Peridance Capezio Center

Interview with Kristin Sudeikis

2012-02-01T17:22:00.002-05:00

An Interview with:

Kristin Sudeikis
On her piece, "I Am You"
"To be true is to be provocative"

First Impression...
I am glad to have had the honor of meeting with New York contemporary choreographer Kristin Sudeikis, to discuss her recent creative process with the Peridance Contemporary Dance Company. Upon first sight, she was absolutely stunning with soft blonde, wavy hair, and had a hip and trendy yet earthy feel to her. She had a sense of openness as she let the words describing her experience flow freely from her heart.

Her spirit was alive during our conversation and her presence was refreshing. Kristin has an intense love for music and dance that is so deep that it is sensed immediately upon meeting her. Her unique, passionate attitude has brought her a dancer's dream of success.

A Not so Small Background...
Kristin’s credits include choreographer and dancer for the Emmy award winning NBC hit 30 Rock, as well as NIKE, Under Armour, Good Morning America, The Today Show, Microsoft, Oprah and for events at Self Magazine. Her print work includes Shape Magazine as well as Vogue. Most recently, Kristin finished the second successful run of her original production " Even in Silence... " a dance concert including live music, spoken word, and film exploring all those things left unsaid.

In the beginning of February, 2012, Kristin is excited to be traveling to Stockholm, Sweden as a Guest Artist for "The Nike Blast." The Nike Blast is "a two-day event filled with inspiration from the latest and hottest trends within dance and group fitness," including master classes, exciting lectures, and over 60 presenters! Peridance Capezio Center wishes her luck and safe travels!

Kristin recently finished setting her piece "I Am You" on Peridance Contemporary Dance Company (PCDC) and was eager to openly share her thoughts and emotions about her experience. "I Am You" is meant to be "uncomfortable and provocative" as it asks audience members through the use of text and movement "who and what we are as humans and dancers." Following, are the questions and answers I asked Kristin about this piece and her experiences while working with PCDC as well as some of her afterthoughts.

Photo by: Meems Images

What is the story behind this work, and what inspired you to create this particular piece?

The idea came to me when I was watching the Peridance Contemporary Dance Company at their APAP tech, and I thought to myself 'Wow, this is a group of highly technical movers with great presence and power.' I was very affected and impacted by their dancing as well as their individuality, yet I still wanted to learn more about them. So I decided to create a piece about just that, who these people are as artists and as unique individuals. I wanted them to own the edginess of what it means to be in a Downtown New York dance company.

In our first rehearsal, I engaged the dancers' minds with a writing exercise, because I believe that as dancers we always use our bodies first when approaching movement. When we use our minds and delve into our emotions and then approach movement, the movement will have an entirely different personal meaning and its delivery to the audience will give a much clearer message. One cannot communicate clearly until one knows what one is trying to communicate. I wanted them to start with their hearts, and then engage in the movement.

What was your choreographic process like with the Company? What methods did you use to generate movement?
The movement was inspired by the artists' stories and the idea of being in the "now." I wanted to play with the idea of giving support to the people around us as well as being the support of those around us. I wanted the dancers to be vulnerability in motion.

I started with set phrases and then continued to have the dancers write about who they are and what they will be. The process was a dialogue, an ongoing communication that was necessary to explore the self and humanity. The movement has strength, power and vulnerability equally playing on each other.

I believe that audiences are searching and craving for truth, rawness and honesty, and I wanted to give it to them. New York City is provocative, so the audience members are provocative, and the artists should be as well.

Can you give me a little more information about the text the dancers vocalize?
The text derives from their personal stories. However, the dancers' stories on who we are constantly change, as do the rest of humanity's. That being said, the text has a vague structure and the details change depending on the time and place.

Photo by: Meems Images

Kristin teaches Advanced/Intermediate Contemporary Classes

at Peridance Capezio Center:

Monday/Wednesday, 1:00-2:30PM

Tuesday/Thursday, 9:00-10:30PM

Sundays, 2:30-4:00PM

If you missed the Preview Performance catch this piece at PCDC's upcoming season in May!

Stay tuned for times and locations by checking this page:

http://www.peridance.com/peridancecontemporarydancecompany/main.cfm

Photo by: Meems Images

"Start with the heart, and then engage."

2012-02-01T10:04:00.001-05:00

Peridance Capezio Center Presents:

Peridance Capezio Center isexcited to bring together its talented faculty and students for a seriesof choreography showcases in a diverse array of styles, including ballet,contemporary, jazz, tap, and house. As a leader in New York dance education, Peridance takes special pride in showcasing its highly creative faculty and student body in an entertaining and diverse program. Peridance’s bi-yearlyFaculty and Students Showcases offer a perfect opportunity for artists withinthe Peridance rich community to express themselves artistically, and foraudience members to get a glimpse of what the Center is all about.

FACULTY SHOWCASE

February 4, 2012 - 8:30pm

February 5, 2012 - 2:30pm

TICKETS $18/$12 Students

Tickets are available online and at the Peridance Box Office.

See works created by Korhan Basaran, Ashley Carter, Grant Chang, Diego Funes, Yuki Hasegawa, Kim Holmes, Brice Mousset, Sue Samuels, Svea Schneider, Tracie Stanfield, Aaron Tolson, Marlena Wolf, Joseph Zeisky, and Igal Perry.

STUDENT SHOWCASE

February 5, 2012 - 7:30pm

TICKETS $15/$12 Students

Tickets are available at the Peridance Box Office.

See works created by Jason Ambrose, Alexis Convento, Lorena Egan, Ekaterina Galanova, Nikki Holck, Hsiao-Wei Hsieh, Megan Lininger, Daron Wehle, Maayan Trabish, Eryn Renee Young, guest choreographer Nina Buisson, a winner chosen from the Emergency Fund for Student Dancers Benefit, and Peridance Youth Ensemble performing work by Gregory Dolbashian.

All showcases are held at the Salvatore Capezio Theater at Peridance

126 E. 13th Street between 3rd and 4th Ave. PERIDANCE.COM 212-505-0886

To check out the 2010 Faculty Showcase, please visit our youtube video:

http://www.youtube.com/watch?v=8fUvTvoTs_E

2012-01-25T10:26:00.002-05:00

BLUEPRINT Summer Intensive
a brand new contemporary ballet intensive

BLUEPRINT is a brand new contemporary ballet intensive taking place August 20th-September 1st, 2012 at Peridance Capezio Center. This is Peridance's first-ever intensive that not only offers classical ballet, but immerses dancers in new cutting edge contemporary ballet choreography where dancers learn how to expand and transform their line.

Additionally, dancers are exposed to some of today's hottest contemporary and classical ballet masters from New York City Ballet to Ballet Next we are pleased to have Igal Perry, Drew Jacoby, Helen Pickett, Kevin Irving, MIchele Wiles, Sidra Bell, Wendy Whelan, Susan Jaffe and Michele Assaf join our faculty for this intensive.

Dancers participating in the intensive can expect daily classical and contemporary ballet classes followed by repertory of Peridance Contemporary Dance Company, William Forsythe, Nacho Duato, Jacoby and Pronk, Christopher Wheeldon and Sidra Bell Dance New York.

This intensive has already received amazing press from the highly acclaimed DancePulp.com, a forum for professional dancers. Check out what they have written about this intensive at http://dancepulp.com/blog/2012/01/23/blueprint-summer-intensive-at-peridance-capezio-center/

For audition and application information please visit: http://www.peridance.com/Blueprint.cfm

2012-01-16T18:35:00.000-05:00

Dance From The Heart
An Event Organized by Dancer's Responding to AIDS

Peridance Contemporary Dance Company is pleased to be performing at Dance From The Heart as the event takes the stage for its seventh year in a row! This event aims to bring dance artists together to showcase work and support the organization Dancers Responding to AIDS. Peridance Contemporary Dance Company is excited to share the stage with a vast array of artists specializing in various styles from Hip Hop Artist and Choreographer Rennie Harris to the highly acclaimed Paul Taylor Dance Company.

We are delighted to be dancing at this event and would love for you to join us in supporting this wonderful cause!

Date:January 23rd
Time:6:30PM and 8:30PM
Location:
Cedar Lake Contemporary Ballet Theater
547 W. 26th Street
New York, NY 10001

For Ticket Info please visit: http://www.dradance.org/dfth2012/

2012-01-16T16:10:00.003-05:00

Peridance Contemporary Dance Company Preview Performance

Peridance Capezio Center's resident dance company, Peridance Contemporary Dance Company, is thrilled to take the stage this Saturday, January 21st, with a performance that previews what's to come for the Company's major NYC season in May! The Preview Performance will include the sumptuous Spanish flavored "El Amor Brujo," an excerpt of "Constructs for 4," and the first showing of a new work by popular NYC-based contemporary jazz choreographer, Kristin Sudeikis. The Company will also be joined by the Peridance Youth Ensemble performing a new work by Gregory Dolbashian.

"El Amor Brujo" premiered just this past December in Washington, DC, where the Company performed for sold-out houses to live music performed by PostClassical Ensemble under the baton of Angel Gil-Ordonez, and the vocalizations of renown Flamenco cantaora Esperanza Fernandez. The ballet tells the story of a young gypsy woman's love, torn between the man in her life and the spirit of her dead husband. The Preview is the first chance for New York audiences to view the dance described as "profoundly memorable" by Paula Durbin of the Washington Post! "Constructs for 4" was originally choreographed for Complexions Contemporary Ballet. This technically challenging and delicately beautiful piece premiered at the Joyce for Complexions' 2008 season. The piece is now set on and expertly performed by Peridance Contemporary Dance Company for this season, with an excerpt slated for the Preview Performance.

In addition to Artistic Director Igal Perry's choreography, the Preview will be the first glimpse of a new work created on the Company by popular NYC-based contemporary jazz artist Kristen Sudeikis. Kristin is on faculty at Peridance Capezio Center, teaching five popular classes each week! You can learn more about Kristin on her faculty page http://www.peridance.com/facprofile.cfm?FID=792&name=Kristin%20_Sudeikis . The Company has also invited its youth company, the Peridance Youth Ensemble, to perform a brand new work choreographed by Gregory Dolbashian, whose work is becoming more and more recognized through his company, DASH Ensemble.

Peridance Contemporary Dance Company

Preview Performance

Saturday, January 21 at 8:30pm

Tickets $20

Get tickets to the Preview Performance online ((LINK: http://peridance.ticketleap.com/peridance-contemporary-dance-company-preview/ )) or at the Peridance Box Office! The performance is followed by a reception where you can meet the artists.

Get a sneak peak of "El Amor Brujo" and check out our youtube video! http://www.youtube.com/watch?v=bDPKYzGACSM

Meet the Company: Part 3

2012-01-02T16:59:00.005-05:00

The identity of Peridance Contemporary Dance Company is shaped by original choreography, versatile dancers of diverse backgrounds, classical and contemporary accompaniment, and collaborations with live musicians. While upholding the elegance and articulation of classical ballet, Igal has structured the Company to explore and experiment with innovative movement and design. The Company, featuring 8 highly versatile dancers, has been rehearsing at Peridance Capezio Center for a few months now, in preparation for its upcoming debut performances.

Today's Featured dancer is Lauren Jaeger. Stayed tuned to learn about all of the dancers!

LAUREN JAEGER

Please tell us where you are from and something unique about your hometown!

I am from Poughquag, NY (near Poughkeepsie). My high school had over 4,000 students and has grown since.

What was one of your most memorable onstage or backstage moments?

After Jacquelyn Buglisi set Requiem on some of us at Marymount [Manhattan College] my freshman year, a couple of us were asked to perform the piece with the company at its benefit performance at the Baryshnikov Arts Center. I was thrilled! …It was the first time I was really exposed to such an extent to Jacquelyn Buglisi's and her dancers' beautiful artistry. I was honored… But [as] if that wasn't enough, Mikhail Baryshnikov was at our performance, watching ME perform! And, Desmond Richardson was a guest artist at the event. I was too embarrassed to ask Mr. Baryshnikov for his autograph but, since Desmond Richardson was backstage with us, I somehow worked up the courage to ask him. I will never forget his response, "Of course! Moments like these are like an ‘A+’ for dancers. You realize it really is attainable!"

