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UMA PHILLY
  • Home
  • Schedule
    • Prices
    • Instructors
    • for Beginners
  • Private Lessons
  • Studio Rentals
    • ARTIST SUPPORT
  • Blog
    • Upcoming Events
  • Contact
    • Kids Classes
    • Corporate & Community Programs
  • Internship Opportunity

uma blog

youth summer dance camp 2021!

4/16/2021

 

enroll the youth in your life in movemakers Philly Summer camp!

WHO? Youth ages 5 and up!
WHAT? A fun summer camp outside, in studio or online that gets kids moving through dance classes and games, as well as engaging their creativity through music and arts and technology classes
WHEN? All summer 2021! See our summer camp page for weeks offered. Drop off is from 8:30-9am. Pickup at 3:00pm. Extended stay options are available!
WHERE? MoveMakers Philly is located at 2100 Chestnut St. Philadelphia PA! 
WHY? After a year of zoom school kids need to be outside, moving and interacting with their peers more than ever before! MoveMakers counselors create a welcoming and engaging environment for ALL students to thrive this summer. 

MoveMakers Summer Dance Camp will get kids outside, dancing, playing games and participating in structured arts and technology classes!

Participating Campers will work on developing:
-Coordination and fitness 
-Musicality and creativity, and
-Determination, focus and grit

And most importantly of all campers will...

HAVE FUN!

Sign up now to reserve your spot for MoveMakers In-Person or online Summer Camp! In-person drop off is between 8:30 and 9:00. In person students will begin their days outside-  taking hip hop and breaking classes and playing games. In the afternoon they will be at the studio for lunch break, more dancing and arts and technology classes! Online camp includes hip hop and breaking classes live streamed throughout the day as well as special arts and technology classes with incredible instructors!
Sign up through MoveMakers Philly Summer Camp Page!

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Questions? Email kayla@urbanmovementarts.com

Heels Dance workshop

4/7/2021

 

sophiann mahalia teaches a heels dance workshop this sunday, April 11th!

Sunday, April 11th @ 2:30pm
90 Minutes | All Levels 
​Sign up through our homepage!
A current Philadelphia Artist, Sophiann Mahalia moved from Hartford, Connecticut to receive her BFA in Dance Choreography and Performance from Temple University. Sophiann graduated Summa Cum Laude and had the honor of being the recipient of the Rose Vernick  Most Promising Performers Award.  

Sophiann’s dance credentials include Equilibrium Dance Theatre, D2D: Dare To Dance, and Kariamu and Company: Traditions. She has trained under Lee Aca Thompson, who has influenced artists such as Michael Peters choreographer for Michael Jackson’s Thriller, and Dr. Kariamu Welsh, creator of the Umfundalai technique. She has studied West African, Modern, Ballet, Hip hop, Waacking, and Umfundalai with AQiida Gilbert, Dara Stevens-Meredith, Dr. Kariamu Welsh, Jillian Harris, Jolet Creary, Kun Yang Lin, Laura Katz Rizzo, Lee Aca Thompson, and Stephen Hankey.

Her recent works include music video Clarity for singing artist Saleka Night Shyamalan directed by Ishani  Shyamalan and M. Night Shyamalan. Alongside this, she was one of the featured dancers for Ari Lennox’s Shea Butter Baby music video featuring J Cole. In the commercial world, Sophiann has had the opportunity to do work for companies such as BOMBAS,  gone on tour with the Clothesline Muse starring six time nominated jazz singer Nnenna Freelon and performed in New Freedom Theatre’s Black Nativity directed by Rajendra Maroon Maharaj.
She promotes body positivity and strongly uses dance to tell the story that can’t be understood with just words, but movement. Sophiann Mahalia explores dance through her own experiences of the black dancing body by using her fusion of african, hip hop, and waacking to promote the limitless and regal  qualities of womanhood within the black dancing body. She aspires to inspire other artists to take their artistry to the next level as she does the same.

I spoke with Sophiann to get a sense of what to expect from her workshop! Check it out!
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What is a heels dance class? 
I don’t want to generalize because all classes are different- there are master teachers like Kiira Harper for instance, that really break down the essence of a heels class. For my class we are focusing more on our own sensuality- how you feel in your own body with these heels on. We pay attention to how the heels create beautiful lines and how you can start to play with these extensions to slay your own way!

