Ron teaches a number of classes @ UMA (you can catch him for something almost everyday @ 2100 Chestnut!) This week we are highlighting his 'House Dance Ground Moves and Lofting' class, which takes place on Thursdays from 6-7pm This class explores how house dancers get onto and off of the floor, move around on the ground and even explores some jumps and acrobatic movements. Lofting is an important and historical element of house dance- you should check out the documentary 'Come As You Are' (linked below) for some essential House Dance and Loft history. If you know Ron, you know this class will get you moving around on your hands and in inverted positions. This class requires KNEE PADS. For anyone interested in joining... make sure to protect ya knees! Hear more from Ron about the class below, and check out some VERY special old footage of Ron from various moments of the past -How do ground moves relate to the history of house dance?
Ground moves/floor moves have always been a part of house dance. Before there were set steps people came in and did what they already did just a little different because the music was different. Hip hop movements softened, breakin movements would flow right into footwork, capoeira would be hidden in the transitions. Back in the day you would have everybody at the club so you might even see some ballet and modern dancers. House is a true melting pot of styles blended to fit the 4:4. So a lot of people did things on the floor. But that is more challenging to control and master so I feel footwork takes the spotlight. So I will say it has always been there. It’s just not as readily accessible -Tell us about your relationship to the floor! I love it! There was a time when I used footwork as my transitions to get back to the floor. Being both a breaker and a capoeirista I learned to be comfortable on my hands and the floor. -What is your favorite part about teaching Ground Moves @ UMA? My favorite thing about teaching Ground mMves is seeing people getting comfortable on the floor and incorporating it in their style. I would tell someone not be afraid of the ground. If you put in the work you will see the results. In the end, you will open up a new world of possibilities Dance has allowed me to see the world, meet and exchange with so many people, share and communicate without words and has allowed me to live my life. Thanks Ron! Julian teaches a specialized class called 'Umfundalai' at our 2100 Chestnut location on Sundays from 3:30-4:30pm. Umfundalai is a Kiswahili word meaning "essence," and is used by Dr. Kariamu Welsh (progenitor of the movement style) as the name of a contemporary African dance technique/ movement practice that aims to connect the practitioner to their embodied self. In this class participants will learn basic technique and movement practices essential to this technique with the focus of connecting with other participants and understanding the depths and range of movement patterns held within our own bodies. This technique welcomes all types of movers! I spoke with Julian about Umfundalai, and his class on Sundays. Julian drops some serious knowledge about the origin of the dance form below. Get educated! -Tell us about Umfundalai's history Umfundalai, a Kiswahili word meaning essence or essential, has a longstanding history. The development of the technique started in the year 1970 at the height of the Black Arts Movement, a name given to a group of motivated Black poets, artists, dramatists, musicians and writers who emerged in the wake of the Black Power Movement. It began with a dream about a dance called “Mfundalai”, which progenitor, Dr. Kariamu Welsh, choreographed and titled as such. (The U was later added to the spelling) Kariamu established an all women university club that became the dance company, The Black Dance Workshop in Buffalo, New York, which was later renamed Kariamu & Company or K&C. (Buffalo Period 1970-1980) With the support of a Fullbright Fellowship, Welsh moved to Zimbabwe to study traditional dance. She became the first Artistic Director of the National Dance Company of Zimbabwe. It was during that time that the lapa, a piece of fabric tied around the waist, became the standard studio attire for women and when live percussion became the preferred accompaniment for Umfundalai classes. (Africa Period 1981-1983) The year 1984 began the Philadelphia Period- the longest and most historic period of Umfundalai’s development comprised of many “phases” that span 30 years. It is during that period that the intensive study by graduate students due to the pedagogical and artistic qualities of the technique began as well as the formal codification of Umfundalai. Though Temple University was the incubator for Umfundalai, other institutions like Freedom Theatre, Pennsylvania State University, and Swarthmore College (to name a few) became significant in maintaining the integrity of the technique. Though it wasn’t the progenitors intention to create a female centered movement practice, the bodies that trained and danced Umfundalai at the time were definitively female. It wasn’t until 1993 that men entered the Umfundalai technique. Since the body of Umfundalai had changed so did the company name- K&C became Kariamu & Company: Traditions. 