How did you get into dance?

When I was 4, my mom asked if I wanted to dance and I said "ok." My first class took place the same day that we moved into our new house and the movers mistakenly packed the sneakers I was supposed to wear that day. The teacher told my mom I wasn't allowed to wear my ballet shoes outside. So my feet wouldn't touch the ground, my mom carried me from the car to the studio!

What’s your favorite thing to do when you’re not dancing?

I love science, especially astronomy and physics. So, I read a lot of science fiction. I also love to play Twister and ultimate Frisbee, and boogie boarding at the beach.

What are your go-to foods/drinks to get through a tough day of rehearsals and classes?

Water! Bananas, cereal bars, nuts, tea, and sometimes a sandwich.

Did your family play a strong role in guiding and supporting your career?

Yes. My mom always took jobs at the studio where I was enrolled, so that my sister and I could take as many classes as we wanted. Our brother was constantly dragged to our classes and performances. My grandmother never missed a performance until she passed away. I always think of her right before a performance.

What advice would you give to pre-professionals who are about to enter the professional world or to young dancers deciding if they want to make dance their future?

You need to REALLY want it. It's not easy; the work is hard and the financial compensation is not always equal to the amount of work you put in. I have six jobs right now: three company (dancing/performing) jobs and three teaching jobs. Juggling everything to make rent is challenging. However, if dancing is what you are passionate about and what you really want to do, than it's worth all the hard work and more. We are lucky that we get to do what we love for a living. Very few people can say that.

Who has been your most influential teacher or choreographer thus far? Please tell us a little about why!

Gina Chiavelli (my first ballet teacher) stressed the importance of focus and work ethic. She would always insist on … adhering to a strict dress code and complete attention in class. To this day, I still have a bun and wear tights and a leotard in every ballet class.

Around the age of 16, I had started thinking of alternate careers and college majors, but James Robey helped remind me that dance was something I was truly passionate about, not just an after-school activity.

While majoring in Dance at Marymount Manhattan College, there were periods when I would become so focused on perfecting an aspect of my technique that I would forget to dance and begin doubting myself. Luckily, Jean Emile, one of my ballet teachers, was there to remind me that technique, while important, wasn't everything. Jacquelyn Buglisi, Denise Vale, and Terese Capucilli have pushed me further than I thought possible. There's always more to give. Dance, for me, is not superficial. In Ms. Buglisi's work I am constantly challenged to make every moment truthful and real.

Adjusting to life after college can take a bit of time. Finding dance classes in which I felt comfortable and challenged, and that I could afford, took a while. I found exactly what I was looking for at Peridance Capezio Center. Igal Perry is a fantastic teacher and director who not only pushes you further, but also creates an atmosphere in which every student is encouraged to improve his own technique and experiment with new movement.

What are one or two things you must have in your dance bag?

A full water bottle.

Is there a place in the city you would recommend as a must see or must do (restaurant, café, park, gallery…)?

Ice skating in Central Park!!

2012-01-02T14:29:00.000-05:00

Save the Date!

The School at Peridance presents our 2nd Annual KIDS FAIR at the Peridance Capezio Center!

Sunday, January 15th, 2012 from 11:00am – 3:00pm

Join us for a day of FREE sample dance classes in African, Salsa, Creative Ballet, Tap, Hip-Hop and more! Meet and greet teachers from The School at Peridance while enjoying refreshments, raffle prizes and live DJ music!

With booths sponsored by local kid-centric organizations, the event is a great way to learn more about other artistic programs and camps for kids!

While the event is perfect for kids 5-10, children 7-10 will have a special opportunity to make a music video with fresh, innovative Hip-Hop moves. In addition, NYC Guitar School will be teaching free mini-lessons for ages 8 and up!

Event sponsored by: Atlantic Acting School, Bee Tutored, Camp Broadway, Capezio, Citibabes, Curious Jane, French Woods Performing Arts Camp, New York Chess Kids, New York City Guitar School

APAP Artist Showcases at Peridance Capezio Center

2011-12-16T15:33:00.001-05:00

Peridance Capezio Center is proud to present an exciting collective of dance companies in two programs during the 2012 Association of Performing Arts Presenters Conference (APAP) at its Salvatore Capezio Theater.

Watch a trailer of Peridance's APAP Showcases

APAP provides a unique and encompassing opportunity for artists to showcase their work in a platform that will put them in contact with arts presenters from across the globe.

With over 25 years of experience in the dance arena, a brand new theater, and a contemporary perspective, Peridance has carefully curated its programs to reflect the artistic excellence, creativity, diversity and audience appeal that presenters are
looking for.

For more information check our website.

Meet the Company: Part 2

2011-12-06T18:29:00.001-05:00

Today's Featured dancer is Nikki Holck. Stayed tuned to learn about all of the dancers!

Nikki Holck

Please tell us where you are from and something unique about your hometown!

I was born and raised in Honolulu, Hawaii for the most part, but I moved away when I was fourteen. My family remained in the islands; since then I’ve returned home at least once a year. Hawaii is a truly unique place. When I was growing up my father always reminded me to look around and take in the beauty of my surroundings. I listened, but never quite understood why he was so adamant about my recognizing this. When I moved away, I was able to appreciate the special place that Hawaii is. The culture, the gentle people, the serenity of the sea breeze, the majestic ocean, the luscious rainforests- how lucky I am to call this place home.

How did you get into dance?

My mom took me to see a local dance recital, and I remember the colorful costumes and most especially the young dancers moving with the music onstage. I asked my mom if I could take ballet. After a few years I hit an age where I thought that ballet wasn’t “cool.” I wanted to take jazz and karate. I wanted to sing. I wanted to be an actress. I quit dancing for a few years, and in that time it became clear that my life was somewhat empty without dance. So I returned with a renewed energy, determined to become a professional dancer.

What’s your favorite thing to do when you’re not dancing?

There is a part of me that feels very attached to the ocean. After moving away from Hawaii, the ocean, the sea breeze, the salty smell of the water - these beach elements are what I missed most. Whenever I am home, I start my day with a walk in the sand, preferably just as the sun is rising. It’s the most magical time of day - quiet anticipation of the endless possibilities of a new morning. Water is an interesting creature; its constant motion and ever changing state are curiously exciting. When I am in New York, my favorite thing to do when I am not dancing is to sit by the Hudson River with a book, notepad, and pen. I walk along the water or find a nice place to sit and read and write.

What are your go-to foods/drinks to get through a tough day of rehearsals and classes?

Fresh fruits and dark chocolate.

Did your family play a strong role in guiding and supporting your career?

Absolutely. I wouldn’t be where I am today if it weren’t for my family’s support and belief in me. I am so blessed to have a family who believes that it is possible and beautiful to dedicate one’s life to the arts.

What advice would you give to pre-professionals who are about to enter the professional world or for young dancers deciding if they want to make dance their future?

Peridance's The Nutcracker (2010)

The most important qualities that I have learned from dancing have been dedication, determination, and perseverance. I think that all young dancers whether or not they choose to make dance a part of their future should remember that the way they mentally approach each class or rehearsal can be more important than the actual physical “product” that results from the dancing that is done in those classes or rehearsals. If you enter a room with focus, determined to learn and striving to give your best, you will leave feeling more satisfied and fulfilled. More importantly, a focused practice - not being afraid to take risks and learn from mistakes, being present in each situation - will teach your body and mind the skills to become a powerful presence in any situation, be it dance or another profession.

What are one or two things you must have in your dance bag?

Biofreeze and my mini Thera-Roll foam roller.

Is there a place in the city you would recommend as a must see or must do (restaurant, café, park, gallery…)?

My favorite places in New York are the Hudson River Park, most especially the piers south of 14th street. The Guggenheim is another must see. One of my favorite restaurants is Westville East. Liquiteria on 11th Street and 2nd Ave. is another one of my favorite places to hang out.

Meet the Company!

2011-11-11T14:50:00.001-05:00

I am sure many of you have heard that the Peridance Contemporary Dance Company is back in action and maybe you have even caught a glimpse of a rehearsal in studio 4. I want to take the opportunity to introduce the company to everyone! The company returns to the stage this season after a three-year hiatus while Peridance went through a major transition into its new home. Established in 1984, by Founder and Artistic Director Igal Perry. We are so excited, for the first time in the Company's history, to have a resident performance venue, our beautiful Salvatore Capezio Theater!

Today's Featured dancer is Shay Bares. Stayed tuned to learn about all of the dancers!

SHAY BARES

Shay received his early training at The School of Ballet Tyler under Kym Lanier. Through workshops, intensives, and conventions, he was exposed to diverse movement at an early age. In his youth, he was a member of Ballet Tyler, a local non-profit youth company, to which he returned for two seasons as Artistic Director. In 2008, Shay joined the Fellowship program at the Alvin Ailey School. Shay has danced with various modern, contemporary, ballet, and aerial companies including Kim Robards Dance, Peridance Ensemble, Steven Petronio Company, Basaran Dance Works, NY2 Dance, and Grounded Aerial. Shay has taught at workshops and conventions across America, and has won overall awards at regional and national competitions.

Pleasetell us where you are from and something unique about your hometown!

I'm from Tyler,Texas. It's the rose capital ofthe world! Every rose in Tyler hasa fairy in it, and every fairy will grant you one wish, but every wish has tobe for more roses soooo...it's kind of a bummer.

What wasone of your most memorable onstage or backstage moments?

My very first dancerecital when I was nine years old; it was a disco jazz piece. We had Afro wigs,mine was big and green. In myexcitement, I over fluffed it and accidentally made it kind of loose. When itcame time for the big headroll cannon, my big green wig went flying across thestage. I danced across the stage,picked it up, and put it on backwards. I finished the piece with the tails of the headband dangling in myeyes. And scene!

How didyou get into dance?

I started dancing atage nine when my Mom (who danced from [age] 3-18) suggested my older brotherand I sign up. I thought this to be a horrible idea and that dance was only forgirls. My big brother (only a year older but my idol) thought it would be fun,so I automatically decided dance was the best idea ever! After the first year Iwas hooked, and have been shakin’ it ever since.

What’syour favorite thing to do when you’re not dancing?

When I'm not dancing Iam fashioning. I've been designing clothes since I was young, taught myself tosew last year, and have been avidly making clothes ever since. I've had workshowcased in a film in Italy and other venues. I plan to make a dance work onmy own incorporating the clothing I've made into a film. Exciting, right?!

What areyour go-to foods/drinks to get through a tough day of rehearsals and classes?

My go-to foods anddrinks to get through class are skittles and Dr. Pepper! Ok I'm kidding! I usually drink coffee and eattuna....I have great sympathy for my dance partner...coffee/tunabreath...yikes! Oh and lots andlots of water!

Photo by Krista Bonura

Did yourfamily play a strong role in guiding and supporting your career?

As I said before, mymother started me dancing and was extremely supportive. My dad, however, was the driving forcebehind my dance career. I gotburnt out in my mid teens and tried several times to quit, but my dad said Iwasn't giving up my God-given ability because I didn't feel like doing[it]. So Thankful for him!

Whatadvice would you give to pre-professionals who are about to enter theprofessional world or for young dancers deciding if they want to make dancetheir future?

My advice for youngdancers or any dancer at all is: lose the ego. No one wants to work with a dancer, no matter the talentlevel, if he thinks he’s Gods gift to dance. Be humble, pay attention, workhard, and encourage the dancers around you. We're all in this together and needeach other’s support!

Who hasbeen your most influential teacher or choreographer thus far? Please tell us alittle about why!

Kym Lanier, my danceteacher at home in Texas. A petite, beautiful red headed woman with thebusiness sense of a Wall Street mogul. She never let me get away with beinglazy and taught me how to conduct myself in a professional manner. [I] owe hermy career.

What areone or two things you must have in your dance bag?

In my dance bag thereare always lots of bobby pins (gotta keep up the glamour!) and multiple pairsof socks. I feel most comfortablein socks but shred them like it's my job!

Is there aplace in the city you would recommend as a must see or must do (restaurant,café, park, gallery…)?

