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Join Kristi Saturdays 3-4pm @ 812 Chestnut! Intermediate+ level dancers. Class will teach choreographed routines that blend hip hop, jazz, popping, house, and other dance genres. We will focus less on getting the moves "right" and more on making the moves uniquely our own. The goal will be to feel the music, have fun, and express our authentic selves! Learn more about Kristi and what to expect from her class below!  Learn more about Kristi & her Hip Hop and Street Jazz Choreo class! What is your training background? It's a bit of a hodgepodge! I took my first ballet class when I was about eight and quickly realized that wouldn't be for me, so I pivoted to jazz and hip hop. Growing up in Los Angeles, I had access to a lot of choreography classes taught by people working in the commercial industry. College brought me to the east coast, and though I was not studying dance, I spent all my time dancing with a student-run company. Our shows featured everything from hip hop to contemporary and K-pop to Bollywood. After college, I lived in New York City, where I joined competitive hip hop crews Epic Motion and Neighbors and later danced for choreographers Kenichi Kasamatsu and Bo Park. Since moving to Philly, I've been taking UMA's classes, which have helped me develop my freestyle skills, as well as fill in the street dance knowledge gaps I had having come from a choreography background. How do you go about creating choreo? What inspires you? Dancing has always been my outlet for discovering and expressing aspects of my personality that don't surface during my everyday life. So if a song is speaking to a part of me that needs to be released, I'll choreograph to it! My process involves listening to a song over and over again and picking out the musical elements I want to emphasize with the movement. Then I try to choose moves that match those sounds and also convey the emotions that initially connected me to the song. What music do you like to use? For class, we'll be dancing to a lot of hip hop/R&B and dance pop. I'm going for songs that get us moving and grooving! What do you want folks who take your class to take away from your class? And/ or what kind of vibe do you hope to cultivate in your classes? First and foremost, I want people to have fun! Though I'll be teaching choreographed routines, I hope we can focus less on what the moves are and more on how we're choosing to do them. I'd love to see people add their own flavor to the moves and make them uniquely their own. My ultimate goal is for class to be a space where people can come express their authentic selves through dance and be seen and celebrated for it. Thanks Kristi!
You can sign up for 'Hip Hop and Street Jazz Choreo' with Kristi via the 812 schedule page here, using a drop in, membership, intro month, or class card pack! Alexis teaches All Levels Hip Hop @ 2100 Chestnut, and Hip Hop and Beginner House at 812 Chestnut! You can see his full schedule below. Mondays @ 812 6:00-7:00pm Beginner Hip Hop Dance 7:00-8:00 Beginner House Dance Tuesdays @ 2100 7:00-8:00 All Levels Hip Hop Thursdays @ 2100 8:00-9:00 All Levels Hip Hop Learn more about Alexis and his classes below! Learn more about Alexis & His UMA Classes! -How did you get involved in dance? I've danced since I was in diapers, so I guess you could say it was one of my first languages. Growing up I was always on the move & making little dances up to songs I liked, until I started taking classes at the age of 11 and wanted to keep goin ever since! -What is your training background? I first trained in Hip Hop since i was in middle school, from then & throughout high school I trained in that along with contemporary and jazz dance. During my college years I trained in various codified Modern Dance techniques, Ballet, African Dance, & Afro Caribbean. Late college years into the present I've broadened my knowledge of more street dance styles such as House, Vogue, Street Jazz, & foundational Hip Hop. -How do you go about creating choreo for your classes? What inspires you? What music do you like to use? As an instructor I really emphasize groundedness & articulation; what it takes to be aware & consistent of these attributes, physically, as well as playing within the dynamics of full body dancing VS. isolations. I like to move my torso, whine my hips, and be intricate with my hands and feet as well so I'm drawn to music that has a lot of different rhythms or melodies I can play with to embody those dynamics (Afro beats, house, R&B, Hip hop) Also, sometimes I create on the spot! I usually have different people with different skill levels in class, every class, so I like to feel out the room & see what magic comes about. -What is Street Dance to you? Why have you pursued Street Dance? Street Dance is Culture. It's community. It's Afro-Diasporic. Its Love, strength, passion, a viiibe, spiritual, joy, an escape, its home. It's my first love, and I can honestly say if I live without it for too long I feel disconnected from my truest self! I'm consistently inspired by the variety of communities I've connected with, the complexities of the physicality of street dance, the history of the culture as it has existed and continues to evolve is enthralling and I'm excited to grow with it! -What do you want folks who take your class to take away from your class? Knowing their bodies a little more, knowing they had fun, got a workout, a bit of a brain teaser (hehe), and that it's never too soon/late or no one is ever too young or old to dance. The UMA community has been a blessing to me and I'm elated to see it shift, Shine & grow in Love🫶🏽 Thanks Alexis!