1996 marked the certification of the first cadre of Umfundalai teachers- Yhema Mills became the first dance master while Stafford Berry and Kemal Nance became the first male certified teachers. Umfundalai’s choreographic repertory expanded significantly as well as the technique’s intellectual presence as 3 doctoral dissertations emerged from the years 1995 - 2014. In 2003 Dr. Yhema Mills, Dr. Kemal Nance, Dr. Cheryl Stevens and Josephine Heard-Deans formed to Organization of Umfundalai Teachers which later became the National Association of American African Dance Teachers or NAAADT. 2014 - 2021 is considered the Moving On period as Philadelphia was no longer the hub for Umfundalai activity. When Mama Kariamu made her transition to dance amongst the ancestors in October 2021, it marked a new phase in Umfundalai history, though it has yet to be officially named. -How old were you when you started studying Umfundalai? Who were your mentors? I was 18 when I first encountered Umfundalai at my dance audition for Temple University in 2010. At the time Dr. Kariamu Welsh, affectionately known as Mama Kariamu, was the Dance Department Chair. With the watchful eye of Mama and other faculty, Shaness Kemp ran the Umfundalai portion of the audition and though it was challenging, it felt very organic to my body. I’ve had the privilege of entering the technique while Mama Kariamu was still here with us. When I met her in her early 60’s, she was still vibrant and MOVING! I was blessed to be an apprentice in Mama’s dance company, Kariamu and Company: Traditions, during my time as a student at Temple which offered me a community of mentors. I’ve had the privilege to share space with, perform alongside and learn from Oluko C. Kemal Nance, Shaness D. Kemp, Stafford C. Berry, Saleana Pettaway, my Mwalimu (assigned master teacher) Monique Newton Walker, and the technique’s progenitor, Dr. Kariamu Welsh. I am a part of the last generation of teachers to be taught directly by Mama Kariamu and I wear my certification like a badge of honor. -What have you done with the style (ie teaching, performing, touring etc) I’ve received my M’Singha Wuti certification in 2016 and am privileged to be featured in the Iwe Illanan, which is the official Umfundalai teachers handbook published in 2017. I have performed and traveled with K&C: Traditions, The Berry and Nance Dance Project and The Nance Dance Collective, dancing on stages in Philadelphia, New York, Ohio and Jamaica. I received my professional teaching certification in 2021. When it comes to teaching Umfundalai, I teach community level classes at UMA, I teach the technique to dance majors at Temple University, and have recently set work on students for Drexel University’s Dance Ensemble Winter Showcase. -What is something you love about the style? Something that I love about the technique is that it meets you where you are and encourages you to be exactly who you are and as you are in this present moment. It affirms that one should exist unapologetically. Your background and your story is unique and validates you to be who you are today. Umfundalai teaches us to own that! As a student of the technique, it helped me twofold: it taught me that it’s okay to be new at something and figure it out. It also helped me affirm and solidify the foundation of my character as a queer man of color. I Walk Strong because of this philosophy. I’ve come to know that many lessons learned in the studio can apply to our daily lives. As an instructor, I do my best to encourage others to move towards their own version of greatness, both on and off of the dance floor. Thanks so much, Julian! Alex teaches Dance Acrobatics & Floorwork classes at UMA 812 Chestnut location. He offers a beginner level class on Mondays from 8-9pm. You can get into all levels 'Dance Acrobatics & Floorwork' classes with Alex from 7:30-8:30pm on Thursdays and 2:00-3:30pm on Saturdays. All at 812 Chestnut. I asked Alex to share more about his dance journey and his classes at 812 Chestnut. Hear more from him below! Tell us about your entrance into dance as an adult- what sparked your interest? What hurdles have you had to overcome? This has been and still is a difficult question for me to articulate into words. I’ve always been one to “dive in” to the physicality of my active pursuits as well as the mental states they bring about. Physicality has always been something I've expressed as a way of creating art more than as a way of pursuing fitness regardless of the sport/activity. What I can say is that ‘dance’ and more specifically acrobatics and the culmination of movement vocabulary that contemporary dance provides, had a certain “-ness” to it that just felt “right” to me. It’s more of a gut feeling of this is where I wanted to be and need to be at this time in my life. Along the way, I have been inspired by many folks from many vernaculars of dance that shape how I move today. In terms of hurdles, some of the biggest were body awareness (didn’t have a good sense of moving backward or inverting/cartwheeling), inflexibility (couldn’t touch my toes), and lack of dance vocabulary. How does dance relate to other athletic pursuits in your past? I had specialized all my efforts into being a distance runner for 10 years prior to pursuing dance as an adult. This caused most of the hurdles I had to overcome as I stated above. However, it laid the foundations of what I find are my strengths in my dance as a practice and as an art