The heels help bring you up and keep you forward- they’re an extension of your own body. They are tools to help you expand your own movement and tap into your truest and most playful self. Heels help me find a way to fit into my own pocket when I dance. My advice is-don’t try to compare yourself to someone else when you are taking a heels class. 

What do you feel like taking a heels class has to offer in terms of empowerment and getting in touch with a more feminine and sensual side?
 From society we get a lot of messages about what is taboo- you shouldn’t wear that or you can’t touch here. But in a heels class you get to play with sensuality. You don’t have to feel like “oh I’m doing too much”- No! You can do more! And we’re gunna love it. In a heels class you can be whatever you want to be. It’s very empowering to be able to own your own body in that moment. 

Do you need heels to take this class? 
Nope! If you don’t have heels it’s ok! Come in sneakers and show them off!

What type of heels are best for dancing in? 
I usually like heels that hold your ankle. I wouldn’t use pumps in this class- sometimes you move quickly so you want something that's more secure. 

What are you looking forward to in teaching this workshop?
I’m so excited to get back into the studio since the pandemic. I’m excited to play with some choreo and dance with people!​

Check out Sophiann's Website!
This piece, choreographed by Sophiann, features dancers: Ama Gora (@sheabutta_mami and Surya Swilley (@swilley_). Music: Ja Ara E by Burna Boy (@burnaboygram) Videography: Kai (@rbkvisuals) MUA: Kymmie (@kingkymmie

contemporary Fusion Dance workshop

3/30/2021

 

Helen Nolan teaches a contemporary fusion Dance workshop April 4th @UMA! 

Contemporary Fusion
Sunday, April 4th @ 2:30pm
Sign up through our homepage!
Helen has been training in street styles such as hip hop foundations, house, locking and popping since she was in grade school in Boulder, Colorado. Later on she began to branch out to incorporate contemporary dance styles in her training. Since then, she has refined her own style through experimentation in choreographing, enjoying and exploring the interplay between the various styles she has under her belt. Helen has danced and toured with, in addition to choreographed for, LA based dance company Academy of Villains Contemporary and has sat as artistic director and danced for Colorado based company Side By Side Dance Co. founded by Larkin Poynton and Sarah Touslee. ​
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In her workshop on April 4th “Contemporary Fusion”, Helen will present a version of what a fusion between contemporary movement and hip hop movement could be. She will introduce participants to her personal methods of movement generation within this blend of styles. Participants will also begin to explore and discover within their own bodies what movement possibilities are opened up when we experiment with this kind of fusion. 
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Get to know a little more about Helen and what to expect from her upcoming workshop below!
Could you talk about your relationship with choreographing movement?
An early inspiration for me was being interested in seeing how contemporary choreographers formulated their dances for the stage as opposed to for a cypher or street gathering. Different stories and emotions can be told by utilizing these tools in choreography. I like to take elements from both [contemporary dance and hip hop forms] and have them ping pong back and forth from each other. That will definitely happen in this class. 

My love for choreographing really started in CO when I was dancing with a company called Side By Side Dance Co founded by Larkin Poynton and Sarah Touslee. They were 2 humongous inspirations for me in terms of pushing my preconceived boundaries of what making dances that aren’t clear cut hip hop dances but still uphold its principles can look like. What if we use hip hop vocabulary but perform to a different type of music? What if we use hip hop vocabulary and other movement strategically to tell a story in a dance? I’d also like to say my relationship to choreography really grew out of being a part of a supportive community who was excited to make stuff with me. It takes a village!

Today I use choreography as a tool for reflection and recontextualizing the world around me. I’m interested in using the practices of dancing, making, and watching choreography to question and make sense of things that sometimes aren’t so apparent in everyday life! I’m always working to expand my movement vocabulary to have more things to pull from.