Alex teaches Mobility & Recovery for Dancers @ UMA 2100 Chestnut location on Mondays at 6pm. This is a “relaxed-fit” class that helps students prep and recover for the various classes UMA has to offer. This class will cover joint mobility, stretching, as well as self-care practices such as foam rolling and bodywork. Give your body the TLC it deserves! You can also catch Alex for Dance Acrobatics and Floorwork classes at UMA 812 Chestnut location! On Mondays his beginner level class runs from 8-9pm. His all levels classes are Thursdays 7:30-8:30 and Saturdays 2-3:30pm (except for this Saturday because 812 is closed for construction!) This class is a compelling concoction of scaleable acrobatics, silky floorwork, and sketching improvisation that gets you comfortable with leaving your feet, finding confidence in your hands, and creating seamless transitions in and out of the floor. Namely, front and back rolls, intermediate cartwheel variations and walkovers, transitions in and out of the floor, and floorwork grooves. Alex supports a welcoming and playful environment to provide you with building a broad base of sustainable pathways of moving through space with power, flow, and creative patterns to supplement your movement practices.  Learn more about Alex & his classes! -What impact do you hope to make on the uma community through your various classes? I have a lot of high hopes, but if I could boil it down to a few: my aim is to provide students with a greater sense of embodiment and encouragement. Whether in the mobility & recovery class or in the dance acrobatics classes, a goal is to center folks into their bodies, both physically and mentally. The mobility class gives students the chance to get to know their bodies better through bodywork and stretching exercises. The hope is that this awareness and nurturing encourages students to appreciate their bodies and take care of themselves in and out of classes. The dance acrobatic classes are a fertile ground to explore the various aspects of physicality such as power, pliability, and suave while balancing the mental gymnastics of courage, commitment, and compassion. Physically, acrobatic moves don’t happen overnight and often take persistence and patience. The mental aspect is much more prevalent in this class since the risk is a bit higher when you are trying to make yourself fly for a moment. The hope is that these aspects of building physical complexity and mental confidence encourage students to play with the emotions of fear and the unknown in a safe space while giving themselves and others the compassion needed when trying new things. -Most of our classes are centered around street and social dances or popular stylings/ approaches. How does what you offer relate to this or divert from this? The Mobility class diverts quite a bit from any specific physical street or social dance. There are aspects that are taken from more Eastern practices such as Yoga and Tai Chi/Qi Gong. The environment in class is closer to a “social” environment. We gather in a circle, allow dialogue, and provide exercises that are universal to all who join. The Dance Acrobatics, at its core, has its roots in the Afro-Brazilian martial art called Capoeira. My teachers have included Mr. Ron Wood and Tom Weksler who have influenced this class. In class, we do not apply the marital aspect of the Capoeira art. Rather we focus on the aspect known as Floreios. These “curving” or flowing acrobatic moves differ from the linear type acrobatic moves you might see in gymnastics. . Where the diversion really takes place in Dance Acrobatics is our use of floorwork. The floorwork movements come from modern and contemporary dance practices. Traditional floreios play with hands and feet and avoid going into the ground. A major aspect of the Dance Acrobatics and Floowork class is to explore the many layers of movement practices of getting into and out of the floor while incorporating acrobatic moves seamlessly throughout. -What made you fall in love with dance acro/floorwork? Great question. I often find that most of why I love it is ineffable. It is felt more than described. What I would say is that I fell in love with the dynamics and virtuosic aspects of dance acro/floorwork. The ability to surf the momentum that one generates. It is the ability to conjure up explosive, dynamic, impulses and balance that with qualities of calm, ease, and seamlessness. The balance of these forces in a practice allows for moments that look like an exclamation point “!” but immediately follow with a “…” Thus, creating a movement practice that contains qualities of continuity, impermanence, and potentiality out of which more spontaneity can arise. Plus it just looks cool!!! -What keeps you interested and invested in a dance acro practice? What keeps me interested is how dance acrobatics moves beyond the momentary rush of getting a move or posting something for the Gram (not that I don’t love those things). It is a total embodiment practice, physically, mentally, and spiritually. It is a form of moving meditation. Acrobatics forces you to be in the present moment. You have no choice but to commit if you want to accomplish the move you are working with. Along with that comes the waves of fear, doubt, laziness, hesitation etc. However, it is a question unto myself whether I can allow those thoughts and emotions to occur naturally but not get attached to them. To simply be, and allow my dance to take me beyond the world of words and to just “tune in” while “tuning out” all the unnecessary noise. In that space, I feel my creativity, aliveness, and freedom can flourish. That feeling, that flow state, keeps me coming back. You can sign up for Mobility & Recovery with Alex @ 2100 Chestnut through the 2100 schedule page here, using a drop in, membership, intro month, or class card pack! You can sign up for Dance Acrobatics & Floorwork with Alex @ 812 Chestnut through the 812 schedule page here, using a drop in, membership, intro month, or class card pack! Thanks Alex!
