this richly historic era through some 80 images published by magazines such as Harper’s Bazaar, Life, Texas Monthly, and Vogue. Pulitzer Prize-winning photographs, first published in newspapers and later in magazines, are also included. Among the artists represented are Richard Avedon, Annie Leibovitz, Gordon Parks, Irving Penn, Edward Steichen, and William Wegman.

Price: $14

ReelAbilities: Houston Disabilities Film Festival

February 9, 2014 – February 13, 2014 (Recurring daily)

The ReelAbilities Houston Film Festival is a festival aimed at promoting awareness and appreciation of the lives, stories and artistic expressions of people with different disabilities. The festival presents award winning films by and about people with disabilities in multiple locations. Post-screening discussions and other engaging programs bring together the community to explore, discuss, embrace, and celebrate the diversity of our shared human experience. Click on the link for this year’s schedule. http://houston.reelabilities.org/films

Price: Free!!!

Russian Spring Bazaar

February 3, 2014 – May 30, 2014 (Recurring every week day)

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

Discover unique ethnic souvenirs and gifts that are hard to find anywhere else. – Wooden figures of Father Frost; – Beautiful icons; – Lovely lacquer jewelry boxes; – Famous blue-and –white china – Gzhel; – Golden wooden tableware “Khokhloma”; – Famous Russian Matreshkas or nesting dolls.

Price: Free!!!