How do you discover the movement that you decide to set in your choreography?
We’ll touch a little on that in class! Some of the improv work we do will be movement creation using one version of a process that I use sometimes. I come to choreography in a lot of different ways. I like to put myself through prompts or games to try to find different ways of combining movements together vs. listening to a song and trying to make a move that matches that part of the song. I try using limitations or choreography maps or other types of fun prompts to help spice things up and allow different results to come than I might have gotten if I just tried to pull moves out of my brain cold. After the initial exploration the next stage is usually revision and articulation of the nitty gritty details like musicality and texture. 
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What is your goal for this workshop?
My goal is not for everyone to look exactly like me at the end of the class. My goal is for the choreography and improvisation scores to be a guide into your own individual exploration and experimentation practice in your mind and body.
Sign up for Helen's workshop through our homepage!

UMA fam heather wrote a very moving letter to uma <3

3/25/2021

 
Learning about learning: A Love Letter to UMA and to Imperfection 
UMA Homie Heather (who made the dope "Seduce Yourself" poster featured below and is just generally a badass at making things, dancing, teaching Spanish and so much more) shared a reflection on learning, vulnerability and embracing imperfection that centers around her experience at UMA. Heather is a shining example of a community member that goes after their goals while also uplifting and supporting the rest of the community. We're so lucky to have people like Heather in our midst! ​
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(Shout out to UMA fam Julia D. on the left in the pic with the puppets!)
Learning about learning: A Love Letter to UMA and to Imperfection   

My first experience at UMA involved me standing in the back corner of the studio watching my body move in the mirror. Spastic, erratic, and stiff.  It was a house class, and I was mortified. I had a small crisis, contained to the few speckled white floor tiles where I stood.  I was quick to make jokes about how terrible and how sweaty I was, to beat others to the chase. I muttered them to the people beside me any chance I got. This has been my M.O. over the years—self deprecating armor. In a way the armor works. It also prevents me from trying anything wholeheartedly. I suffered through to the end of class, relieved to be able to get out of there. 

It went on like that for a few classes. One mortifying experience after another.  One more hour of watching my body do something very different from what I was asking it to. At some point I stopped cracking jokes about how bad I was, mostly because no one seemed to care much. Honestly no one was really looking at me in class at all.  Sometimes I’d get to class early and eat a snack that I’d bought in the deli downstairs and I’d watch people practice. The people practicers ranged from being brand new to the teachers whose artistry was, and still is, otherworldly to me. Over time I let myself genuinely try in class. And I started to get the hang of some movements. That felt good. Then I got the hang of a few more. Each time I learned something I had more evidence that getting it was possible, because I had gotten things before.  It went on like that in a loop: movement, progress, confidence and so on.  

As my vocabulary grew, I started to be able to decode the movement of dancers that hung around that I admired. I started to see their movements in their smallest units, little steps strung together and made personal by the way their particular bodies tended to move.  Before this I just thought that dance was magic, and it is, but not the kind that I thought. Not the kind that you are born with —or not —but the kind that you go building.  Developing over the course of many hours of linking small learned things together, of messing around with friends, of practicing in the lobby before class while shy new dancers eat snacks nearby and try to play it cool like they aren’t watching you intently.  
   
About a year into going to UMA regularly, they hosted a series called “Working on It”. A cabaret of sorts in which people showed pieces they were working on that were at varying stages of development. Again, demystifying the creative process. Watching these shifted something in me, allowing me to see people’s unfinished works. And again, witnessing people that I had come to know in class letting themselves be seen as they were. 

Somewhere in the intersection of these experiences I learned something other than movement. Or rather, movement became the vehicle through which I could practice vulnerability in a concrete way: over and over in a room full of sweaty people.  People say things all the time like “believe in yourself” or “be more confident.”  And I always agree, but never knew how.  Understanding this process has opened up a whole creative world for me.  I’ve been able to teach myself things with a new fluency, and a new joy. 

