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By: Jun StinsonOctober 20, 2009 – 2:33 pm
Portsha Jefferson gracefully swayed her upper-body back and forth as she stepped lightly across the brightly lit dance studio at Oakland’s Malonga Casquelourd Center for the Arts. Four musicians sat at her side striking their drums with their palms, and layering their independent parts into the poly-rhythm that is familiar in Haitian folkloric music.
She was teaching her students “Yanvalou,” a traditional Haitian dance performed to honor the serpent spirit Damballa who represents fertility, rain, and water.  Her back moved fluidly, resembling a slithering snake or rolling wave, and her earrings dangled with each step she took.
Her students watched while they lined up in four rows, preparing to begin. One-after-another, each row followed Jefferson until there was a synchronized mass of people moving to the blend of rhythms and drum-tones that filled the room.
“To me, it’s a meditative dance and prayer,” said Jefferson during an interview at a Berkeley café.  Jefferson is a North Oakland-resident who directs the Rara Tou Limen Haitian Folkloric Ensemble, and teaches Haitian dance to children and adults in Oakland, Emeryville, Berkeley, and San Francisco.
Haitian folkloric dance is an art form rooted in the Voudou religion.  Voudou is the Creole word for what English speakers know as Voodoo –a term that often conjures negative connotations because of demonic ways in which Hollywood has historically portrayed the religion.
"Within the dance there are certain feelings, certain emotions, certain characteristics, moods, and energies." - Portsha Jefferson
Voudou emerged out of a combination of spiritual practices that slaves brought to the Caribbean from West and Central Africa, and the Catholic influences of the Spanish and French colonizers. The belief honors the supreme God Bondye, and the spirits called Lwa who communicate between Bondye and humanity.
Some Haitian folkloric dances are used in rituals to show respect to Lwa.  Others tell stories of shared Haitian experiences or honor the African nations from which the slaves had been transported.  “Within the dance there are certain feelings, certain emotions, certain characteristics, moods and energy,” said Jefferson. “So you have a wide spectrum of dances that represent life, that represent celebration, that represent honoring the Earth, celebrating and revering the dead.”
 
Jefferson’s classes attract a variety of students. She said people take her class because they’re interested in Haitian culture, want to connect with their Haitian roots, or have a desire to learn about dance. “She has great body movement, and she really breaks down all the moves for you,” said student Jasmine Teer, 24, before the class. “I was looking for a class where I could move and...

Marlboro resident and professional dance instructor, Chester Freeman of Got2Lindy Dance Studios, and  his student, High Falls resident, Dorrie Boice won second place in the Pro/Am division of the American Lindy Hop Championships in Stamford, Connecticut last Saturday, Oct 24. Dorrie, a recent graduate of Rondout...

What's so fun about dancing a dance in a side to side manner with twings and twangs of the guitar anyway?This is what non-bachateros ask us. I am sure you heard such question before, right? You could still remember their smirk and mocking facial expressions.But you see, bachata dancing is beyond side to side steps...It's being ONE with the music.I didn't realize it then, but in my 12 years of dancing bachata, it had become an eye-opening journey. Based on my extensive research, my article, "Bachata Dance, an innovative approach" (search google), I wrote how innovation as an intensive process, a journey, a life changing experience.Today, as I travel the world over, teaching bachata, I have seen and experienced it all; Dominican bachata, bachatango, European style, Modern, Moderna, tracidional, bachata rueda, the lists goes on and on...bachata has grown and is growing fast!Bachata is also now being recognized by DJs, clubs, Latin promoters, Grammys, and mind you, even the current president of the United States (Obama honors Aventura, search google).How is bachata suppose to be danced anyways?From what I've seen so far, bachata is danced with different interpretations. Most...

http://www.youtube.com/watch?v=Lewe2CGF5Jg
 
learn to...

This is from Sept. 2008.  Vahana and Jewels of the...

