Children’s Ballet Classes

Children’s Ballet Classes

Event Phone: 346-708-1555

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About: Ballet at Frame Dance is about the child’s sense of personal development and mastery of movement. Dancers learn the tradition of ballet terminology and class structure as they practice positions, combinations, and musicality while building strength, balance, and the joy of moving independently and as a group. 

Cost: $300 for 12 week session. Contact us for prorated session and sibling discounts.

Dates: Fall classes held September 20-December 19, no class the week of Thanksgiving Break 

Kinder Ballet

Ages: 4-6 years

Dress Code: Long hair pulled back. No loose clothes or jewelry. Girls – Leotard, any color. Ballet shoes and tights in pink or flesh tones (girls) or socks. Boys – Cotton or athletic shorts and t-shirt. Black ballet shoes with socks.

Days and Times: Tuesday 3:30-4:15 PM with Tapley Whaley  

Thursday 4:30-5:15 PM  with Aimee Kulp

 

Ballet 1

Ages: 6-8 years

Dress Code: Girls – Leotard, any color. Ballet shoes and tights in pink or flesh tones. Boys – Cotton or athletic shorts and t-shirt, black ballet shoes with socks.

Days and Times: Tuesday 4:30-5:15 PM with Tapley Whaley  

 

Ballet 2

Ages: 9-12 years

Dress Code: Girls – Leotard, any color. Ballet shoes and tights in pink or flesh tones. Boys – Cotton or athletic shorts and t-shirt, black ballet shoes.

 

Teen Ballet

Ages: 13+ years

Dress Code: Girls – Leotard, any color. Ballet shoes and tights in pink or flesh tones. Boys – Cotton or athletic shorts and t-shirt, black ballet shoes.


Creative Reset: The Practice of Making with Audacity

Creative Reset: The Practice of Making with Audacity

Education Frame | Work News & Updates

What: Seven sewing classes in which you will make a dress and learn to adapt that basic dress pattern to work for different bodies and styles. 

When: Tuesday evenings, 7-8 PM, October 6, 13, 20, 27, November 3, 10, and 17, 2020

Where: Right in front of your very own sewing machine in the comfort of wherever you have room to make a dress. Yes, you need to provide your own sewing machine. We will help you learn to use it. Classes are held online.

How: Register here. Classes are $10 each, and you must sign up for all seven classes in order to finish your dress.

Why: Once, I tried to make a dress. I put a square pocket on the chest, and I sewed all four sides of that pocket to the bodice. It was not great. If only I’d had Ashley Horn Nott to help me.

Ashley would have had a plan for my inexperience, my ignorance, my besotted love for the fabric and my overconfidence in “figuring out” a sewing machine. The first time Ashley took on a costume-making project for a dance company, her sewing experience was straight lines and stuffing. Pillows. She knew she could sew a pillow cover, and the rest she had the audacity to make up.

And it worked! Today, Ashley has made costumes for most of the modern dance companies in Houston, including her own productions. Absolutely hundreds (possibly thousands?) of dresses and other costumes gorgeously crafted. Why did Ashley’s gamble worked and mine didn’t? I’m guessing that Ashley had more tenacity to match her audacity than I did. She also made the compelling decision to promise other people that she would complete her project. No one cared when I folded up my half-dress with its unusable patch of a pocket and never unfolded it again. Ashley had a commitment to people she cared about, people who were counting on those costumes, and that accountability motivated her through the “now I have to seam-rip the whole damn thing” moments.

Let us be that accountability for you. Maybe you’ve been saying that you want to sew your own clothes. Maybe you found the most amazing fabric. Maybe you found that fabric years ago and you’re ready to give it form. Maybe you are a dancer and you want to be able to make costumes for yourself and others. This is a chance to create beside a self-made professional. Grab your audacity and make it into a dress. Your dress.

 

How is making a dress a creative reset? Um, can I answer that tomorrow? It’s kind of a whole thing…

 

 

 

The World is Our Dance Studio

The World is Our Dance Studio

Education Frame | Work News & Updates

Outdoor Fall Programming from Frame Dance

Quarantine and social distancing has taken away many habits and practices, but sometimes the things we replace them with are so very sweet. We’ve been forced out of the dance studio this fall, but when we walked through that door we found ourselves on the grass, under the sky, breathing deeply among the trees. Frame Dance has a lot of practice using the city as its stage, an now we are using it as our studio, taking our dance classes into the parks and green spaces of Houston.

 

Like other dance programs, we offer online dance and dance-related content. Unlike other dance programs, we have not gone hybrid or into taped-off personal areas in a studio in order to dance together.* Instead, we offer you the uncommon joy of dancing outdoors. 