of self-expression. Namely, persistence in my goals and a positive mindset. Whether it's dance, running, or some other physical or artistic pursuit, I seek and find solace in being able to dive into the ‘flow’ state where time stops, stresses release, and creativity can flourish. What is unique about your approach to teaching dance as opposed to what one might find in standard dance classes? I think what makes my class different is in the atmosphere/vibe of the class and the details I try to provide to my students. The atmosphere is one that is de-pressurized, supportive, and welcoming to all folks regardless of their experience. For those who are looking to dive deep, there is plenty of wormholes we can dive into. For those who are just testing the waters of acrobatics, there is space to wade. I try to share as much detail as I can to each individual and their specific troubleshoots. My personal goal is to provide at least one cue to each student in each class that makes them feel seen or even helps them accomplish their goal. What are your goals for your students? My goals are to provide students with a supportive space where they can discover and pursue the world of acrobatics and floor work on a scaleable level. I want students to feel that the class provides the fertile ground that inspires confidence, challenges fears, and encourages flight. If they want to learn specific moves, I am all for helping them pursue those goals. What is your favorite part about teaching Dance Acro and Floorwork classes at UMA? There are so many favorites! But one of them is seeing student actualizing their acrobatic goal. The joy on a student’s face after getting their first cartwheel, or flipping their first macaco, or grooving through a sequence they are proud of is priceless! I love it! THANKS ALEX! Dance Acrobatics & Floorwork Class Times:
Beginner Dance Acrobatics: Mondays 8-9pm @ 812 Chestnut Dance Acrobatics & Floorwork: Thursdays 7:30-8:30pm and Saturdays 2-3:30pm @ 812 Chestnut Ase (they/them) teaches All Levels Hip Hop @ UMA 2100 Chestnut location on Tuesdays at 7pm. This class is the bridge between you feeling immersed in a music video or a bumping party. Expect to listen and jam out to bangers, both old and new. Ase and Alexis (the Thursday teacher of All Levels Hip Hop) are pursuing careers in commercial choreography and performance, so they will be able to share all of their knowledge and experiences with you. But they're not going to be trying to trip you up. This class is open to dancers of all levels. The goal is to provide you with tools to grow and find your groove while letting loose and having fun! I asked Ase to share more about their dance journey and All Levels Hip Hop class. Hear more from them below! How did you get into dance? "I look at dance as expression as opposed to codified techniques. Dance is more often than not a spur of the moment physcalized feeling. In this regard, it has always been apart of my life. However, beyond my innate curiosities to explore movement, my initial entry points into dance were the black Christian churches I’ve attended, the filmed version of “The Wiz”, and the ever changing world of street dance. In church, Grandmas, Uncles, “churrin”, it didn’t matter. People held on their skirts or suit jackets and tapped their feet. Everybody danced like they had something that needed to get out of them. Something they were holding back on. I also enjoyed “The Wiz” where the dancers stretched their smiles just as far and wide as their limbs while moving. Always reaching towards something greater. Lastly in street dance, I so graciously witnessed how people had conversations through movement that coincided with not any ol’ music. But music that in my childhood was my absolute favorite kind to listen to. Pop and Hip-Hop." What are your choreographic influences? "I am blessed to be around such kind hearted people. Whether they are friends, family, teachers or co-workers. They all inspire me to create. Creating art is so precious to me, because it’s how I express myself with agency. My loved ones encourage me to be confident in my capabilities, and they are my biggest artistic influence." How do you see the current commercial scene- What are the lanes, who are the music artists to chart and follow? "Sean Bankhead, Fullout Courtland, and Parris Goebel are the 3 that seem to be on the front line of social media. Danyel Moulten and Lyrik London are the 2 people I hope to work with the most. I love that before accentuating their body, they play with character, facial expressions and an intentional energy they’d like to give off. They dance from deep with in." What is your favorite part about teaching your class at UMA? "Commercial Hip-Hop at Urban Movement Arts is a very joyous weekly celebration. We come together ready to explore and try new movement we’ve never done before. I appreciate the consistent turnout of attendance. It uplifts me to see people of many different levels of dance in the same space. Some people have been dancing for 10 years or more, some people take their first class ever with me. Everyone is so committed to themselves wherever they’re at. People surprise themselves every single class. I may have hard days, but walking into Studio A at UMA Tuesday nights really positively reshapes my entire day. That to me is worth celebrating!" Thanks, Ase!