My go-to place in thecity? I don't have one location tovisit but adore being in Soho; the fashion is so inspiring and the people seemso creative. The street vendors with their original work are wonderful, and thehole-in-the-wall restaurants and coffee shops are so neat. My other go-to place is my apartment inHarlem. Come visit me and let'sdance on my roof!

Faculty Spotlight

2011-09-06T19:14:00.000-04:00

In March 2011 the 15th Annual Internationales Solo-Tanz-Theater Festival in Stuttgart, Germany awarded First Prize for Choreography to frequent Peridance Guest Artist, Sidra Bell for the solo Grief Point. Dancer Moo Kim from Korea was awarded First Prize for Performance in Grief Point. The solo will tour Germany in November 2011 and have its South American debut in Brazil in April. Congratulations from everyone at Peridance Sidra!

For more on Sidra Bell and her workshops at Peridance Click here.

Watch the winning solo below.

Grief Point, A Dance Work by Sidra Bell

Buglisi Dance Theatre Repertory Workshop & the Table of Silence Project

2011-08-24T17:52:00.006-04:00

Be a Part of a Historic Event!

Next week Peridance is excited to have Jacqulyn Buglisi, Artistic Director of Buglisi Dance Theater in the studio. Jacqulyn and some of the company’s dancers will lead a workshop, which will begin with a short ballet barre, followed by improvisations that explore dance as a language that enhances dramatic focus and expressiveness.

Buglsii Dance Theatre's Table of Silence Project Workshop at Peridance Capezio Center will provide dancers with an opportunity to share in BDT's creative process through the style and movement vocabulary that will be used in the Table of Silence Project 9/11, a site-specific performance for 100 dancers commemorating the tenth anniversary of September 11th. Emphasized are focus and the dramatic use of opposition onstage, as well as performance elements and techniques to enhance a dancer's communication with the audience.

Workshop participants may be asked to perform in the historic Table of Silence Project 9/11 event on the Josie Robertson Plaza at Lincoln Center, Sunday morning, September 11th. This poignant, 12 minute ceremonial event - creating a peace labyrinth - will culminate symbolically at 8:46 a.m. with the dancers encircling the Revson Fountain, raising their arms in a universal gesture of peace.

Buglisi Dance Theatre Repertory Workshop

Aug 29, 2011 - Sep 2, 2011; Mon - Fri
11:30 AM - 1:00 PM

Click here to register.

For more information on Buglisi Dance Theatre visit their website.

Certificate Program End of Year Concert 2011

2011-08-15T17:31:00.000-04:00

As summer draws to a close and we here at Peridance get ready for a new semester I wanted to share the video of the Certificate Program students in their End of Year Concert. They did a spectacular job and all their hard work throughout the year really paid off! We will be welcoming our returning and new students to Peridance on September 6th to start the fall semester!

We are currently accepting enrollment for the Spring 2012 Semester. For more information check out the website or email Marlena Wolfe at certificateprogram@peridance.com.

Don't forget to like us on Facebook!

Company Spotlight

2011-08-08T19:32:00.004-04:00

Peridance Faculty member, Marinda Davis took a leap of faith and began her own company, marinspired a little over a year ago. While they have had ups and downs on the way the company has already performed at Symphony Space, The Young Choreographers Festival, and the Joyce. This August 27th & 28th Peridance is excited to welcome marinspired to the Salvatore Capezio Theater for the premier of "breakable." I was able to speak with Marinda about the company's development, how the journey has gone so far, and her own journey as an artist.

1. Tell me a little about how marInspired came into formation as a company?

We are actually trying to get away from the term "company". I do not see us aligning with the term's connotation amongst New York’s dance culture. I guess if we were to be defined it would be as an "experience." Instead of trying to put a circle into a square we are trying to make a different shape entirely! We are a combination of movement and theatre with a large emphasis on all that is musical. While I would be thrilled to perform at the Joyce, or Dance Theater Workshop, or any of the other amazing venues in this city but, I do not see us fitting in there. Ultimately, I want to be in venues like Madison Square Garden. I want to bring dance to the masses. It may seem like an outlandish goal, but I feel like it can one day be done. I know there's a niche and desire among the masses for dance in the same way that there is for music, a niche that has been capitalized on by the recording industry. It may have to be done in collaboration with big name recording artists first, but eventually I believe the demand can be as much for dance as it is for music. SYTYCD has started to fill that gap but I'd like to do it in a more artistic setting. The LA contemporary dance scene is booming and I want to bring that excitement and support surrounding contemporary dance to New York. There's a void and why not start filling it?

I feel like dance has gotten so elite. The stories we tell are real and something anyone can relate to. I do not think that a story can ever get old; a broken heart was just as devastating 200 years ago, as it is today, and will be 200 years from now. Dance is often at the bottom of the artistic funding totem pole and I think bringing the art to a more tangible level is a major goal of what I'm doing.

I am on the convention circuit, and reach tens of thousands of very talented kids a year. The talent out there is mind-boggling. For years, I've seen these proficient kids move to New York and not get work. There is so much under-used talent out there; it makes me nauseous. One of the reasons I created marInspired was to provide a venue for these artists to dance in works that utilize their abilities. It not only eases their transition into the New York dance scene, but also allows them to perform work that challenges them. I was very lucky to have a set of incredible mentors and I am proud to pass that on to the next generation.

2) This is the company’s second year, how have things been going?

It has definitely been a journey! I knew but I didn't TRULY know what it would take to do this. I constantly find myself physically, emotionally, and financially drained, but simultaneously so happy. There are days I have to pinch myself; dreams are definitely being realized and it's beyond anything I ever imagined.

The first year we mainly performed at festivals. We presented a piece at Symphony Space at the Young Choreographer's Festival as well as at DRA's Dancin Downtown at the Joyce. To present work at such renowned venues our first year out was pretty incredible. Even so, we've had a lot of false starts, a lot of disappointments, and a lot of lessons. As we all know, there are aspects to and people within our industry that can be disheartening, so it's been a long road to this beautiful moment we find ourselves in now.

I have come to see that there is truly a reason for everything. This current group of artists feels right to me. There is positivity, passion and talent everywhere I look. There’s definitely something special brewing. The support we have is overwhelming and I feel grateful and blessed daily. I have 18 unique artists, 3 junior apprentices, a producer, backers, and an incredible creative team helping shape a show of close to 20 short story pieces. Hard work and timing have brought us here but I still feel so lucky.

3) What do you think the hardest part of being a choreographer is? Any advice you would give to new/aspiring choreographers?

Without question, putting yourself out there in such a colossal way and the internal and external pressure that accompanies it. It's your life and it's your work and it's deeply personal. It's interesting how much doubt and instant criticism surrounds new projects and sadly, it almost always comes from people within the industry. People have a sort of fear-based reaction; most act as though you're doomed. Is it rational to be fearful of doing the work we feel we were put on this planet to do?

Of course, I am scared. The fear can be debilitating if you let it be. Pat Conroy, one of my favorite author's once said, "every one of my books has almost killed me." Most creative minds will instantly understand that notion and few will blink at the idea. The doubt, the pressure to constantly top yourself and consistently produce brilliance has driven many an artist off the deep end. I've had to build a sort of psychological shield to keep separate me, my process, my work and the natural anxiety over the reaction to that work and the things being said about it. I think any creative mind can relate to being "tortured" by their gift and the expectations that come with it. Liz Gilbert says in her lecture, A New Way to Think About Creativity; "just continue to show up for your piece of it. If your job is to dance, do your dance. If the divine genius assigned to your case decides to let some sort of wonderment be glimpsed for just one moment through your efforts then…'ole. and if not, do your dance anyhow, and ole to you just for having the sheer human love and stubbornness to keep showing up."

So ....show up. Never stop learning. Remain humble. Don't expect. Work hard. Enjoy the process over the product's results. Think of your gift as a loan. Attempt to be self made. Be a good person. My talent has gotten me far, but who I am has gotten me farther a fact made clear to me by support that currently surrounds us. Give as much as you can; it always comes back around when you least expect it.

4) What is the inspiration behind "breakable?"

Life! Relationships, friendships, loss, the ups, the downs (;) there isn't one piece in the show that doesn't come directly from a page of my own story. Some pieces more abstractly and others literally, but they are all touchable and open to interpretation by both the dancers and the audience.

The main theme is the fragility of humans: physically, mentally, spiritually, and emotionally. I've been through a lot physically in my life, but I am constantly amazed by how matters of the heart bring you to your knees just as fiercely. I have gone into cardiac arrest four times in the past three years and on two of those occasions my heart completely stopped. Obviously these experiences underlie the themes of "breakable." Anybody who has crossed over to the other side can tell you that they are both instantly and eternally changed. The perspective you gain from coming back is illuminating. The last time I had this experience was in November and it's taken me a long time to come back from it. In fact, I am still coming back and not sure if I ever fully will. Mortality was certainly a factor in the push for this show to finally happen. Why wait a second longer? Why do it any other way than big? Clichés are clichés because they are generally true. Life is short. Work hard and show up, until you can't.

For more information on Marinda's classes at Peridance click here.

For more information on marinspired click here.

Faculty News

2011-08-08T18:31:00.012-04:00

It has been a long hot summer and there is only one month left to play in the sun. See what our Peridance Faculty has been up to and what they have planned for August!

Contemporary teacher Ashley Carter’s company, DoubleTake Dance Co. co-directed by Vanessa Martinez de Baños, will collaborate with Peridance to organize a Benefit for Japan on Sunday September 18th, 2011! Please come and support this important event, which will feature some very special guest artists. More details coming soon on the Peridance website & www.DoubleTakeDanceCo.com.

Contemporary teacher, Marinda Davis's company, marInspired; the storytellers is premiering "breakable" on August 27th-28th at the Salvatore Capezio Theater. You can purchase tickets here. For more on Marinda and her company read the article on this blog!

Contemporary teachers, Marijke Eliasberg & Jana Hicks present their The Next Stage Project Summer Choreography Workshop Performances August 11th & 12th: 8:30pm, City Center Studios, 5th fl. The Next Stage Project company will also perform in the Peridance Faculty Showcase on Aug 13 & 14!

World Jazz teacher, Cecilia Mart's company, CECILIA MARTA DANCE Co. will perform Saturday, August 13th in NYC Summer Stage 2011. The performance will be at 8:00pm in Marcus Garvey Park, admission is FREE! The company also performed on July 30th at the Central Park Mainstage also as a part of Summer Stage 2011.

Jazz teacher, Sue Samules is joining the Peridance Faculty August 16th to teach Broadway Jazz Dance classes on Tuesday and Thursday mornings from 10-11:30! The class will touch on various facets of Jazz Dance which is used on Broadway such as, theater, lyrical, jazzy, latin and funky. Her dance company, Jazz Roots Dance Company will be performing on August 13th and 14th in the Peridance Faculty Showcase!

Tap teacher, Nancy Smith recently completed her 225 hour Registered Yoga Teachers training at the Wilmington Yoga Center in North Carolina. She is now a certified by The National Yoga Alliance, congratulations Nancy!

Ballet teacher, Kathryn Sullivan is currently working on her third DVD project for Insight Media, an educational documentary on choreographer and teacher, Hanya Holm.

Flamenco teacher, Nelida Tirado's next performance is opening Thursday August 11th! For more info click here.

Workshop Spotlight

2011-07-19T18:24:00.011-04:00

Peridance Martial Arts Instructor, Joseph Zeisky will be teaching a Bagua/Qigong Workshop this Summer!

The workshop, "Three Saturdays" (July 23rd, August 20th & August 27th) focuses on a unique principle of Bagua. Unfamiliar with the practice myself I asked Joseph if he would give me an introduction to Martial Arts and explain what drew him to make it a life practice.

1. How did you first get involved in studying Martial Arts?

When I was 8yrs old my Father took me to see the classic martial arts movie, "Enter the Dragon", starring the iconic movie star Bruce Lee. Like most kids who saw that movie in the early 1970's, I too was greatly inspired to start learning martial arts. Soon afterwards I begged my Father to sign me up at a local Karate school near our Sunnyside Queens, New York home. Most of my martial arts exposure and influence, from early childhood up to my teenage years, came from New York City's martial arts movie theaters, especially Chinatown’s Music Palace Theater, which was located off of Canal St. and Bowery. Almost every Saturday after work, my Father and his good Chinese friend “Uncle Ho” would go for Chinese food and Kung Fu movies and they’d always take me along...It was great fun!