 

Three outdoor classes happen on the weekends: Creative Movement and MultiGen on Saturday mornings, and Beginning Modern Dance on Sundays. The first two are are grassier versions of the classes we’ve offered season after season, but Beginning Modern for adults with Jacquelyne Boe is all new. To us. Jacquelyne had taught modern dance to adults for many years at various studios, and we are proud and pleased to offer this first ongoing adult class with a member of our prestigious company. I personally take classes with Jacquelyne whenever I have the chance because her classes are thorough and inventive and good for one’s physical and mental health. I mean, all dance classes are, or should be, but these have an extra layer of goodness. Our girl is insightful and efficient. Give yourself the gift of experiencing it. Register here.

 

Creative Movement is for families to dance together at a park, which is exactly what I thought parenting would be before I became a parent. Lydia leads this idyllic interval of sweetness. Each family will purchase a bag of dance accessories to use at class and at home during the week where the learning and joyful activity can continue. Register here.

 

MultiGen is the epitome of Dance for All. Every body can dance and every mind and spirit can grow from the practice of dance, and this happens with uncompromising quality of instruction and abundance of heart at MultiGen dance class. For everyone, all ages, all abilities, even babies worn by a dancing adult are welcome (those special pairs of people are also welcome in Creative Movement along with their dancing child). MultiGen is about radically inclusive community, which means that you, all of you, automatically belong there. Register here.

 

See you on the grass, under the sun, surrounded by living things, dancing outside like the happy, wild artists we are.

 

*No shade. If we had our own studio, with rent to pay, we’d be taping those floors for sure.

Creative Reset: The Possibilities

Creative Reset: The Possibilities

Education Frame | Work News & Updates

In 2019, ahead of a massive exhibit of his work appearing at the Tate Modern museum in London, artist Olafur Eliasson spoke with Mark Turner, art correspondent for The Guardian, about his installations, specifically about a piece titled “Your Blind Passenger.” The work is a room filled with fog and lit by colored fluorescent lights such that all that is visible to the viewer is a shallow, blurry colorscape. Only a few people are allowed into “Your Blind Passenger” at a time because it is so disorienting, making the viewer even more likely to feel detached and alone in an indistinct but colorful unknown. Eliasson said of the experience, “Very quickly you realise, and I mean this quite literally, that you are not completely blind after all, you have a lot of other senses which start to kick in.”

With this realization comes a shift, a transfer of attention. Something is taken away or blocked – in this case most of the visual information –  and the response of the viewer is to adjust how they engage with their surroundings. According to Eliasson, “it shows that the relativity of our senses is much higher than we think, we have it in our capacity to recalibrate or at least stop being numb” (emphases mine).

 

Eliasson’s work is often about jarring, all-encompassing alterations, like “Your Blind Passenger,” and they are often about connections that are simultaneous with fracture. Some of his visually quietest pieces sound the loudest social alarms. I feel like Eliasson’s work is made for coping with COVID and our ongoing strangeness. I feel like the quote above is instructional for living in a world where the the crisis alert is stuck at 11.

First – I think the quote is telling us – we need to be aware of these numb and underused senses. Then, bringing our attention to them, we can start to turn them on or turn them up. We can do work and practice actions to heighten the senses to the point that they become capable of nuance, of making and receiving meaning. Because our attention is finite – even when turned up to 11 – by attending to new areas, we are less reliant on the ones that used to dominate our awareness. We have recalibrated.

 

The issue of recalibration has been on Lydia Hance’s mind over the spring and summer. Accustomed to helping people bring attention to their (often underused, not quite nuanced) sense of movement, Lydia knows that practicing this set of sensations – practicing dance –  reduces stress and reduces the need to rely on other sensations for managing stress. Dance practice heightens the sense of the body in space, making movement more efficient and less stressful on the body. It also gives people another way to process and express emotion, again reducing the stress load we carry in our bodies and our thoughts. Lydia knew that during the stresses of quarantine and social unrest, people had lost some of their most powerful coping devices – face-to-face interaction with people we care for and freedom of movement both within and outside of one’s community. She knew that people needed a reset.

Lydia has a mighty set of creative friends, makers of one kind or another (or a whole bunch of kinds at once) who identified areas where a little attention to an underused skill goes a long way toward recalibration. Creative Reset is designed on these practices. Taken alone, the practices allow for recalibration. Taken multiply, you’ve got yourself a transformation!