Tickets Go on Sale APRIL 3! Truth or DareFriday May 13, 2022 8 pm Created and Directed by Josh "Supa Josh" Culbreath & Emily "Lady Em" Pietruszka Artists Emily Pietruszka and Joshua Culbreath are Snack Break Movement Arts; honoring the lineages of street dance movement languages in their bodies and communities, Snack Break uses theater spaces and contemporary movement practices to expand how audiences consume street dance.“Truth or Dare” is a new work that re-considers an old game, challenging the social binaries that are implicit in Emily and Josh's mutual stage presence. With playful text, audience participation, and movement poetry, the show asks performers and audience members to consider the revealing nature of vulnerability, the visceral nature of participation, and the consequences that come along with choosing a path. Workinonit Saturday May 14 2022 7 pm Hosted by Lily Kind Featuring: Maddie Hopfeild & the Casual Fifth Taiko Ensemble, Mallory Fabian (Los Angeles), Nickolai McKenzie ben Rama, Candice Iloh, and recital performances of vogue, house, capoeira, hip hop, and more from the students of Rylee Prodigy, Tyger B, Ricky "Glytch" Evans, Ron Wood, and Ragtag Empire. Started in 2018, Workinonit is a cabaret-recital-showcase like no other. Workinonit is a performance series that draws from the Urban Movement Arts extended universe to curate unexpected line ups of experts and amateurs challenging themselves and audiences. Workinonit centers BIPOC and LGBQT+ artists expanding the contemporary boundaries of folkloric and diasporic dance traditions. Can’t Wait to Skate: Philly's Rollerskating StorySunday May 15 2022
8 pm Created by India "Ingine" Hyman with Ricky "Glytch" Evans of Great on Skates Can't Wait to Skate is a documentary and live performance that celebrates the history of Philadelphia’s roller skate and roller dance traditions, as told through the story of skater “Irvin Williams.” Can't Wait to Skate is a chance for those outside the skate community to glimpse the creativity of Philly skaters and the scenes’ unique ways of skating indoors and outdoors; it is a full expression of black joy, history, and freedom. Scott joined our pilot month of The UMA Dip- our program designed for the absolute beginner. Hear about how his experience went! Scott's Testimony: I’ve casually seen the UMA Instagram page over the last year and was always curious in taking a class but then I remembered my dancing abilities consisted of watching YouTube tutorials videos to keep up with the latest dance trends. After that moment of clarity, I realized I had no business being in a dance class. It wasn’t until this past fall, I was in my best friend’s wedding where all the groomsmen had to do a choreographed dance. I loved the experience of learning the choreography and performing the dance at the reception. Fast forward to this past holiday break, I saw Vince post about the UMA Dip program starting in January and I was IMMEDIATELY hooked. I was like if there was ever a time to try out dance classes in a structured, friendly, and nonjudgmental environment, this would be it. So, I decided to take the plunge and signed up. Absolutely no regrets at all and by far one of the best decisions I’ve ever made. I’ve loved getting out of my comfort zone and having new experiences and this program was perfect for that. The people at UMA are all so welcoming and the close-knit community is what I’m looking forward to getting to know as I pursue my journey of dance. I’m very excited to immerse myself in all the different types of dance classes and enjoy the process of becoming a competent (and hopefully decent) dancer Shoutout to Ricky and Helen for being amazing dance instructors and providing knowledge, expert instruction, and patience while making it fun and engaging. Shout to Kayla for coordinating the program and keeping us updated on everything happening each week. Lastly, shoutout to Lilli for the expert insight and providing all the ins and outs of UMA during our 1v1 consultation as I navigate this new path of dancing. If anyone has even a slight interest in taking this program, I would dive in and don’t hesitate. NO RAGRETS! Why I was interested in learning how to dance: I think dance is the sincerest form of self-expression that anyone can do. The creativity involved of getting in tune with your body, internalizing how a movement should feel, and expressing that through your own lens is pretty special and unique. Check out Scott getting down in Ricky's Beginner Hip Hop class: Thanks so much to Scott for sharing!