2. What drew you to select the particular forms you have chosen to focus on in your career?

Most of those martial arts films I was exposed to as a kid usually demonstrated the more dramatic styles like Karate, Shaolin Kung-Fu, Snake, Tiger, Monkey, Crane, Praying Mantis, boxing, jujitsu and other external styles. So as a teenager, when I first encountered the much more slowly performed and less dramatic forms of the Internal Martial Art of Tai Chi Chuan, I was simultaneous mystified and intrigued. At the time, it was quite the radical departure from what I was used to in terms of what I thought a martial art should look like and feel like, but I was pretty much hooked the first time I saw Taichi performed at an art gallery/Taichi school in Soho, NY in 1984. Even though I couldn’t explain exactly why I liked it so much, I intuitively knew there was something there well worth exploring further. It’s now been twenty-seven years since my first Taichi class and I’m really happy I followed my intuition. The core principles and practices of Taichi further led me on another exciting journey of studying and practicing other dynamic and equally powerful Internal Martial Arts styles such as: Bagua, Xingyi and Aikido. Presently, Bagua and Taichi are the primary arts that I teach and practice.

Faculty Spotlight: Greg Zane

2011-06-24T16:57:00.010-04:00

Greg Zane has had a career in the performing arts as a dancer, actor, director, choreographer, and teacher. Learn a little about his approach to teaching and his work as a director.

What drew you to dance?

As a child I watched musical films and always wanted to dance, but I was never given the opportunity to take classes. I took my first dance class in college at the University of San Francisco and immediately fell in love. As a result of my experience in college I chose to go to the Atlanta Ballet for a year and a half and was privileged to attend David Howard’s Studio on scholarship where I studied with some of my future mentors Peter Schabel, Diana Cartier, and Alaine Haubert.

Training with them I gained a greater insight to my own body making me a smarter dancer and preparing me to work through technical problems myself once I began performing professionally. I was able to breakdown the steps and discover where I need to alter my approach to the technique to attain the quality I wanted.

What brought you to New York?

I moved to New York, in 1996 after being cast in a revival of The King & I, a show that has brought me many opportunities since then.

How did you begin teaching?

Peter Schabel asked me to substitute teach some of his classes and at a later point Diana Cartier need a sub for her open classes. After testing teaching out as a sub I realized that it was a more fulfilling job than waiting tables. Gradually I took on my own teaching jobs and developed a real love it.

Featured Workshop

2011-06-24T13:31:00.006-04:00

Lydia Johnson and Company are at Peridance next week for a Repertory Workshop.

June 27-July 1, 11:30-1:00pm

Photo by Kokyat

Jessica Sand has been a member of Lydia Johnson Dance (LJD) since 2004 and has originated major roles as well as serving as a costume designer and rehearsal directory for the company. She was generous enough to share some of her experience and wisdom from her time with LJD.

Where are you originally from?
I grew up in Iowa and went to college at Texas Christian University

What drew you to work with LJD?
I grew up training primarily in ballet but fell in love with modern dance when I went to college. Lydia's movement is grounded in ballet vocabulary and aesthetics, but she also incorporates the weightedness and momentum that I find so fulfilling in contemporary movement. The fusion of the two is really satisfying.

Photo by Kokyat

Do you remember the first moment you met Lydia or the first day you worked together?

When I first moved to New York a friend of mine was dancing with LJD and arranged for me to come to a rehearsal as a sort of informal audition. Lydia was creating new material that day and I really enjoyed her process-- she explored ideas with focus and enthusiasm, and was open to her dancers' input. Between the originality of the movement and the atmosphere in the studio, I knew I'd found something really special.

What is your favorite memory from rehearsal with LJD?
I love creating new movement one on one with Lydia. She has a remarkable ability to choreograph movement that's truly well suited to the individual dancer she's working with, and being a part of that is really exciting.

Photo by Kokyat

What do you always have in your dance bag?

M.E.L.T. balls, foot tape, and arnica massage oil

What advice would you give to dancers interested in dancing with LJD or a similar company?
I think that, while being technically strong is obviously important, what really makes a dancer stand out and what Lydia really appreciates in her company members is their ability to let their personality show through their dancing. Not in a flashy, "look at me" way, but in the honesty and nuance of their movement. Lydia's work tends to have a large gestural component to it, which I often find gives the choreography the feel of a conversation. When you can find that element of conversation and make it true for yourself, it gives you the freedom to really speak through your dancing.

What would you say are the "trademark" moments of a class or rehearsal with Lydia?
A lot of Lydia's work has themes of community, and that definitely carries over to rehearsals and classes. Everyone in the studio is a respected member of that community and while we're all working towards a common goal, no one is expected to sacrifice their individuality in the process. When you take away the idea of one interpretation of the movement being right or wrong you gain the freedom to really experiment and take risks. That open mindedness fosters an environment in which there's a lot of respect and support, not to mention a lot of friendship and laughter. It's a really refreshing way to work and learn.

Read a review of LJD's last show by Philip Gardner here.

To register for the workshop click here.

Faculty News

2011-05-25T13:48:00.011-04:00

Check out what the Peridance Faculty are up to this June!

Jazz teacher, Tracie Stanfield's company, Synthesis Dance Project, will be performing as guests of the Young Choreographers Festival at Symphony Space on June 11. The company will also be performing at a gala benefit for Drea's Dream on June 14 and at The Jersey Arts Shore in Ocean Grove, NJ on June 25.

Contemporary teacher, Korhan Basaran and Dancers are having a gala performance with two world premieres at the Ailey Citigroup Theater on the 21st of June, 8pm...one night only!

Theater dance teacher, Bill Hastings is now a faculty member for the on going Jack Cole Workshop starting at Steps NYC beginning in June. He is also going to Naples, Italy to teach and adjudicate the year end school exams!

Contemporary teachers, Marijke Eliasberg & Jana Hicks' company, The Next Stage Project (TNSP) presented a new work at: Pushing Progress The Showcase Series, May 21st at MMAC. TNSP will take 13+ dancers

from the USA & Europe to Béziers, France May 31- June 6th to perform and teach! After the performance in France, Jana & Marijke travel to the Netherlands to teach master classes in Amsterdam and The Hague.

Hip Hop teacher, Nobuya Nagahama is producing his own show this summer, "Dans-A-Live" at Public Assembly (70 North 6th St. Brooklyn, NY) 7:30pm on Sunday, July 10th. Ticket: $10 in advance, $15 at door. For more info, check his website. He is also performing June 6th at "Le Squeezebox Cabaret," 9:30pm http://www.lesqueezebox.com/.

Belly Dance teacher, Andrea Beeman will be performing at the following events this June: Tagine Dining Gallery presents Andrea Anwar & Deirdre, Saturday, June 4th 9:30& 11:30PM www.taginedining.com, Greenhouse Holistic June 17, 9:00PM (783 Driggs at S.4th, Williamsburg, Brooklyn), Crest True Value Hardware, June 18, 4:00-7:00PM (558 Metropolitan Ave Brooklyn, NY), & Le Scandal Saturday, June 2510:00PM (The West Bank Cafe, Laurie Beechman Theatre 407 West 42nd Street).

Also Andrea will be hosting her 6th Annual Summer Celebration, featuring performances by Andrea & her students the Dancing Rubies & Rubettes will be June 11th at 7:15PM. MBR (Moving Body Resources) 112 West 27th Street, 4th floor, NYC between 6th & 7th Avenues on the south side of the street ring buzzer 402.

Adult Beginner Workshops

2011-05-23T15:19:00.002-04:00

Looking to try something new this summer, get back in shape, or perfect your basics? Sign up for one or more of our Adult Beginner Workshops. These 5 consecutive classes are a fun, pressure free way to get back into dance or try out a style for the first time and with beach weather coming, there is no better time to start moving!

Visit our website for more information & to pre-register.

Faculty Spotlight: Bil Badolato

2011-05-16T18:15:00.007-04:00

Bil Badolato had an excellent dance career including seven years as a member of the Metropolitan Opera Ballet. He currently teaches six-days a week at Peridance. Read about his career and how it has inspired his teaching philosophy today. He will be teaching the Ballet section of the Adult Beginner Workshop Series this Summer!

1. Who was your favorite dance teacher and why did he/she inspire you?

That would be Walter Camryn, who had a dance school with Bentley

Stone, the Stone-Camryn School of Ballet.

Camryn and Stone were choreographic and performing partners with Ruth Page, who was the dance director and choreographer for the Chicago Lyric Opera, and a giant in the ballet world. I studied with Camryn and Stone

for twelve years. Camryn was teaching more than ballet and demi-character dance. He introduced his students to music, painting, sculpture, photography, philosophy, and literature. He took generations of students to the Chicago Symphony, The Art Institute, and of course to the ballet. He had viewings in the studio of films ranging from Martha

Graham to the Peking Opera. The atmosphere of the studio was always one of community and collaboration.

In New York I was greatly inspired and taught by Vladimir Dokoudovsky with whom I was student and friend for twenty-five years. He was a premier danseur with Ballets Russe, and taught seven hundred thousand ballet classes in New York City. He began teaching company and school classes for American Ballet Theater, then at Ballet Arts at Carnegie Hall, and finally at The New York Conservatory of Dance, which he created and built, literally with his own carpentry skills and the help of his wife Patricia at Broadway and 56th Street. His classes were beloved for their bare

bones barre, original and poetic adagio, and brilliantly efficient petit and grand allegro. He sometimes suggested "Do it wrong" when a student was hesitant. When questioned about this, he explained that you must give yourself permission to dive into the process without judging yourself in order to give your body the chance to find how to successfully execute the dance phrase. His personal maxim was, "Art is truth, truth is beauty, and beauty may one day save the world."

Also in New York City I was very lucky to be a member of the Metropolitan Opera Ballet as dancer and choreographer. The company hired in rotation master teachers for two month residencies to teach company class. Therefore I was blessed to study with Hector Zaraspe, Patricia Wilde, David Howard, Barbara Fallis, Royez Fernandez, William Dollar, Gabriella Darvash, Alfedo Corvino. Outside the Met, the city was teeming with great teachers, and I studied ballet, demi-character, jazz, and tap with Maggie Black, Eldon Day (Ed) Parish, Natashia Boscovitch, Lawrence Rhodes, Yurek Lazowsky, Teresita Latana, Eddie Williams, Bob Audi, Luigi, Michael Owen, Carlos Orta, all of whom were marvelous purveyors of the dance craft.

2. What first drew you to dance?

Seeing the concerts performed by the Stone-Camryn Ballet. I was a member of a children's acting company, "The Jack and Jill Players", from the age of eight through ten. We performed standards for paying audiences. I had roles in "I Remember Mama", "By the Skin of Our Teeth", and "Our Town". I was precocious, and unfortunately the director cast me as George in "Our Town". During a rehearsal, I was unable to cry over the grave of my character's young wife Emily because the actress playing Emily held me in contempt, perhaps because she was five years my senior and quite worldly at that. The director threw his script on the floor and snarled "I can't stand your acting". That day I resigned from the troup.

Meanwhile my brother Dean, who was six years old, had requested and received ballet training after our Mom took us to see a film of the Bolshoi's "Swan Lake." Dean was a natural and he was already performing in concerts with the Stone Camryn group alongside guest alumni who were soloists and principals with American Ballet Theater, New York City Ballet, and Broadway. For example, in the Walter Camryn ballet, "In My Landscape," Dean danced the young child personage of the young man danced by John Neumeier, who since then has piloted for decades the famed Hamburg Ballet. From the first time I saw Dean and these amazing artists perform, I realized that story telling and poetry is possible without speaking. Plus, I loved classical music. I joined my brother in studying at Stone-Camryn and began my career.

3. Tell us about the worst dance costume you ever wore on stage.

I don't have a worst costume. As a principal dancer I was always very well attended to. In general, the less the designers put on me, the better I looked.