It was on the train home from a Working on It that I decided to make my own puppet show. Because, why not me? And a year later I did — an imperfect, falling apart, beautiful, DIY, earnest, clumsy puppet show in my living room. The cast was populated by people that I know through UMA.  Friends from UMA filled the audience. Here, another stepping stone in that movement- progress- confidence cycle. This summer, I will be publishing a book of short stories. This, yet again, terrifies me, but the terror is now something I’m better acquainted with. When I was writing out my thank you’s at the end of the book I felt compelled to include everyone at UMA, for teaching me how to stick with myself through all of my imperfection. For screaming “YOU BETTER GET IT” at full volume every time I got up the nerve to close my eyes and jump into the middle of a cypher.  

contemporary dance workshop March 28th

3/18/2021

 

whole Body: Moving from the floor up
A workshop with michele tantoco

Michele is coming to us with years of experience in contemporary dance techniques, somatic movement practices, performance and teaching. After graduating from Bryn Mawr in 2001, she began performing, teaching, creating and exploring movement in Philadelphia. She has been a longstanding member of Leah Stein Dance Company. She has worked with numerous individuals and groups such as Dancefusion, Ann-Marie Mulgrew, Shannon Murphy, Gabrielle Revlock, Meg Foley, Daniele Strawmyre, Nicole Canuso, Myra Bazell, Darla Stanley, Charles Anderson, and Kate Watson-Wallace. Over the course of the pandemic she has focused primarily on teaching virtual movement/ conditioning classes through the lenses of pilates, yoga, strength training and somatics.

In her workshop on March 28th, Michele will focus on mindfulness in transitions and finding trust in sensation. Movers will begin the workshop at the ground level and progress to standing, culminating in an exploration of moving into and out of the floor.
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I talked with her to find out a little more about her and what to expect from her upcoming workshop! Check it out: 
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You have been primarily teaching conditioning and yoga classes throughout the pandemic. Often when people come into these classes they may not necessarily be looking for a creative or mindful practice. Could you talk about how you’ve brought creativity and your experience with dance into the teaching of those disciplines?

Recently I have become more interested in transitions. In classical exercise you do one exercise and then the next and it feels very broken up. I think there’s a lot to be said about the moment in between. For instance, if we’re doing something on the ground and then something standing- what do we do in that moment in between being on the ground and standing? That can be something that is very technically difficult to break down or think about. There's so many ways to get onto and off of the ground- of course there’s “functional” ways. But ask- what are the ways that you in your own body are able to find your ranges of coming up and down? It might change everyday. So focusing on transitions is one. 

Mindfulness comes to mind too. The pace that I teach at is often quite deliberate. I challenge people to think about more than just the experience of alignment and precision. What are the possibilities of changing that alignment? Pushing further than the architecture of your body but instead finding trust in sensation. That’s what I get from dance- I don’t want to just say “I know that I’m dancing well when it feels good”- but… basically- that’s what it feels like to me. [As a dancer] I know when I’m getting into a flow with an improvisation and I know what that sensation is like.  Being able to find that in more simple movements is important too.”

What do you plan to focus on in this workshop?

I built this class around transitioning from the ground to standing and doing so in a progressive way so that at the end we can combine all the elements to be up standing. Then we can work on moving into and out of the floor with options- moving through lunges or hands and knees or rolling on your side etc. The flow of the class is like a choreography in that it has this element of building up to something- with some openness to it. It’s not strict- it’s more of an exploration. A class that progressively builds up to an exploration of moving into and out of the floor. 

I’m interested in the idea of openness. You can do a bicep curl a million different ways. You could be lunging and then stand up or lunging and then fall over to your side. I’m interested in breaking down the walls that technique has set up- walls that feel really secure but then you don’t always know how to get outside of them. I'm hoping to work toward being able to move and be moved by what you’re feeling inside and the space around you and not just mastering technique. 

What has kept you interested in/ coming back to dance for so long?

Mostly the community of people I find myself in. Collaborators. I get the most inspiration from moving and making in collaboration. I thrive off of being in contact with and building relationships within a community.
Join Michele March 28th @ 2:30pm. Class will take place on zoom. Sign up through our website homepage!