Genesis teaches Street Dance Choreo at UMA 2100 Chestnut location on Mondays from 8-9pm! Street Dance Choreography is a great class for advanced beginners and above. This is the class where UMA participants are able to experience fun and compelling choreography that fuses styles like hip hop, locking, popping, house, breaking and waacking. Street Dance is the umbrella term used to describe the aforementioned styles and more. The Street Dance Choreography class provides the opportunity to learn and drill basic vocabulary. But ultimately, the goal is to sew the moves from the various styles into fun choreography to bumping tunes. This is a class that offers students the opportunity to fuse all of what they might find on the menu at UMA into one dish. Learn more about Genesis and her class below! Learn more about Genesis & Street Dance Choreo! -How did you get involved in dance? Dance was always around me growing up. From seeing my own family members dance at gatherings, to teaming up with my siblings and cousins to make a whole dance number for the grownups to see. It felt true to me to consistently be involved with dance. My spirit always knew this was in alignment for me. -What is your training background? I have a background in technical styles such as modern and ballet, but also spent a lot of my time in college training in styles of the Diaspora such as Afro-Cuban, Afro-Caribbean, and West African styles such as Lamban and Kassa. It was when I moved to Philly that I began to dabble my feet into street styles such as House, Locking, and even Vogue! -How do you go about creating choreo for your Street Dance Choreo class? What inspires you? What music do you like to use? I’m extremely moved by music and feeling. If I have a feeling I want to express, I try to find a song that can get me to that. Music resonates in ways that movement cannot so blending those two are essential for me in my creation process. I’m inspired by the feelings of joy and liberation. The abilities that come with true freedom and release are something I want to bring to my classes. House music is very important to me as it encapsulates how music can liberate your soul, so I listen to this for inspiration. -What is Street Dance to you? Why have you pursued Street Dance? Street dance to me is more than just the movement born outside the studio spaces. It’s the culture, the people, the unity. What makes street dance is the social part. Social interactions. My connection to community is what drew me into street dance. -What do you want folks to take away from your class? I want folks who take my class to walk away feeling good in their spirit and knowing that class is a communal experience just as much as it is an individual one. I want amplify the same feelings I get going to events like Kyle and Dinita Clark’s SoleFull Sessions. No matter what your background and experiences are, we’re all here at the same time to experience the same thing. Class isn’t about perfection, but the beautiful moments you find in the progress! You can sign up for Street Dance Choreo with Genesis @ 2100 Chestnut through the 2100 schedule page here, using a drop in, membership, intro month, or class card pack! Thanks Genesis!
Rylee is a force to be reckoned with in the Vogue community. She is the mother of the Philadelphia chapter of the iconic House of Prodigy. Rylee makes sure her students know the history, importance and culture of Vogue in her classes at UMA. Don't miss out on classes with Rylee y'all! Learn more from Rylee below! Hear from Rylee about Vogue! -Tell us about the history of Vogue Voguing started in the late 60s/Early 70s in the Underground Ball scene of Harlem, NY coming from the Black and Brown LGBTQ+ communities. Inspired by models off of Vogue magazine, people started emulating the poses to music. We know that as Pop, Dip, and Spin or Old Way now. At UMA, we mainly learn and practice Vogue Femme. Vogue Femme came up in the 90s. While Vogue Femme still incorporates the posing, we see a lot more fluidity and femininity incorporated into the movement. Vogue is a form of protest and it is important to acknowledge the responsibility it takes to enter the Ball scene. By responsibility I mean in terms of being aware of Patriarchy, White Supremacy, and Homo/Transphobia. -When did you start dancing Vogue? What made you interested? I first started Voguing in 2016, but did not really take it seriously until 2017 and I walked my first Mainstream ball in 2018. I was very intimidated by it at first because of hyper-feminine the style is, but once I got into it, it totally transformed how I connected to my body and femininity. -Who are some of your idols in Vogue - past or present? Some of my Vogue idols include Tati Miyake Mulger, Meeka Alpha Omega, Inxi Prodigy, and Kassandra Ebony -What is your favorite part about teaching Vogue @ UMA? My favorite part about teaching Vogue at UMA is seeing people tap into different parts of themselves that they didn't think they can access. I love seeing people grow into their confidence and witnessing light bulb moments when movement/concepts start to set in and click. -What do you hope people get out of your Vogue classes? I hope people can receive empowerment from my class. Whether they feel empowered by becoming physically stronger, empowered by expressing themselves, or empowered through knowledge by gaining a clear perspective of the society we live in relationship to Ball culture. You can get into Vogue classes at both UMA locations. Mondays @ 812 Chestnut: 6:00pm Beginner Vogue 8:00pm Intermediate/ Advanced Vogue Wednesdays @ 812 Chestnut: 6:00pm Beginner Vogue Thanks, Rylee!