4. What is your most embarrassing onstage moment?

I worked my way through college (Northwestern University) by working in summer stock musicals at the huge Dallas State Fair Music Hall. In "The Desert Song" starring Ann Blythe and Frank Poretta, I was one of a band of desert rebel bandits attacking a French foreign Legion fort around the year 1925. We were costumed in long robes, which masked rubber flip-flop sandals, and carried rifles with shoulder straps. I was one of three who were to join the attack by dropping through trap doors in a ten foot high parapet to the stage floor. In the first performance, I slung the rifle over my shoulder and as I went down feet first, the rifle got lodged horizontally in the door, and I dangled, hanging for

what seemed to me like an eternity. In my efforts to free myself, my flip-flops fell to the stage and that is when I became aware of the laughter from the audience. Looking back on the incident, I think the director should have left it in as a comic bit.

5. What would you say has been the highlight of your career so far?

This is a difficult question because I have been fortunate to have worked for superb artists: Alvin Ailey in "Carmen;"

Agnes DeMille in "Brigadoon;" Tod Bolender in "Les Troyens;" Dean Badolato in "Oh Boy," "Oklahoma," "Man of LaMancha," "The Boy Friend;" and Norman Walker in "Arc of Angels."

In addition, I have been encouraged by many wise and generous artists to realize that every day holds a new highlight dance experience, whether choreographing, performing, or teaching.

One of my most thrilling experiences was performing in "Aida" at the Metropolitan Opera 1975 and 1977. For the seven minute long "Triumphal Dance" in act two, director John Dexter d choreographer Louis Johnson decided to replace the usual lively spectacle of belly dancers, bedouins, lion hunters, and assorted exotic captives, with a bare hands fight to the death between a captured rebel warrior chief and an Egyptian captain. The ballet was highly stylized and extremely athletic. My dancing "partner/opponent" was Stanley Perryman, who at the same time was standbyfor the role of Jesus in the Broadway musical "Arms Too Short to Box with God." We got thunderous applause, great reviews from all the New York newspapers, and a two page photo spread in "After Dark " magazine.

(Daily News) "William Badolato and Stanley Perryman were magnificent,

earning an unadulterated spontaneous ovation."

(Wall Street Journal) "Danced impressively in one of the most powerful

dances seen at the Met."

(New York Times) "Far above standard"

(Village Voice) "The victory of the night."

6. What is your teaching philosophy?

I think each class should be a special event that begins with a warm-up and progresses to a satisfying experience of moving through space. Each class should build new technique based on the knowledge gained in previous lessons.

Teaching is a collaboration, the teacher guiding the students to teach themselves how to dance. I enjoy keeping a focus on artistry and musicality. A dancer is an athlete, a musician, a poet, and also a scientist, since the craft involves fundamental mathematics, geometry, and anatomy.

7. Have you learned anything from your students?

Patience. Also, simplify in order to allow for abundant repetition. Adapt to students' technical needs in the moment. A teacher is a gardener, nurturing the proper conditions and allowing the flower to grow.

8. When you aren't teaching a Peridance, what are you doing?

Researching, listening to music for class and choreography, reading the great books written on dance technique. I free lance as a choreographer. I help stage, and perform in, an annual production of "Nutcracker" on Long Island. Recently I helped Dean with historical research for a short film, titled "Life Lessons," due out in January, and for which Dean did the choreography. The film is about a young girl forced by her mother to take ballet lessons at a prominent metropolitan dance school.

Starting May 16th, Bil's schedule is:

Ballet, Open Level Monday, Wednesday, Friday 9-10:30 am & Sunday 11:30-1pm

& Intro Level Tuesday/Thursday 9-10am & 7:30-9pm

Checkout our website for more info on Bil.

Check out the Adult Beginner Workshop Series.

Faculty News

2011-04-29T14:59:00.034-04:00

Spring Updates from Your Peridance Faculty!

Brian Carey Chung was recently accepted into Columbia University's Pre-med program. He hopes to become a Doctor of Physical Medicine and apply that knowledge to helping dancers heal from injuries.

Sifa Marta's dance group THe Zifadanz Group will be performing with Rob Voisey's Vox Novus in 60x60 Dance, May 21st as part of Dance Parades's Dance Fest. (Tompkins Square Park, 4pm)

Antonia Katrandijeva's Overground Physical Theater Company is performing at DTW June 29th-July 2nd, 7:20pm. For tickets visit www.dtw.org.

Andrea Beeman will be performing at:

Tagine Dining Gallery on April 30 & May 7th 9:30 & 11:30pm shows.

Lafayette Grill on May 15th 2-5pm.

The Dance Parade on May 21st 3-7pm in Tompkins Square Park.

Bill Hastings just completed a three week residency at Jacob's Pillow regarding the work of Jack Cole, the father of Theater Dance as we know it.

Ashley Carter's DoubleTake Dance Compny is performing on May 14th at Schermerhorn Performance Space, a choreographers series presented by the Brooklyn Ballet. Tickets available here. Also stay tuned for a full-length this summer! Check www.DoubleTakeDanceCo.com.

Korhan Basaran will be teaching a modern guest series at DNA the last week of May. He is also looking for male dancers for a Gala Performance taking place in June. Check out his facebook for more info or take his class Mondays @ 1pm.

Rachel List will be performing with The New York Baroque Dance Company in a Handel Festival taking place in Goettingen, Germany this May & June. The company will perform Handel's opera "Teseo" and with the Hanoverian Court Orchestra.

Anabella Lenzu's DanceDrama will be performing with the 60x60 Project at the Dance Parade Festival, May 21st 2-4pm in Tompkins Square Park.

The Limon Professional Studies Program (PSP) 2010/11 is performing on May 13th at MMAC, 7:30pm.

A New Face at Peridance

2011-04-01T15:19:00.005-04:00

Contemporary Workshop with Adam Barruch

Apr 11, 2011 - Apr 15, 2011; Mon, Wed, Fri

11:30 AM - 1:00 PM

Adam Barruch is a young and talented choreographer and dancer who has an extensive resume of his own performance credits, his company Adam Barruch Dance, and several other commissioned works. This April he will join Peridance Capezio Center for the first time to share his unique and investigative movement style. I was able to talk to Adam about his break into choreography and his thoughts on performing vs. setting work.

How did you decide to be a dancer?

My background is in musical theater; I started at a very early age and was working professionally by age 10. I was introduced to dance through taking Jazz and soon became increasingly fascinated by the work of Bob Fosse. Gradually dance began to take precedence in my life, and I attended LaGuardia High School of Music & Art and Performing Arts in the dance department for 3 years, graduating early to go to Juilliard.

When did you know that you wanted to be a choreographer?

I started choreographing in high school. My love of choreography stemmed directly from my love of dancing and my desire to fully understand how to be the most articulate interpreter I could be. I also love the creative process--making things and especially knowing how things are made.

How has the work of other choreographers inspired you?

I certainly have been inspired by choreographers and artists who have utilized the body as a tool for emotional expression. I love choreographers who allow their dancers a humanity and freedom within their work. When creating work I often look to generate movement that is inherently emotional, almost textual, where an imposed expressivity isn’t necessary--just an open and honest interpretation. My goal is to make work where everything is punctuated enough to create a clear path to understand how it should be interpreted.

This is your first workshop at Peridance, are you planning to teach repertory?

I will start with a combination of exercises and phrases that will initiate the dancers into my movement style. Then I will work with phrases that I am currently investigating and work that is in progress.

What is your goal for this workshop?

To introduce dancers to my approach and give them information that they can use to open themselves up to a continuous exploration of their own movement.

How do you balance being both a performer and a choreographer?

The investigation always starts with my own body, but the real joy is collaborating with dancers and seeing someone else's interpretation of what I create. I find it great fun and an invaluable process to find someone’s niche within a vocabulary that was based in my body. In those instances, I also can break certain habitual movement patterns that I always seem to fall into. From the outside I can see pathways and options available to the dancers that would not be obvious from inside the work (this is especially true in partnering work). As a director I find that I struggle less to give to the dancers when I am not in the piece myself, because my ego as a performer is not involved. I try to keep a balance between creating solo works and group pieces.

Are you still working with other choreographers as a performer?

I tend to focus mainly on my own work, although I greatly enjoy the young choreographers who are working in New York. I am constantly fascinated by their processes and love watching their work come together. There is a great community here of creators who are constantly pushing themselves to investigate and generate new work. I feel that there is a generosity among the group. Dancers are also often working with many different choreographers and companies at once, which I feel enriches the whole community.

Where do you find inspiration outside of the dance world?

Certainly music is a huge source of inspiration, but also theater because of my background. In some ways I am still more of an actor in the way I approach a work. Many of my pieces are linear, but even those that are more abstract come from an internal place and have an emotional texture to them. I like experiencing and creating work that is transformative for the dancers as well as the audience. For me the audience is always part of the theatrical process and I don’t like alienating them. Not that the work is always frontal or overtly presentational, but I like creating work that is meant to connect people to their own humanity.

Based on your own experience what advice would you give to other dancers?

As a dancer, I know what it is like to reach plateaus where the fear of imperfection inhibits one's growth. However, it is often when you push past that point and dive into areas of uncertainty that you discover the most. As dancers we are constantly re-balancing ourselves and our axes always seem to be shifting. I find the moments of recovery when I’m about to lose control to be the most potent with information. I would encourage dancers to find joy in these moments and accept a breathing, living practice as opposed to one of rigid accuracy.

For more information on Adam visit his website.

To pre-register for the workshop click here.

Learn More about Gaga

2011-03-28T16:05:00.004-04:00

Watch Home4Dance's interview with Ohad Naharin explaining how, when and why Gaga was created!

Ohad Naharin brings Gaga to New York's Peridance Capezio Center from Home4Dance on Vimeo.

Gaga Summer Intensive at Peridance Capezio Center:

August 1, 2011-August 13, 2011

Monday-Friday, 10am-5pm

Saturday, 10am-2pm

The intensive is open to only 50 dancers, so we urge you to sign up as soon as possible.

Follow these two steps:

1. Fill out the online form available HERE and click submit at the bottom of the page.

2. Email your resume and a photo of yourself to gagausa1@gmail.com (subject: Gaga Intensive).

Spring Fundraiser!

2011-03-28T14:30:00.000-04:00

Tickets can be purchased online here or at the box office day-of.

Save the Date!

2011-03-21T18:29:00.004-04:00

CERTIFICATE PROGRAM SCHOLARSHIP AUDITION

Peridance Capezio Center

Sunday June 26th, 5:30pm

Peridance Capezio Center is holding for the first time ever a Scholarship Audition for the Peridance Certificate Program. Through technique classes, performances, specialized seminars and contact with the top artists in dance today, the two year training program prepares serious dance students for a successful career. The scholarship offer allows talented dancers to pursue their dreams without financial concerns and Peridance to give back to the dance community.

The program is open to male and female dancers ages 17-28.

For more information visit our website.

Watch the Promotional Video:

Audition for Peridance's Teen Summer Intensive!

2011-03-14T18:01:00.002-04:00

For more information visit our website http://www.peridance.com/SummerIntensive.cfm

or email Laura Burton at summerintensive@peridance.com.

Upcoming Workshop/Audition!

2011-03-04T14:46:00.005-05:00

Chicago's Deeply Rooted Dance Theater

Workshop/Audition: Sunday, March 13th 4-7pm!

Rooted in African-American traditions of storytelling and universal themes in contemporary modern dance, Deeply Rooted Dance Theater performs world class dance that entertains, inspires, and builds community. The workshop, taught by Artistic Director, Kevin lega Jeff and Associate Artistic Director, Gary Abbott will convey the company's mission and choreographic philosophy.

*Students interested in using the workshop as an audition for the company's 2011 Summer Dance Intensive should bring a resume and headshot.

To pre-register for the class visit our website at www.peridance.com.

An Interview with Korhan Basaran

2011-02-21T12:29:00.006-05:00

I spoke with Turkish choreographer and dancer, Korhan Basaran to find out what made him switch to dancing and how he came to teach and work in New York.

How did you first get into dancing?

I started out as an actor and began dancing around twenty to aid my skills in acting. Within my first year of training, I was offered a contract from the State Ballet of Turkey. There were guests coming through from all over the world, which was an amazing opportunity for me to gain exposure. After two to three years dancing there I was offered a leading role by another company in Turkey. After that I began working with a modern company and started premiering some of my own works.