Umfundalai workshop with julian

3/7/2021

 
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Sunday, March 14th 
2:30-4:00pm
Online and In-Person
Sign up through our Homepage!
Umfundalai is a contemporary African dance technique that comprises its movement vocabulary from dance traditions throughout the Diaspora. The literal word, Umfundalai, means “essential” in Kiswahili. Much like the late Katherine Dunham, Kariamu Welsh, Umfundalai’s progenitor, has designed a stylized movement practice that seeks to articulate an essence of African – oriented movement or as she describes, “an approach to movement that is wholistic, body centric and organic.” - umfundalai.net 

Julian has been working in the style of Umfundalai for about 9 years. He says that Umfundalai began as a dream for black women to have a space to “have a space to express their stories, learn more about their bodies and utilize them as an instrument of creation,” (it wasn’t until the mid 1990s we began to see more men participating in the style). 
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Umfundalai is an explorative style- it asks “what can you do with your body? How many different ways can you access different types of movement? How can you express different concepts with the information your body has to offer?” The style centers on arriving where you are and expressing who you are in the moment while constantly learning and adding more information, knowledge and skills. The fact that everyone will look different performing, studying and creating work within the Umfundalai technique is welcomed and encouraged. 

I spoke with Julian to find out a little bit more about his relationship to Umfundalai and what we can expect from his workshop! Check it out: 
How did you get into studying Umfundalai?
 I have been working in this style for 9 years. I remember one of my friends from Temple University asked me ‘what are you doing on Saturday morning?’ and I said…sleeping?’ and she said ‘no you’ll be in Studio 221 at 10am’ and walked away. It seemed pretty urgent so I showed up and it was the beginning of a life changing experience.

Can you talk a little more about why you consider your relationship with Umfundalai life changing? 
It has been life changing for 2 reasons. 1) It has helped me work through mental health issues, body image issues, and confidence issues because it really focuses on living and existing unapologetically. Maybe you feel like your body isn’t moving the way that you want it to in a particular moment- that's ok! Thats who you are today. How can you work with and work through what is ailing you and still be able to stand on your own two feet-- or maybe you even sit on a chair that day! The focus is on how can you still be physically present and aware and appreciative of the body that you are in.
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And 2) On a more performative level- I have been able to tour different states of the country- I have been able to leave the country and perform in Jamaica for 3 years in a row. Having a dance family outside of the country is something I am so grateful for. It's about connectivity- its not always about movement. Sometimes there has to be a conversation-- Umfundalai gets at the idea that the physical body and the psychological body overlap 

What is the structure of the class typically like? 
We would typically start with something called nanigo. Nanigo is comprised of 2 concentric circles that give everyone the opportunity to see everyone else in the room and affirm them as they are in that moment. From nanigo we would typically move to center to and then we would move across the floor (sometimes this order is changed depending on the instructor and needs of the participants.) And then if the goal of the class is a movement phrase then you can work on that.

What are some of your personal goals in dance?
In my teaching practice I am interested in finding the balance between what different students are after and what I want to communicate with them. Some students will just show up with the attitude of- ‘I’m expecting you to kick my butt today and then we’re going to do this amazing combo to end and I’m going to put my phone down to record myself and then it’s going on social media.’ And that’s fine but -there's more we can do. We are expected to be cookie cutters. There is often an expectation that if one person could do something then everyone else should be able to. But not everybody is the same. One of my biggest goals in dance is to help people find themselves- whatever that might mean. 

UMA FAM MADDIE HAS BEEN PRACTICING TAIKO. LEARN MORE ABOUT HER JOURNEY!

3/1/2021

 
Hi friends! For the past few months, I've been re-learning a music/ movement practice from my childhood that I wanted to share with you all: taiko! Taiko is a traditional Japanese drumming form (UMA homies Shin and Yushi know about it I'm sure). There are also many different styles within the overall umbrella of taiko. Here is a picture of me as a youngin performing taiko at a school festival: ​
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As you can see the drums are pretty big! The style I’m playing here (called beta) involves bringing your sticks (bachi) all the way above your head and bringing them down with full force for the bigger hits. So many of the styles are played in a really full-bodied way, which has been interesting to explore as someone who mainly dances nowadays. It’s also been fun to get on the other side of things and actually produce rhythms/music.
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Before I continue: big shout out to my teacher Mac for just randomly offering to teach me taiko after I wrote a thinkingdance review of his piece that was in Fringe, and also his wife Alex for teaching me taiko while being a badass dancer and medical professional at the same time. They are the other two people that you will see in the videos below!
This is the main style I’ve been practicing, called naname, where the drum is tilted on this 45 degree-ish angle. This makes for a really cool, almost whip-like relationship between the hips and the arms, and there’s lots of gorgeous horizontal flowy movement potential (skip to 2:20 for prime example). The relationship of the stance to the torso kind of reminds me of waacking, like those movements when you twist your body and use the momentum fling your arms, but it’s as if the sticks are an extra arm joint where rotation is possible. People also sometimes add in cool-looking twirly stick moves. Watch my teacher in front to see how stick twirlies are actually done!
This style is called nidan, and it’s so fun! As you can see it involves two different drums at different angles, and it’s usually played with several different people rotating in and out of the middle. It’s like taiko partner dancing. (Remember partner dancing?!) Except you are also waving around giant sticks that you could accidentally wack your partner with. Exhilarating! This is an excerpt from a longer song that Mac is creating right now.