Coming Soon, Creative Reset: The Practices

Cover image: Photo “Your rainbow panorama” By Harkolufs 

Inset images: From “Room for One Color” Tate Modern 1997, Photos by Anders Sune Berg from olafureliasson.net

Dance in Quarantine: Responses and Resources

Dance in Quarantine: Responses and Resources

Education Frame | Work Links We Like News & Updates

I don’t need to tell you that we as a society have gone through massive and abrupt changes in recent months. I would like to take this opportunity to notice and celebrate the ways that dancers and choreographers – always nimble, always flexible – have created, discovered, expanded, adapted, worked and reworked formats for creating and sharing dance in this time of uncertainty. In the role of artist, dancers and choreographers both lead and reflect our responses to events and our shifting perspectives. The art of dance has held an important place in quarantine culture since it began, becoming uniquely popular as we stay home to stay safe. 

 

By the end of March, publications like the LA Times and Vanity Fair were reporting on online dance classes and dance parties, while industry journals like Dance Enthusiast had designated space for social distance dance content. Dance companies responded with choreography and editing that allowed dancers to dance alone together. On March 29, the Martha Graham Dance Company posted “Sharing the Light,” excerpts from Graham’s dance Acts of Light performed by company members in domestic and outdoor spaces. In format, “Sharing the Light” is reminiscent of the gorgeous dance films of Mitchell Rose, specifically 2016’s “Exquisite Corps” and 2019’s “And So Say All of Us,” where dancer-choreographers are connected by movement, music, and editing while dancing worlds apart. It is an adaptable format. For example, it is used adorably and with feeling by YouTubers Dylan Arredando in a series of Quarantine Movement Chain Letters, and Prischepov TV to present the Quarantango.

 

Dance educators were quick to adapt to virtual dance. Within days of cities declaring lockdown, studios big and small moved their classes online, and we all found the most Zoom-able corner of our house and turned it into a dance studio. Suddenly, anyone with an internet connection could study dance with the schools of Alvin Ailey, Merce Cunningham, Gibney Dance, and the aforementioned Martha Graham. Smaller local and regional studios without the resources of these legends have not had to navigate digital dance instruction alone. The wonderful people at the National Dance Education Organization began sharing resources for on-line dance education on March 24 and, as of today, have produced and shared fifteen free webinars on the subject. Luna Dance Institute in Berkeley, CA, hosts weekly practitioner exchanges that gather dance leadership from around the country to discuss concerns and solutions in virtual dance education. 

 

Our dance community has not missed a step (pun intended!) in it’s goal to provide quality dance training, and has even found exciting new possibilities in the online format. Student dancers are having a crash course in dance-for-camera as they consider framing, space, and editing as part of their “digital studio” skills. Pre-recorded classes give dancers a chance to look carefully, to slow down the movement, and to revisit it at will. Holding classes in the home allows the entire family to participate in dance education, and interacting with studios via social media provides a different, sometimes broader, sometimes deeper relationship between a dancer’s family and their instructors. The domestic/public spheres are being broken down and renegotiated, as are so many parts of the larger culture, offering new possibilities as old practices are eliminated or put on hold. We are learning together, and together we are remaking our world. That’s not hyperbole. That’s bodies, in motion, making choices.

Please share online dance resources – instructional and/or just fun to watch – in the comments. Show us part of your world!

Lydia’s News from Quarantine

Lydia’s News from Quarantine

Frame | Work News & Updates

Hi Friends,

It feels like it’s been awhile since I’ve written to you. My world has turned upside down with the birth of my sweet daughter, Willa. She is truly something to get delightfully lost in during the emotional rollercoaster that is COVID and quarantine. I am not exhausted by my newborn. Oh, no. I am exhausted from feeling scared, peaceful, alone, claustrophobic, irritated, anxious, and frankly, thankful for my family’s protected time together. As one who already feels my feels big and intense, this time has amplified them even more. And I know I am not alone in that. You are exhausted. You are scared, alone, claustrophobic, irritated, anxious and maybe thankful, too. This experience has been one of extreme training for my thought-life, not allowing my thoughts to run away. I’ve been trying as hard as I can to literally count my blessings as a means to control my emotions and maintain perspective.

Another reason you haven’t heard from me as much as usual is because with businesses and people turning to social media platforms, there has been an abundance of content to digest. That’s great! There was no reason to compete. However, I did want to share a few ways to connect with me and Frame Dance moving forward. I’ll start with the first event:

Saturday, April 18

National Water Dance Performances

Tune into our social media channels (@framedance on IG) at 3pm CST to watch Framers dance together with people across the world in community and solidarity for caring for our planet, our home, our natural resources.

Ongoing

Online dance classes

For the children and for the families, we offer both live zoom classes and prerecorded creative movement and ballet classes. Our master teachers are continuing their semesters online. Even if you live too far to usually attend, you can join us virtually. I’ve been so pleased with how the classes have transitioned from classroom/studio to the computer. It truly is a time of connection and joy to inject into your quarantine.