Veronica teaches Solo Salsa on 2 at UMA's 812 Chestnut location. She also teaches violin for our affiliated music program- Philly Music Factory, and DJs at local Latin Socials in Philly! Learn more about Veronica and her class at 812 Chestnut below!  Hear from Veronica about Solo Salsa on2! Salsa on2, or "mambo", or also called NY-style on2, is a dance that evolved a few decades ago in direct response to the live music scene in New York City called the "Palladium era". It's a style that was almost single-handedly developed by Eddie Torres, but is still very much alive and evolving and progressing today with so many incredible dancers and instructors taking the style and developing it even more, which is what Eddie Torres did. He took influences from all around him - jazz, hustle, swing, Afro-Cuban, Alvin Ailey, ballet, tap - and formalized it into a teachable Latin dance technique. Technically speaking, "on2" refers to the beat of the music which the dancer breaks forward on (with the left foot), as opposed to "on1" where you step forward with the left foot on beat 1 of the eight count. It allows you to feel the music in a completely different way, because you are emphasizing the "off beats" (2 and 6) as opposed to the core beats (1 and 5) of the Salsa rhythmic patterns, and also allows you to connect more to the different percussion patterns. Even just a basic salsa rhythmic pattern, when all the instruments are playing together, is such a deep, complex, powerful force. There are so many ways to express the music through the language of salsa, it never ceases to amaze me. I think that's what initially got me into dancing on2, because my goal was to be able to dance with anyone when I went out dancing - any style, any level - and to be able to really dance in the style of the music. Knowing how to dance on1 and on2 just allows you to feel the music even more, have a broader palette to express yourself, and even more to a partner, which is what makes the magic happen on the dance floor. I think that being a professional musician and then becoming involved with the dance scene has really just strengthened my love for salsa and other types of Latin musical traditions - son, rumba, cha-cha - and brought me closer to my mission of being able to bring together the live Latin music scene and the Latin dance scene in Philly in as many ways as possible. There are so many incredible, legendary Latin musicians right here in Philly, and to me as a dancer there's nothing better than dancing to a live salsa band. It's epic. Coming from me as a DJ though, it's kind of ironic :). Anyone who has heard me DJ knows that I am obsessed with salsa cubana, or different types of cuban salsa. There is a genre called "timba", which is a modern type of salsa that evolved more recently in Cuba, but I'm super into playing all different types of Cuban artists when I spin, not just timba. In general I am very passionate about this music and this art form, and I just hope that this passion comes through in my teaching. I really hope that I create a welcoming space for people to feel more connected to the music when they dance, to feel free to use their bodies as their instruments, and to gain some knowledge of this incredible tradition, whether they are just being introduced to it or have a lot of dance experience. My heart is full when I see joy in everyone's faces and feel people dancing from their hearts, it's a really beautiful thing, and something that I have experienced in every single one of Laurel's classes at UMA, that's for sure! Veronica's classes are part of our Latin Program, which is separate from our regular weekly class program. You can drop into Salsa on2 classes at 812 Chestnut for $15! They go down weekly, Tuesdays at 6pm Thanks Veronica!
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!
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ContributorsKayla Bobalek Archives
August 2023
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812 Chestnut StSearch 'Urban Movement Arts @ 812 Chestnut' on Google Maps
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2100 Chestnut St. 2nd Flr
*entrance is on 21st! between Rione Pizza & Monde Market*
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