Handstand workshop with nicole burgio

2/22/2021

 
Nicole Burgio is an INCREDIBLE professional circus artist and teacher. She takes the concept of balance to another level. In the worlds of acrobatics, physical theater and circus, Nicole has decades of teaching and performance experience, both locally and abroad. She has worked with local companies like Almanac Dance Circus Theatre as a core ensemble member and acrobatic consultant, and she has performed as a solo artist in numerous international circus and arts festivals. 

One of Nicole’s truly exciting projects is ‘Proyecto Colmena’, an intensive program which tours professional circus schools teaching amateur/semi-pro artists how to create meaningful ensemble work. This community-based ensemble building approach is dear to her heart. She loves guiding artists of all disciplines and experience levels through a process to create original or unique group movement. 
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As a handstand coach, Nicole has over 10 years experience teaching all levels of movers. She says that she's never worked with someone who couldn’t get upside down with her. As a participant, YOU CAN DO THIS!

In this workshop Nicole will focus on:
- Technique of handstand alignment
- Progressions towards strong and consistent handstands
​-Developing strong personal practice habits. You will leave this workshop with lots of tools you can use on your own!
I talked to Nicole about her own journey with handstands and what a participant might expect from her workshop. Check out the interview with her below!

How did you get into your handstand practice?
I have been doing gymnastics and acrobatics for around 33 years now. I kind of found the circus later in life, around 24 or 25 years old. The Ringling Brothers Circus came to Philadelphia, and I used to go all the time with my mom. I took my boyfriend at the time to show him what it was all about, and I just fell in love. I started to study aerials: trapeze and silk. I then began to gravitate towards handstands because…you don’t need much - just a little bit of room and yourself. And, they’re addicting. Each time, you might be able to stay up for a little longer. You get to play the game of it a little longer. It becomes naturally addictive if you have that type of curiosity.

What are some of your personal handstand goals?
Professional Hand Balancers spend anywhere from 4-5 hours a day on their hands. I consider myself a physical theatre artist, so I like to have a bigger array of things I specialize in - I’m more of a generalist. Not to say that being a generalist is not without mastery, but it's a different type of mastery. You have a good handle on many things vs. one thing you’re very good at. For me, my handstand goals are gaining better balance on one hand. For example, I’m working on a position called Figa: it's a little bit asymmetrical, it's on one arm - it's very beautiful. It’s quite difficult. I am also diving a little more into dynamic contortion style positions that involve your feet touching your head, or lowering onto your chest while your feet are over your head. Crazy stuff like that. That all sounds so big and wild, but really what I love are the fundamentals. I think a classic handstand is beautiful - and it's actually one of the most difficult handstands out there. Just classic two hands straight up and down, boom- don’t move- that's tough! Fundamentals feel strong, and reliable. And I feel beautiful when I’m in them. 

What do you think a handstand practice would bring to supplement other styles of dance?
Whether you’re on your hands or your feet, having a handstand practice WILL help with balance. It also helps your understanding proprioceptively of where you are in space. If you’re an advanced dancer or performer, you will have a much better understanding of how you are sharing the space with others - whether you’re turning, upside down, bending backwards, folding forward - all of this will feel more in control, because you’re doing the same thing just on your hands! For dancers it also brings more diversity. It teaches you how to enter weight into your hands. This opens up more vocabulary for you to traverse the floor. Dancers want to do the most they can do with their bodies to express. The more vocabulary you have, the more options you have to move your body. This gives you greater ability to tell your story how you want to tell it.