What brought you to New York?

I came to New York about two years ago to find and establish my own vocabulary, language, and movement in dance. Once I was here I received a scholarship from the Cunningham Studio and had the privilege of meeting the late Mr. Cunningham and performing with the Cunningham Repertory Understudy Group.

You work extensively as a choreographer and performer as well as a teacher, right?

I did the choreography for “Hisseli Harikalar Kumpanyasi,” the first ever Turkish musical production in New York, performed at the Beacon Theater in June 2009. My piece, “Seeking Beauty” premiered in November of that year. “K Search for L” premiered in June 2010 and most recently, “the Second Elegy” premiered on the 15^th of December 2010 at the Cunningham studio.

What makes your class unique?

My class is a contemporary technique based on all of the styles I have experienced in my life as a dancer. It begins on the floor then leading into a floor combination to connect everything before standing up. The class then moves into your basic tendus and plies to warm-up, initially the footwork is basic, but gradually it becomes quite complex. The class is challenging, I am constantly trying to challenge my own instrument as well. The choreography we do during the second half of the class allows the dancers to taste my movement and style. I do not repeat combinations from class to class, but I do work with similar movements that I am drawn to.

If you could give other dancers one piece of advice?

It is extremely important to learn to keep your center strong. I am a tall dancer and I had to learn to strengthen my core to give myself the control required to dance. Once I did acquire this strength and control I was able to utilize speed much more effectively. Articulation of the entire body is also particularly important especially of the feet. These are two qualities a dancer needs to hone to take their dancing to a higher level.

Watch Korhan's Performance at the 2010 Peridance Faculty Showcase:

Korhan teaches contemporary at Peridance Capezio Center Mondays 1-2:30pm. For more information click here.

An Interview with Dana Ruttenberg

2011-02-09T15:20:00.015-05:00

Reflections on Dana Ruttenberg’s Creative Minds in Creative Bodies Workshop

Israeli born dancer and choreographer, Dana Ruttenberg trained at the Bat-Dor School of Dance and the Thelma Yelin High-school for Performing Arts before coming to New York to attend Columbia University. While living and studying in New York, Dana was the artistic director of her own dance troupe, The Red Hill Project. She returned to Israel in 2003 and has since been teaching, giving workshops, and choreographing. Currently, she is also finishing her MFA through ADF and Hollins University’s low-residency program, designed especially for mid-career artists. We were privileged to have her come teach a workshop at Peridance this January. Unable to take her workshop myself because of an injury, I instead talked to Dana about her work and was able to watch her showing at the end of the week.

How is the workshop going so far?

It is rather condensed because of the short time slot, but we make it work. The first hour is a warm-up based on what I have learned in my own career, particularly when working through serious injuries. I bring in aspects of Gyrokonesis® and yoga as well as using spirals within the body and imagery. I find that sometimes if you give dancers a new name or image for a frequently utilized movement it can become fresh again.

In the second half we work with exercises and games I have created to aid inspiration. When dancers are inspired they do not need a teacher, but we cannot control when inspiration strikes and it is not always while we are in the studio. Sometimes inspiration strikes in the subway, but once we are in the studio our minds are blank. So, I have borrowed from other worlds like mathematics and poetry to play with old, stuck material.

For instance, today the puzzle we worked with involved telephone and social security numbers. I taught them all some of my material and then split it into the digits 1-9, so that each digit corresponded to a part of the phrase. Then the digits where divided into upper and lower body. Each dancer then organized their upper body movement according to their telephone number and their lower body movement according to their social security number. They then worked through this new material with a randomly assigned partner.

This is just one example of an exercise I might use. They are tools for when you are stuck in choreography or find yourself repeating particular movement patterns. It is meant to challenge coordination and rewire your body. I think it lets you come out of your self and see what you are doing, that way you can clear up what you like and what you do not like. It sharpens the body and mind.

How did you create this method of working?

It comes one part out of my love of crossword puzzles and one part out of all those times I have been stuck and wanted to move in a way I never have before. I found that if you shift one little thing suddenly you have a whole different movement, phrase, or piece. To change you do not have to collapse your whole world rather you can alter one little thing.

I hear so many dancers who say, “I want to move in an exceptional way.” Movement exercises like the ones I have used in my workshop are a great way to find your way of moving and of pushing your movement. You have to travel to know where home is, if you are there then you are just there. If you travel though you may find a new “home” you never thought would be yours. It is the same with a movement style, you can discover that you can or enjoy moving in ways that before you would have said were not you.

You mentioned earlier that you have had some serious injuries, what happened?

I first started having trouble with a spine injury while I was a student in New York. I found that I needed to reimagine the way I though of my body. I think that you have to reimagine your body everyday. A while ago, I read an article about POWs that discussed the three kinds of mentalities that appear. The first do not believe they will ever get out of the camp and they ended up dying there. The second believe they will get out, but they put a timeline on it and they too ended up dying in the camps. The third believed they would someday go home they just did not know when and they were the only group who survived. I found this to be a good way to think about being injured as well, you cannot put a timeline on it rather you must live with your body day to day.

Have you enjoyed working with the Peridance students?

I have had a strong core of about ten people in a class of twenty. It has been a challenge to keep giving the returning students room to progress while allowing new students to join us. Working with them has re-energized me rather than draining me. I think that creativity and humor stem from the same place and all of the students I have worked with have had a good sense of humor and are open to the unexpected which I appreciate.

After I watched the studio showing at the end of the week:

Immediately I saw how the dancers I had watched at the beginning of the week had lost their inhibitions. They seemed comfortable with experimenting and not phased that they were being asked to dance in random couples and then random groups of four. The energy in the studio was palpable and I have rarely been so inspired watching material in a classroom. It made me wish that I had been able to take Dana’s workshop, but after our conversation I both have ideas for how to work on my movement style when I have recovered and a new outlook with which to approach my unwelcome “break.”

Watch excerpts from Dana's Workshop:

Dana Ruttenberg @ Peridance Capezio Center, NYC from Dana Ruttenberg on Vimeo.

For more about Dana and her company visit: www.drdg.co.il/

Faculty & Student Showcases

2011-01-27T11:30:00.000-05:00

Two showcases, one weekend!

See unparalleled performance created by Peridance faculty, and experience the creativity and talent of Peridance students.

Participating Faulty:

Alan Danielson, Alexandre Proia, Anabella Lenzu, Andrea Beeman, Antonia Katrandjieva, Benjamin Nathan, Cecilia Marta, Diego Funes, Grant Chang, Jana Hicks, Joanna Numata, Korhan Basaran, Kristin Sudeikis, Marjike Eliasberg, Marinda Davis, Nina Buisson, Oliver Steele, Parijat Desai, Sekou McMiller, Shelby Kaufman, Sifa Marti, Tomita Masayo, Yuki Hasegawa, and Igal Perry.

FACULTY SHOWCASE

FEBRUARY 5, 2011 - 8:30pm

FEBRUARY 6, 2011 - 3:00pm

TICKETS $18/$12 Students

Tickets available at Peridance's Box Office or online at peridance.com (service fee may apply).

STUDENT SHOWCASE

FEBRUARY 6, 2011 - 7:30pm

TICKETS $15/$12 Students

Tickets available the day-of at
Peridance's Box Office.

Watch excerpts from the last showcase:

Peridance Capezio Center's KIDS FAIR

2011-01-21T13:50:00.001-05:00

We hope you will be joining us THIS Sunday, January 23rd from 11am-3pm right here at Peridance for this year's KIDS FAIR!

This is an event you will not want to miss...

- 95.5 WPLJ radio station will be here doing "shout outs" on the radio and giving away prizes!

- Meet & greet with representatives from some of the top Performing Arts Camps in the tri-state area.

Wether your child is interested in a day camp or sleep away camp there will be a lots to choose from here at the KIDS FAIR!

- Dubspot will give a FREE DJ lesson at 1pm.

- Free PeriChild dance classes in Hip-Hop, Salsa, Musical Theater and more!

- Goody Bags for the first 100 attendees with Capezio items, discount show tickets and more surprises.

- Pizza and yummy treats.

A FUN PARTY YOU AND YOUR CHILD WON'T WANT TO MISS - GOOD FOR ALL AGES!

An Interview with Jose Traba

2011-01-07T12:28:00.014-05:00

Peridance's, Jose Traba began teaching while his performing career was still in full force. For Jose, teaching has always been a natural extension of his dance career and is now his number one priority. I spoke to Jose to learn a little more about this dedicated ballet teacher. Here is what he had to say:

What is your background?

I was born in Havana, Cuba, but I grew up in New York City and I have lived here with the exception of about twenty years I spent touring various places. After touring, I returned to New York to take a position dancing with the Metropolitan Opera Ballet, one of my most enjoyable jobs.

How did you transition to teaching?

I had already started teaching while I was still performing because I thought it was important to begin the transition early and it really was a natural extension of my career. After I had a huge injury I gradually began teaching more and more.

How is it teaching open classes?

It is important to realize as the teacher, 90 percent of the time your students expect you to bring the energy to the room. It is part of the job to posses this energy and share it with your dancers. Since I am not teaching in a conservator setting, most of my students are dancing recreationally. This means I have to make class fun and enjoyable for them and also I have to be more flexible in the class I am giving. Yet, I find that even more serious students would benefit from loosening up in class. Fear and tension are enemies to every dancer’s training, so letting go a little is the best way to let the information into your mind.

What do you do in addition to teaching at Peridance?

I guest teach, I have worked the convention circuit, I am a certified fitness instructor, and I teach at the Harkness Center for Dance Injuries. I have been both a teacher and a judge for Dance Educators of America. At these conventions you teach one-hour classes for five to six hours straight. It is quite a grueling day for the kids and the teachers. Teaching the conventions has been an education for me because kids come from all walks of life and dance backgrounds.

What is your class at the Harkness Center?

At Harkness, I teach a class for dancers that is half-and-half, fitness training and ballet. The class begins with the fitness portion focusing on core strength through exercises from Pilates and yoga. In the second half the students apply what they worked on to classical ballet. I think this is important because they can make a direct connection between the more targeted training of muscles and their ballet practice.

Are you working on any choreography right now?

I do choreograph, but my first focus is really teaching. I do choreography upon request for companies, schools, and individuals and have very much enjoyed the process and the end products I have created. Recently I have created pieces for students of mine who are going to competitions like Varna in Bulgaria. I also do one-on-one coaching for dancers who are about to go away as guest artists.

Jose teaches:

Advanced Beginner Tuesdays, Thursdays, & Fridays, 2:30pm-4:00pm

Beginner Saturdays, 6:30pm-8:00pm

For more information on Jose's classes or Peridance click here.

Please feel free to leave any comments or questions you might have.

Peridance Flamenco Teacher, Nelida Tirado on Flamenco TV

2011-01-04T16:10:00.003-05:00

Article about Peridance on Want to Dance!

2011-01-04T14:01:00.003-05:00

Canadian blogger, Jackielou Perez paid a visit to Peridance while she was in New York, click here to see what she wrote.

An Interview with Peridance's Dorit Kopple

2010-12-20T13:55:00.014-05:00

Photo by Jaci Berkopec

Taking Technique

Ballet technique classes are a huge part of any dancer’s training, but taking them day after day can be highly repetitive. How is it that dancers, beginner through professional, go back to class day after day and year after year without getting discouraged? While this commitment to training depends on the individual dancer’s diligence, an excellent teacher can be what takes a class from repetitive to enjoyable. I talked to one of Peridance Capezio Center’s own ballet teachers, Dorit Koppel, to see how she makes each class a new experience.

This is what she had to say:

Every class I teach is like a precious jewel or a kaleidoscope of movement that I switch and turn. What is most important to me when giving a class is that my students do not leave my class the same person they were when they entered. They should have something to take with them: a new step, a correction, an image, a new way of approaching their practice. A dance class should be an hour and a half of great experiences. Otherwise, it becomes tedious and tedious you cannot survive. I use imagery extensively to bring the outside world into the dance studio, using visually palpable examples. I believe it makes for a more creative and colorful class and one to which all students can relate.