Dance: A Connection with Music By Andy My dance journey began with an interest in breaking while in high school, but I didn’t get to learn much about it back then. Fast forward to college, and some friends and I ended up taking a hip-hop dance class for a semester—which I enjoyed a lot! While in college, I developed a strong interest in music as a way to deal with depression. Listening to music helped me to relax and take my mind off of negative feelings, so I continued to listen. Eventually I took an interest in popping because I didn’t understand the musicality aspect of dance. This led me to explore this area on my own as a hobby over the years which helped me to bridge music and dance together. After finishing college I found that the work related to my degree didn’t interest me. What continued to interest me was music, and, for the past year or so, I primarily focused on teaching myself to produce music. As a result of the pandemic and this aspiration, I developed a sedentary lifestyle and ended up out of shape. This helped me realize I needed to get moving again, which spurred my search for, specifically, breaking classes—thus leading to my discovery of UMA. My first class was Movement Flow with Ron, and I remember my shins cramping up because I couldn’t move through a squat position comfortably—let alone many other positions. Ron’s classes guided me through exercises where I could build up the strength to hold and move through those positions, many of which I never thought I could do. Jerry’s classes allowed me to pursue my high school breaking goals, and the cyphers in class are great since we get to freestyle and apply the moves we learned in class. Ricky’s classes always get me moving with the music in a variety of ways, which I value a lot as connecting with music and having fun are both very important to me. Emily’s classes have been great for learning popping fundamentals, as well as experimenting with fun concepts—such as puppeting. Tyger’s classes helped me to see things I don’t see, such as… myself in the mirror, but also aspects of dance like the depth of your steps or how you accentuate a specific movement. Dancing has allowed me to push myself physically, mentally, and emotionally, and has given me and many others a space where we can connect with music and express ourselves. Thanks to all of the staff at UMA who help make this experience possible! Thanks for sharing Andy! Check out Andy getting down in Ron Wood's House Dance Ground Moves and Lofting class- Thursdays from 6-7pm! Journal entry by Amy!The UMA Journal is a new collection of entries from some of our community members! They share about their class experience at UMA, dance journeys in general, life thoughts, passions, musings- whatever! We love getting to know more about our community! Check out this first entry by UMA regular Amy! Amy is a Laurel- class regular. Learn more about how she got into dance and where it has taken her! Dance: My COVID Silver Lining by Amy My one-year dancing anniversary just passed. It's hard to describe in words how the decision to move my body through dance has changed me. Dancing makes my heart happy. I used to catch glimpses of classes during the many years I hung out at UMA while the kids I cared for danced their afternoons away in the Movemakers program. I'd peruse the UMA adult classes schedule and imagine myself joining one of the Salsa or Bachata classes. "Yeah, right," I'd think. "I'm going to mess up all the steps and make a complete fool of myself." When COVID hit, along with everything else, it changed my exercise routine. I was impressed with how fast fitness studios transitioned to online classes. UMA was one of the first to begin the foray into online learning and I got to see their process through the Movemakers program, where the kids I took care of began to dance at home on Zoom. For me, UMA's online classes presented a unique opportunity: I could now take a dance class without actually stepping foot inside the studio. I remember the morning that I took a deep breath before clicking the "Sign Up Now" button for Laurel's Latin House livestream class. That class was challenging. And fun! Most importantly, I felt safe to move my body within the comfort of my own home. After that, I thought, "what the hell" and signed up for Reggaeton as well as the Solo Salsa classes. My weekly schedule was beginning to fill up with dancing. All through the winter I danced online. In the spring, after getting vaccinated, I took my first in-studio dance class. I don't know if I would have ever have made it there without the help of online instruction. I'm so glad to be where I am and to have found this space Thank you, UMA, for the opportunity to take live streamed classes and build up the skills and courage I needed to get into the studio! And a special thanks to Laurel for her amazing instruction and endless positivity. I'm looking forward to seeing the progress that another year brings. Thanks so much to Amy for sharing!
