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CLASSES

PERFORMANCE WORKSHOP!

We will learn "Quien Engaña no Gana" premiered in 2003 for my NY company. This is the first time I'm teaching it in SF. The choreography incorporates Flamenco, Kathak, Chinese, Persian, Afghani, Cuban, and Samba. This is not a highly athletic dance and would be safe for those with respiratory problems.

The workshop will culminate in an informal performance on Sat Dec.2 at the studio with other performance workshops. Please pre-register to ensure your spot, the class is limited to 8 persons!

The dance is very detailed so I wouldn't suggest drop in unless you've had experience with these styles. Enroll for the whole workshop if you have to miss one - it's still cheaper!

Please call Sandy at City Dance Studios (415) 297-1172 to reserve your spot.

City Dance Studios

Workshop begins October 5th, 2006
Thursdays, 7:15-8:45 PM
City Dance Studios
32 Otis St.(off Brady), San Francisco
Drop-in rate: $15
PreRegistration rate: $100 for 8 classes, if registered by end of September!
Limited to 8 participants, register now!

Performance date: Saturday December 2nd @ City Dance Studios

Class Description

The class begins with a full body warm up that includes techniques from many different genres of classical and folk dance. Emphasis is based on isolation giving dancers a better awareness of their bodies and different ways of moving body parts. The energetic warm –up may also include techniques from Pilates and Gyrotonic™ based movement. Gyrotonic™ is a system of circular movement that Katy rehabbed with after her knee surgery five years ago. With this knowledge the class approach is always with the safety of the dancer’s body in mind. The next element of the class is to warm up the brain. We use our voice, hands and feet to combine rhythms from different cultural dance forms. The complex rhythmic structure of music from India may be difficult to entirely grasp in the first class, but when one element is removed i.e. the basic footwork pattern (Tatkar) of Kathak (northern Indian dance) is a simple step of RLRL LRLR it is easy enough for the dancer to digest. Then on top of this the dancers clap a Son Clave (Cuban) pattern. Once the hands and feet are in place they add the element of voice by reciting the previously learned bols (abstract syllables that correspond with the tabla drum traditionally played for Indian dance) that go with Tatkar. The music’s most frequently used are from Cuba, India, and Spain (Flamenco). This exercise gives the dancers the ability to interpret music in several different ways.