Photo by Jaci Berkopec

In my classes a great deal of emphasis is placed on the movement of the upper body. These little nuances of the head and arms, are difficult to pick up, but they make a dancer. You have to learn how to use the upper body at the barre so that in the center it becomes second nature. Therefore, I encourage my students to dance the barre rather than execute the exercises.

Ballet can be quite restrictive, there are all these things that we are told not to do; it can begin to feel very confining. It is important to learn to move with freedom, in order to fully explore your body and space. A technique class is only class, not an audition, and in my view it should be treated as a laboratory, a place for experimentation. No matter the level of the student, I still want them to dance the class. This is how you build, little by little, day by day.

Photo by Jaci Berkopec

The classes I teach are open classes, not a closed program. I enjoy the variety of students and the energy they bring. It is much more interesting and colorful, because you get people from all walks of life and ability levels. I always have several class plans up my sleeve, just in case because I do not know who will be in the class.

Ballet naturally demands precision and thus tension, so I always try and relax the class because you cannot approach it with stress and fear. I bring humor into the class, to keep everything in perspective. If you do not enjoy the dancing, then don’t do it. It is not merely exercise; it is an art form. I tell my students, if you want to get in shape, go to the gym, not a ballet class. Dance requires a giving of oneself to something; it is greater than you. It can be a humbling experience, but it is okay to be humbled by it because it is such a high art form.

Dorit Teaches at Peridance Tuesdays & Thursdays Slow Intermediate 5:30-7:00pm.
Click here to see her schedule on the website.

Holiday Advice

2010-12-17T12:29:00.005-05:00

Take a look at Peridance instructor, Lauren Tepper's excellent article, What Don't You Want for Christmas? on how to have a more satisfying holiday season.

WHAT DON'T YOU WANT FOR CHRISTMAS?

THURSDAY, DECEMBER 9, 2010 AT 09:32PM

Most Americans, myself included, have been raised to have desires and fulfill them. This, according to Buddhist philosophy, is a recipe for misery. How long do you stay satisfied once a desire is fulfilled? A few minutes? Hours? How long does it take before another desire inevitably creeps in? Whether the desire leads to fulfillment or frustration, living for our desires always loops us back into perpetual dissatisfaction, enslaving us to our wanting, craving minds. The Yoga Sutras (among other sacred texts) offer a way out of this endless cycle of suffering.

It’s called ‘Santosha,’ translated as contentment or gratitude. I’m exploring Santosha as a new paradigm for my life. One way I practice is by first noticing a desire when it arises. Then rather than giving in to the desire immediately, I sit still for five minutes or more and consciously practice contentment. I direct my awareness to the simple act of breathing that sustains my life, and pay attention to the pleasurable sensations in my body as I simply sit doing nothing in particular. (Patrick McDonnell wrote a great children’s book called The Gift of Nothing depicting this idea with a charming story and illustrations, fun for adults too!)

If you want to read more about this simple and life-changing practice, I’m reprinting below an excerpt from a series I wrote for www.yogacitynyc.com on Santosha, which is one of five yogic ‘Niyamas,’ or observances. I wish you contentment and freedom from wanting this holiday season.

Santosha, or freedom from wanting

Of all the niyamas, to me santosha is the one that just feels good. Sutra 2.42 tells us that “from contentment, the highest happiness is gained.” Cultivating gratitude, practicing contentment… I picture myself like a cat curled up on a sunny windowsill, just lapping up all the sweetness of this juicy life.

But what about when life doesn’t paint this idyllic picture? From serious conditions like illness or violence to minor annoyances like delayed subways and bad hair days, I am challenged to practice gratitude even when things are not going ‘my way.’

To help remind me that santosha is meant to be a continual practice of unconditional gratitude, I posted a little reminder above my desk: Until you can make friends with the present moment, you’re not really living. Seated breathing practices and simple mindfulness exercises have helped me tremendously to embrace santosha, and not just when things are going ‘well.’ Everyday annoyances like missing a train by the skin of my teeth become an opportunity for practice: can I slow my breathing down and practice contentment, even in this mucky tunnel?

In Edwin Bryant’s commentary on the Sutras, he explains that santosha is about finding the greatest happiness “from the cessation of desire.” When I let go of my designs and surrender to what is, my life shifts into the present moment. My computer crashes; the four hours I spend trying to get back online could be full of irritation and impatience for results, or I could choose a more sattvic (harmonious) approach to the situation. Each press of my finger on the keyboard could be a reminder that here I am, alive in this miraculous and mysterious existence. When I practice santosha, joy arises from within, completely independently of my external situation, which is always changing.

Santosha doesn’t mean I don’t work to change what feels unacceptable. My life partner will hear about it when he leaves tomato sauce stains on the countertops. I still work to protest war and violence. Contentment doesn’t mean just sitting back and lackadaisically watching the world go by. But armed with this gentle yet vital practice, I am able to approach each day with more compassion, more relaxation, and thankfulness just for the opportunity to be here and experience it all – the pleasurable events as well as the drudgery. It’s all an opportunity to grow, and to let go of the idea that I can control or put any conditions on reality.

Check out Lauren's blog at http://www.breathtakingspace.com/transformations

Lauren teaches yoga at Peridance Align/Flow Yoga: Sundays 10:00-11:30am.

Faculty News

2010-12-03T10:22:00.005-05:00

Korhan Basaran, Peridance Contemporary teacher has a piece premiering December 15^th“The Second Elegy: Fall of a Swan” will be performed by Shay Bares & Korhan Basaran at the Cunningham Studio. Korhan will also be performing as Drosselmeyer in Igal Perry’s original Nutcracker.

Marijke Eliasberg is currently teaching and choreographing in the Netherlands. She is choreographing a new commissioned piece on the 2nd year teacher department of the Theaterschool/Amsterdam School of Dance and teaching Master Classes at Codarts Rotterdam and Studio K'dans in The Hague! She will be back at Peridance Saturday, Dec. 18th 3pm and has a new class starting Tuesday, Dec. 21st 11:30-1pm!

Peridance teachers, Dana Foglia, La Jon Dantzler, and Joanna Numata are participating in the creation of “cy.clo.thy.mi.a.” a new dance show by The United Project. The performances are Dec. 12^th and 16^th at Manhattan Movement & Arts Center. For more information www.manhattanmovement.com/calendar or 646.385.8493.

Anabella Lenzu is celebrating her 20th anniversary of teaching and the 5th anniversary of her company Anabella Lenzu/DanceDrama throughout 2011! She feels that she has come very far in realizing her dream to form a company that has a unique dance language. She also has an upcoming show, Association of Performing Arts Presenters (APAP) 2011 Conference at New York City Center, January 9^th 2011.

Wes Veldink has been away teaching in Italy and Finland. While away he shot a dance short film in the south of Italy that will be submitted to dance on film festivals this coming year. He also choreographed Gwyneth Paltrow, Leighton Meester and Garrett Hedlund for the feature film "Country Strong" which has a limited release Dec. 22^nd and wide release Jan. 7^th.

Peridance Capezio Center's Certificate Program

2010-11-29T16:03:00.009-05:00

The Certificate Program

Peridance Capezio Center has a new training program this fall. The Certificate Program is a two-year intensive dance training program for students ages 17-28. It offers students wonderful opportunities including working closely with great instructors and choreographers, bi-yearly performances, and one-on-one mentoring. Students can choose between two unique tracks depending on their professional goals: Ballet/Modern/Contemporary or Commercial/Musical Theater/Jazz.

Program Coordinator Liza Kovacs describes the Certificate Program:

It was with great excitement that Peridance launched the Certificate Program this past August. We were delighted to welcome 16 students from all over the world to join the Peridance family and become the first graduating class of this program.

Since the start of the 2010 Fall semester our CP students have had a wide range of rich and diverse experiences. They have just ended their second weeklong workshop with Helen Pickett, leading them in an exploration of Forsythe-based improvisation technique. It is great to see their progress and deeper understanding of the work since the first workshop. Students who previously approached improvisation with trepidation have shed their inhibitions; students who are particularly interested in choreography are learning a great deal from these enriching experiences and adding to their repertoire of creative choreographic strategies.

Besides the technique classes that are the mainstay of any dancer’s training, the Certificate Program students have benefited from the guest seminar speakers. Anatomist/biochemist Rebecca Dietzel, co-author of A Dancer's Guide to Healthy Eating, gave our students the basics on when and what to eat to maximize physical and mental performance. We hope that she will return to continue sharing her vast knowledge on this hot topic.

We also had the privilege of establishing a relationship with Lakey Wolff, agent extraordinaire, from the talent agency Cunningham Escott Slevin Doherty (CESD); she came to speak about how to best create contacts and build networks and she will return to continue the conversation and help set-up mock auditions.

In the Certificate Program we take time to analyze each dancers’ individual movement patterns, habits, and technique through the use of video: classes were filmed and our students viewed these with the outside eye of and feedback from an expert teacher. This allowed for important exchange on the specifics of dance performance and resulted on improved performance in the studio.

Certificate Students from both the Commercial and the Ballet/Contemporary Track have combined classes such as Improvisation and Composition. They will present works for the Student Showcase next February and we are excited to host their efforts and give them an opportunity to perform and choreograph. In the last month, they have been part of the creative choreographic process in the creation of Igal Perry's Nutcracker, which they will be performing next month.

The Peridance Certificate Program students were also given an exclusive tour of the Library of Performing Arts, learning how to best research dance-specific videos, books, and to look up information. It is very important to us that our students know that such an incredible resource is available to them, to enrich their knowledge of their art form.

The Peridance Certificate Program distinguishes itself through the recognition of students as individuals, each with unique needs, goals, and abilities. Their personalized training is a reflection of this diversity, all the while maintaining and upholding fundamental qualities that are required for a career in dance: discipline, intelligence, dedication, and passion for movement.

-Liza Kovacs,

Certificate Program Coordinator

Who better to consult on the success of the program so far than the students themselves? I interviewed a few of them, asking why they chose Peridance and how they feel it is going so far. This is what they had to say:

“When I read the description, the program sounded like everything I wanted in a training program. When I came it was everything I wanted and more.” –Cara

“I like how our teachers interact with us, they know us by name and they actually give individual corrections.” –Jessica

“We train with the same teacher for a semester, so we get to know them and they get to know us, which allows us to really trace our progress.” –Ayako

“I really like that we can go to Liza and talk to her about anything, even if its not dance related. It makes being in a program away from home a lot easier. Also, the atmosphere is great; when you feel good about where you are, you can dance ten times better!” –Jessica

To register for the Program, visit our website.

Spring 2011 Semester: January 31st - June 24th

(20 weeks of study + 1 week vacation)

Application deadline: November 31st!!

Fall 2011 Semester: August 29th - January 27th

(20 weeks of study + 2 weeks vacation during the Holiday Season)

Application deadline: August 1^st

Watch the Certificate Program Students!

Looking for Gift Ideas?

2010-11-23T14:51:00.004-05:00

Winter 2011 Showcases

2010-11-15T15:21:00.005-05:00

Two Up-Coming Showcases at Peridance!

Peridance Faculty Showcase, Winter 2011:
Saturday, February 5th, 8:30pm
Sunday, February 6th, 3:00pm

Peridance Student Showcase, Winter 2011:
Sunday, Febrary 6th, 7:30pm

Take a look at Peridance's last showcase

Faculty Showcase Highlights from Peridance Capezio Center on Vimeo.

Video features works by: Max Stone, Korhan Basaran, Dana Foglia, Tony Mayes, , Ben Nathan, Julie Bour, Diego Funes, Saba, Joanna Numata, Cecilia Marta, Baila Society, Nelida Tirado, Baba Richard Gonzales, Igal Perry

New Cafe at Peridance!

2010-11-15T15:18:00.000-05:00

Baila Society

2010-11-12T09:34:00.003-05:00

Check out Baila Society's brand new video!

For information about Baila Society's Classes at Peridance visit our website.