What would you say to someone who is a complete beginner looking to get into handstand practice?
Over my 33 years of experience and over the last 10 years of me coaching professionally, I have never met a client I couldn't work with,  and I have never met a client who couldn’t get upside down. Even during this quarantine where I'm teaching virtually, I have always been able to work through things with my client. I know about one million and one progressions that will help people who are very nervous. I also have a masters degree in counseling and psychology. I like to use that linearly with my approach to teaching.  Fear is a big factor. We need to walk with our fear; we have to carry it with us- we have to go upside down with it! There's no reason to say “Oh you won't be afraid,” or “just don’t worry about that.” I take the approach that says “Great, you’re afraid. And now we’re gonna do it.” I’ve taught all ages, all sizes, and all different types of folks. We’ve all been upside down together.

To participate in this workshop all you need is a small space in the middle of the room and a clear wall. Let's get upside down together!

Sunday, March 7th @ 2:30pm
Register through our homepage

leilani chirino on the rhythm of the clave

2/12/2021

 

Bonus afro cuban workshop with leilani this weekend!

Last week's workshop with Leilani was so fun! We are bringing it back this weekend for an extra round. Leilani will review and expand upon some of the concepts covered in last week's workshop. No worries if you didn't make it last week though! You are welcome to hop in this week. All levels welcome! ​
Sunday Feb 14th
2:30-4:00pm
$15 Streaming. Sign up here.
$20 In person. Sign up here. 
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This workshop with Leilani will focus on the rhythm of the clave! I caught up with Leilani to find out more about this rhythm that is the foundation of Rumba and appears in a lot of popular music today. Learn a little more about La Clave from Leilani! 
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 What is the clave?
“Clave can refer to a rhythm or it could refer to the instrument- 2 wooden sticks. There are many different types of clave. The standard is the 1-2-1-2-3, in America they refer to it as the salsa clave. We call it clave de son. You hear it in Rumba. The Rumba is folkloric social dance from Cuba and the soul of it is clave.”

Where did it come from?
“It’s commonly associated with Cuba, however there is some research that thinks it may have originated in West Africa even though the rhythm is associated with Cuba. West Africans were robbed of their homeland. Primarily, Cubans today are the descendants of West Africans mixed with Spaniards- so it is hard to know whether it started in Cuba or started in West Africa and came to Cuba through the slave trade. It is pretty commonly recognized that the wooden sticks started in Cuba because of Africans who were enslaved and became Cubans. Their descendants who were working in the shipyards in Havana developed the wooden sticks. Cuba is where the clave is thought to have originated but really it is an African feel.”
​

 Can you talk about the development of the dance in relation to this rhythm? 
“Rumba came from community street parties. The foundation of Rumba is the clave. There’s not really a lot of documentation as to how the dance started- but when you hear the music and you see the dancing it just kind of makes sense. Your body moves to the rhythm of la clave. The torso moves, the hips move, the feet move. The feet remind me a lot of the zapateo from flamenco which you see in the south of Spain which comes from the Gypsies. You also see it in the countryside above Cuba. What is so African is the hips and the torso. The torso does almost a figure 8- its one of the more difficult things to learn in the Rumba. The hips move with the feet, side to side like a pendulum. When you see the dancing you see la clave. The dance is born from that rhythm. Even though it developed in Cuba - its very African, close to the ground, your heart is to the ground, your knees are very flexed, in order to be close to the earth- that’s where you get that energy from. The dance becomes the clave.”

New class alert!: Commercial choreography with nyla murray

2/11/2021

 
Nyla Murray is teaching a NEW hip hop class at #UMA! 

Nyla’s Commercial Choreography class will utilize foundational hip hop moves and concepts in original choreography by Nyla. This class is geared toward intermediate to advanced level dancers looking to develop performance and character skills, apply their hip hop foundations, get in touch with their bodies and just generally vibe to great music. 

Saturdays 1:30-2:30pm 
Online and in-studio

You can get a taste of her choreography and see her in action in the following videos: 
Choreography by Nyla^
Choreography by Justin @justmadeofficial^
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