We will be drawing inspiration from the work of Miyamoto Mushashi for this month's classes. Known to the Japanese as "Kinsei" (Sword Saint), he was a swordsman from seventeenth century Japan. His book, "The Book of Five Rings", discusses the strategy, tactics, and philosophy that won over 60 duels and allowed him to live through numerous other battles - at one point deciding to stop using real swords in his duels! Mushashi was so dedicated to his craft, he gave up a life of comfort and wandered the land, continuing his search for "The Way" even though he was already regarded as Japan's greatest swordsman.
The analogies we can draw from reflecting upon Mushashi's words are profound. He is one of the best in recorded history at a consuming physical and mental discipline that is over 800 years old. His words are those of a simple man who achieved extraordinary things.
Musashi wrote "When you have attained the Way of Strategy there will be not one thing that you cannot understand" and "You will see the Way in everything". He did, in fact, become a master of arts and crafts. He produced masterpieces of ink painting, he was a fine calligrapher, he made works in metal, and is said to have written poems and songs.
"The Book of Five Rings" is a wonderful resource to help reflect in all areas of life and has helped us greatly as professionals, athletes, and dancers. For those of you who wish to continue reading, we have copied some excerpts below. The first is the introduction, giving some history on Mushashi. The second is his introduction to timing.
Especially as you read about timing, think of it's many applications to tango as a culture as well as a dance. So think of musicality as a dancer, but also think how the nuances can make or break your night ... Think about how the DJ puts tandas together to influence the room's energy, the cadence of individual couples and the movement of the whole floor, timing your arrival at the milonga, finding that perfect partner for the perfect tanda, knowing when to cabeseo and when to wait ... Also think about how we can work with or against the timing of these elements to create or respond to...

Recently we have been a part of several conversations about the flow of the floor at milongas. We have noticed frustration at many levels, from both leaders and followers ... Followers fear for their exposed toes, leaders get frustrated, embraces stiffen, and everyone suffers. People we talked with had all experienced the joy of a organized dance floor circling the room, but lamented it doesn't happen often enough.A well moving floor keeps everyone in line, but once the floor gets disjointed, it's all over... When the flow stalls or...

Aerial modern dance was first recognized in the United States in the 1970s. The choreography incorporates an apparatus often attached to the ceiling, allowing performers to explore space in three-dimensions. Aerial modern pieces, whether solo or ensemble, often involve partnering. The apparatus used has its own motion, which changes the way a dancer moves in response.
Terry Sendgraff, is credited with inventing the "motivity" trapeze. Terry Sendgraff  performed, choreographed and taught in the San Francisco Bay Area from the early '70s until announcing her retirement in 2005, at the age of 70. The motivity trapeze came about as a result of an exploration on a low-hung circus trapeze. The ropes twisted together, causing the apparatus to spin. By formalizing this, hooking both...

I was recently featured in a news report on Q13 Fox News about crazy wedding dances. From traditional to...

2 LEFT FEET~ THERE’S NO SUCH THING
MaryLee Lykes ~ Lykes To Dance
 
In this article the reference to a “follow” and “lead” is used instead of “men” and “women” because women can be lead or follow as well as men can lead or follow-- so those labels no longer are relevant.
 
So you think you have “2 left feet”. That could mean 2 things -- that you believe you really can’t learn to dance (because you have 2 left feet) or perhaps it’s an easy way to avoid the dance floor because you’re ”just not into it”.
 
It is my guess that the majority of the “2 left feet” people tried to dance or learn to dance and were not successful and therefore concluded they had “2 left feet” and could not be taught to dance.
 
If you have a desire to learn to dance you can learn to dance!
 
In 18 years as a dance teacher I have never met anyone who could not be taught to dance.
 
If you have taken a dance class and it was a frustrating experience that reinforced you opinion about “2 left feet” then I may be able to help you understand why that might have happened.  When teaching a dance class a teacher...