Contemporary Workshop

2010-11-05T12:03:00.008-04:00

Nacho Duato Workshop with Africa Guzman

Juan Ignacio Duato Barcia, also known as Nacho Duato, is an acclaimed Spanish dancer and choreographer. He began his dance career with the Cullberg Ballet in Stockholm and has received multiple awards in recognition of his achievements as a dancer and choreographer. In 1990, he was invited to become the Artistic Director of Compañía Nacional de Danza by the Instituto Nacional de las Artes Escénicas y de la Música of the Spanish Ministry of Culture. In July of 2010, he left the Compañía Nacional de Danza after twenty years. This January, he will become the Artistic Director of Russia’s Mikhailovsky Ballet.

This move represents an exciting step for both Mr. Duato and Russian ballet. He will be the first foreigner to direct a Russian ballet company in over a century, the last was France’s Marius Petipa. For Mr. Duato, it will be his first time leading a large classical repertory company. Russian ballet is not known for its malleability and has had a history of ignoring modern dance influences like Mr. Duato’s, in favor of preserving tradition. Vladimir Kekhman, the businessman who took over as Mikahailovsky’s general director in 2007, feels that a strong contemporary influence is exactly what the company and Russian ballet needs.

Peridance’s Nacho Duato Workshop will be taught by Africa Guzman, another Spanish native. Ms. Guzman trained at the “Escuela de Ballet y Danza Española Africa Guzmán” and at the “Escuela del Ballet Nacional de España.” She became a member of Compañía Nacional de Danza in 1988, two years before Duato became the director. She has received many awards for her achievements as a dancer, has also danced with Netherland Das Theater, and has worked with many of the world’s highly acclaimed choreographers. For 20 years, she has been involved in Nacho’s choreographic and creative process. This workshop is an excellent opportunity to both take from a very accomplished dancer and to learn the style and repertory of one of today’s most celebrated dancer/choreographers and possibly the new face of Russian Ballet.

Preregistration for the Workshop is encouraged. Click here to register.

To learn more about Mr. Duato’s move to the Mikhailovsky Ballet read the New York Times article.

Faculty News

2010-10-30T18:22:00.000-04:00

Upcoming Performances:

Belly Dance teacher, Andrea Beeman will perform at FIT Diversity Expo Week’s International Dance & Music Festival. The performance will take place November 3, 2010 from 6:00-8:00pm at Fashion Institute of Technology, Haft Auditorium Building C, 27th St between 7th & 8th Avenues.

Theater Dance teacher, James Kinney will both perform and have choreography in Rockers on Broadway Dancer Party, which benefits Broadway Cares/Equity Fights AIDS, Broadway Dreams Foundation, Broadway in South Africa and The Bendheim Performing Arts Center Scholarship Fund. The show is 8:00pm, November 8th at BB King Blues Club & Grill, 237 W 42nd St. For tickets or more information go to www.bbkingblues.com.

Contemporary teacher, Derek Mitchell has a piece appearing in "Carnival- the Choreographers Ball” at Hiro on November 9th. For more information go to www.thechoreographerscarnical.com.

Korhan Basaran, Peridance Contemporary teacher, will be performing in Corporelles at The Festival Monde Arabe in Montreal on October 31st. He is also organizing the Mark Lamb Dance Salon Series for November 13th. The show will take place at the Metro Baptist Church, 410 W 40th St.

Recent Performances:

James Kinney’s choreography was seen in Thespians at The Florida State Thespians annual theatre festival on October 16th.

Andrea Beeman performed as her Belly Dance persona, Andrea Anwar the Enchantress of Bioluminosity at the Sullivan Room on October 21st.

In the Works:

Contemporary teacher, Derek Mitchell is choreographing for Season 3 of “So You Think You Can Dance” in the Ukraine. He is also choreographing the Calvin Klein fall sportswear industrial at Lord and Taylor's in association with O-The Oprah magazine.

Limón Workshop-Water Study

2010-10-08T11:26:00.007-04:00

Ray Cook and current and recent Limón Company members, Katie Diamond and Ryoko Kudo are teaching a tech & rep workshop October 11-15 here at Peridance Capezio Center.

Repertory will be taught from Doris Humphrey’s early work, Water Study. Humphrey was among the 2^nd generation of modern dance pioneers – Martha Graham and Katherine Dunham were among her contemporaries. Trained at the Denishawn school, Humphrey and fellow dancer Charles Weidman moved to New York in 1928 and founded their own movement technique, Humphrey-Weidman, which focuses on the theory and action of fall and recovery.

Water Study is a dance without music – the only sounds the audience hears are the dancer’s feet and breath. The piece evokes images and moods of the sea, ranging from calm to tumultuous. Because the success of the piece depends on synchronization and rhythm, it requires great subtlety on the part of its dancers.

Ray Cook, who is originally from Australia, came to New York to study Labanotation, a standardized system for analyzing and recording human movement. He was the first full-time notator of works by Doris Humphrey, Martha Graham, Jeff Duncan, Anna Sokolow, Paul Taylor, George Balanchine, Michael Fokine, Dan Wagner, José Limón, Gerald Arpino, Lester Horton, Norman Walker and Lin Hwai-Min. He has restaged sixteen works by Humphrey alone.

Learning repertory from Water Study under Cook is an excellent experience for any dancer – his re-staging will explore not just the technical steps, but also the imagery, motivation, and characterization given to the dancers by the original choreographer.

Select participants from this workshop will be invited to perform on December 5^th at 7pm at Peridance.

Workshop:

Oct 11, 2010 - Oct 15, 2010; Mon - Fri

Technique: 10:00 AM - 11:30 AM

Repertory: 11:30 AM - 1:00 PM

For more information and to pre-register for the workshop visit the website.

Take a look at Water Study!

Contest for Free 5-class card!

2010-10-08T08:33:00.006-04:00

Peridance Capezio Center and ForTalent.com are hosting a contest!

Want to win a 5-class pass for dance classes at Peridance Capezio Center? Find the answer to “Who can take the Gaga movement classes?” on our website and email your answer to peridance@fortalent.com by 11:59pm Oct. 15th!

ForTalent.com is an up and coming networking site for artist. Check out their website to connect with other artists!

One of the World’s Oldest Dance Styles

2010-09-28T17:44:00.011-04:00

Peridance is excited to add Belly Dance with Andrea Beeman to the Fall Schedule!

Most people have heard of belly dance and even have a mental image of a girl scantily clad and enveloped in beads... but what really is belly dance?

The ancient art of belly dance can trace its roots to the dance & music arts which began to develop over 4,000 years ago in North Africa, the Mediterranean, the Middle East, and Asia. These diverse areas share a rich tradition of music and dance which were performed to celebrate harvests, weddings, circumcisions and seasonal changes, and to honor special guests and to mark significant civic occasions. There are different theories about how the dance spread from region to region, but many now believe that when the Roma from India migrated west through Afghanistan and Persia, characteristics of their dance mingled with the traditions of the indigenous communities where they eventually settled. Another theory traces the dance's development to religious rituals, which were performed in ancient, matriarchal societies.

The movements of modern Belly Dance draw from North African, Arabic, Persian, Greek, Balkan,Turkish, Roma & Indian folkloric traditions. Some therapeutic and ritualistic qualities of the dance are still practiced today in Morocco, Egypt, Algeria & Tunisia. Belly Dance was first seen in America in 1876, but did not draw public attention until 1893 when it was presented at the Chicago World's Fair, where it caused quite a stir. Fully clothed dancers from Tunisia, Eqypt and Turkey scandalized the Victorian crowds with their exposed ankles, "convolutions" and "suggestive" movements, resulting in a stigma the dance has only now begun to shed.

In the 1920s, in Cairo, Algiers and Beirut, the Cabaret style of Belly Dance began to develop. The Egyptian film industry began to flourish at this time, featuring many dancers in its films. Hollywood exerted a strong influence on the costumes of this time and rhinestones, glass beads and sequins covered bras and hip belts, replacing the figure-hugging baladi dresses that previously covered dancers from head to foot. Thus, Hollywood's fantasy of the Orient played a large role in creating the current Western image of Belly Dance.

Baladi dress (left)

Hollywood inspired costume (right)

Belly Dance has crossed many borders and spawned many hybrid forms over the centuries. For instance, in U.S. Tribal Style, Belly Dance combines with North African Dance, Flamenco, and Classical Indian influences to create a unique style. In any form, Belly Dance remains a dance of self-expression, capable of conveying a range of emotions, and empowering dancers—women and men, young and old--as they experience the joyous exuberance inherent in one of the oldest dance forms in the world.

At Peridance…

Andrea Beeman's Belly Dance classes focus mainly on a classic Arabic technique, which in the last 40 years has been most influenced by the modern Egyptian style. To this strong foundation of Arabic isolations and body movements, Andrea adds Turkish, North African, Roma, Indian & Persian Gulf stylings, as well as some contemporary fusion combinations. Developing musicality & understanding the Middle Eastern rhythms which inspire the movements is an integral part of mastering this diverse and mesmerizing dance art form, so as dancers develop, Andrea also teaches the art of playing finger cymbals or zills.

Belly Dance comes from very old traditions of dance, do people need to wear anything in particular for class?

To better feel and see the movements of the hips, a hip scarf can be worn around the hips in class. A hip scarf can be a simple, triangular fringed shawl or a more elaborate fabric covered with coins, beads or sequins. Belly Dance is best done bare foot, so the dancer can feel the connection between the earth, feet and hips. Comfortable dance workout clothes complete the ensemble.

Why is it important to have a live drummer for class?

The unique rhythms played by the darbukah or dumbek--the goblet shaped drum heard in Middle Eastern music--are the heartbeat of the dance, directing the feeling & tempo of the movements. Having a live drummer in class helps students better understand the rhythms themselves as well as their intrinsic relationship to the movements. During live performances of Middle Eastern dance & music, the rapport between the drummer and dancer is very important; giving students the opportunity to experience this relationship in class helps prepare them for performances with live music. Every student may not aspire to perform, but a live drummer makes the class experience itself more exhilarating.

Andrea, why did you choose Belly Dance?

In 1988, I studied Japanese Butoh dance with Yokio Waguri of Nakajima. He compared my instinctual movement during improvisation to that of Salome, so I decided to try a Belly Dance class to see what he meant. I immediately became fascinated by Belly Dance: the sensuous serpentine movements & the incredible music inspired the self-expression I had been searching for in other dance art forms. Before I knew it, I was taking several Belly Dance classes each week, performing with different companies in New York, & eventually, teaching & sharing my passion for the dance with others. I don't think I chose Belly Dance, I think it chose me.

See Andrea in performance:

Andrea Beeman teaches at Peridance:

Thursday 8:30-9:45 and Sunday 5:30-6:45

For more information on her classes visit our website.

Nutcracker Audition!

2010-09-14T08:30:00.000-04:00

The Nutcracker
Contemporary Workshop and Performance
Choreographed and Created by Igal Perry

NOT YOUR TYPICAL NUTCRACKER…

Join world-renowned choreographer Igal Perry as he creates an all-new contemporary Nutcracker experience. This new tradition at Peridance Capezio Center will push the boundaries of the holiday favorite you know and love. Snowflakes and sugarplums and a grand pas de duex will capture your heart as they have since childhood. But that’s not all—glimpses of hip-hop and modern dance through the falling snowflakes and waltzing flowers will delight and excite your senses. Open to students of all ages, this fully costumed, professionally lit extravaganza will be set to excerpts from Tchaikovsky’s original score as well as new music selected by Mr. Perry to enhance this exciting new take on the classic ballet. Debuting in Peridance’s state-of-the-art, in-house Salvatore Capezio Theater, this Nutcracker production will bring dreams to life and be a holiday event to remember! The performance will showcase young dancers from PeriChild’s accelerated Core ballet program and adults who have auditioned for the opportunity to dance in a professional setting.

Audition for Advanced Adult Dancers:

Thursday, September 16th 1:00-2:30pm
at Peridance Capezio Center

We are casting the roles of Party Scene, Snow Flakes, Waltz of the Flowers, and others.

Rehearsals: Monday 1:00-2:30pm starting October 10th
Friday 11:30am-2:30pm starting September 20th

Dress Rehearsal: Sunday, December 12th time TBA

Performances: Saturday, December 18th 8:30pm followed by reception
Sunday, December 19th 2:00pm & 7:30pm

Workshop fees include all rehearsals and performances.
Adults-$200 PCC International Students-$50 + 10 classes

For more information visit our website