creative compositionwith Rylee Prodigy Creative Composition is a class that will give students the tools to create their own phrase work and choreography. Movement generation and development will be explored through concepts, prompts, freestyle, and choreography.
Join Rylee weekly on Wednesdays from 7:00-8:00pm you can register through our schedule page! Floor work workshop!Join guest instructor Isaac Lerner for a 2-day floor work intensive workshop! December 6th & 7th 2021 12-3pm each day Register here! Isaac Martin Lerner is a New York City based dancer, choreographer, and teacher. After moving to New York, he found an abundance of freelance work mainly with David Parker’s Bang Group and Cameron Mckinney’s Kizuna Dance as well as smaller project based companies. He lives in the contemporary floor work realm studying under teachers such as Cameron Mckinney, Luke Jessop, Victor Rotier, and Jos Baker. Mr. Lerner also is pleased to pass on his knowledge as a teacher at Gibney Dance Center, The Kuzina workshops and his own master class series called “Dots and Lines”. He’s a critically acclaimed opera choreographer working closely with collaborators Jacob Climber (costume/set designer) and Chas Rader-Scheiber (Stage Director). He is looking foreword to his time at Urban Movement Arts! I sat down with Isaac to learn more about him, floor work, and what we can expect from his workshop! Check it out below! Isaac Lerner comes to UMA! Isaac has danced since asking his parents for ballet lessons at the age 4. He reflects- “I don't know where I got the idea [for ballet lessons] and no one seems to..” But he's stuck with it, moving from the world of classical ballet to more contemporary dance forms and now, since 2018, to floor work technique. He currently dances with Kizuna Dance, teaches and choreographs. He is based out of New York City.
Isaac’s passion for floor work is clear when you hear him speak about it. Isaac describes the floor almost as one would describe a partner- he comments: “I think that the relationship with the ground is the one thing that has really kept me moving through the last couple years- the idea that the earth is pushing into you and that it can propel you into- it can literally propel you into swing dance, or it can propel you into classical modern dance- it can propel you into anything as long as you continually remind yourself of that thing. And I think- I HOPE- my workshop is really a time to explore that, not just in a floor work setting but also in whatever setting you want.” Isaac understands floorwork as, yes, a movement form that utilizes the lowest levels we can, but also as a technique for approaching all forms of movement. No matter what style of dance you may be exploring (I suppose with the exception of aerial forms) you are working with the ground. Having a base understanding of the ways you can push, pull, and release into the floor can have influence on how we approach any other style of dance. Isaac’s workshop will be a 2 day intensive, each day 3 hours long. This will allow participants to really get an in depth introduction to floor work technique. I asked Isaac for a breakdown of what we can expect from his workshop. He said to expect a lot of breathing to start: “I always start with a lot of breathing and just finding a way to engage the other half of the brain- not just the mechanical but also the imagination part of the brain.” Isaac’s class then eases participants into the concept of moving into and out of the ground through a “long juicy warm up sequence.” At this point, the class progresses to a more technical/ mechanical focus. Isaac will break down concepts such as: various ways to get to the floor, how you slide on the floor, how to maneuver yourself once you’re down there, and ways to get up from the floor. And to conclude the workshop, Isaac notes: “I start to combine all those mechanical things to find more of a flow and eventually it all culminates in a large phrase that hopefully allows everyone to let go of everything we’ve talked about and just dance.” We are so excited to welcome Isaac to UMA! We can’t wait to see how participants bring what they learn with Isaac to movement forms they study at UMA- whatever style it may be! |
ContributorsKayla Bobalek Archives
May 2024
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