Starting now, or when you’re ready

Coming This Summer

Book club with Lydia.

This summer I am reading Twyla Tharp’s The Creative Habit: Learn it and use it for life. If you consider yourself a creative person, or would like to be more creative, or are craving accountability and structure in your creative practice, I invite you to join me! We will meet online to discuss the book a little at a time this summer. If you’d like to get a jump start on the reading like me, go ahead and order it now and we will begin meeting in June for discussions. Email Bobbie.Hackett@framedance.org to let us know you’re reading with us.

Rescheduled

Soirée

Good question, glad you brought it up. Our smashing, dazzling, super fun annual bash is being rescheduled. We are celebrating 10 years! But we want to do it safe, and right, so stay tuned for a new date.

Virtual hugs, and stretches, and dances, and sweet thoughts to you.

 

Lydia

Experienced or Exploring, We Support You!

Experienced or Exploring, We Support You!

Education Frame | Work News & Updates

Week-long summer camps are the perfect chance for kids to do two things: spend focused time on something they already like, or try on something new, something shiny that catches their curiosity but that they might not know much about. One week of focused exploration gives your child a greater understanding of and hands-on experience in a subject. That knowledge might make them hungry for more, or it might satisfy their desire for that particular dish; in either case they come away knowing a little more about their world and about their own appetites, which is great information to have!

 

Day camps in Houston are also an opportunity to learn more about local organizations that are eager to engage your family throughout the year. Museums, theaters, studios, and other institutions offer behind-the-scenes experiences with professionals in their field. These relationships and experiences are enriching and inspiring for kids, and make meaningful connections that enhance school-year studies and can be continued throughout the year.

 

Frame Dance appreciates the chance that summer camps provide to deepen our relationship with current and former dancers, and to meet new dancers (bring your friends!) as we share our inclusive, smart, and supportive approach to dance. We have just one camp available for each age group, so sign up quick

 

July 6-10 Ashley Horn and Lydia Hance teach our Wiggle Worms: A Bug’s Life camp. Creative movement, music, and mural-making for age 3 to 5 years. 

 

July 13-17 Ashley, Lydia, and educator Kerri Neimeyer (that’s me!) present Leaping Lizards camp for ages 6 to 8 years. Our theme is Sheroes and Heroes, and includes modern dance, ballet, music creation, costume design and visual arts practices.

 

July 20-24 Ashley, Lydia, Kerri, and Alli Villines present Formers and Framers for 9 to 13 year-olds, featuring training in dance, choreography, costume design and poetry/songwriting. We are making makers!

 

Whether your child is looking to dabble in dance or go deeper, we welcome and support them in their dance experiences and explorations.

 

Do you have any favorite summer camp memories? Recommendations? Surprising or niche summer camps in the area? Share them here with #FramerNation. 

Let’s Talk About Women and Social Anxiety

Let’s Talk About Women and Social Anxiety

Frame | Work News & Updates

Considering Oh, I have to wash my hair In Terms of Cursorily Googled Research.

Yes, I am woman. Yes, I have (too much) experience with social anxiety. Yes, I am performing in Oh, I have to wash my hair this week. And yes, I did Google “women and social anxiety” to find authoritative sources for this blog post. Let’s talk about it. There is a place for comments, y’all. Use it.

 

First, let’s hear from a woman who has researched and experienced social anxiety. I found this personal and professional narrative on the website The Cut in an interview by Cari Romm with writer Andrea Petersen, science and health reporter for The Wall Street Journal. Peterson published the book On Edge: A Journey Through Anxiety and in it she writes that “there is no greater risk factor for anxiety disorders than being born female.” Petersen continues,”women are about twice as likely as men to develop [an anxiety disorder], and women’s illnesses generally last longer, have more severe symptoms, and are more disabling.” 

 

Lydia Hance, choreographer and Frame Dance Founder and Artistic Director, has identified a very real phenomenon. She has also identified one of the insidious patterns of social anxiety, one that hides in the veil of “nature” and gender. It is the idea that girls and women need to prioritize the feelings and opinions of others, and the idea that girls and women are under threat and need be fearful and suspicious to ensure their survival. In On Edge, Peterson discusses research on parenting that shows both mothers and fathers, with their language and their behavior, discourage daughters from physically risky play while encouraging sons to take risks, projecting their assurance that boys are capable of either accomplishing the difficult task or of accepting the hurt they might suffer. 

 

“So, while this kind of parenting might protect girls physically, the research suggests that it also contributes to this feeling of vulnerability, that the world is a dangerous place. Because the message that it sends to girls – encouraging them to be very cautious and always highlighting safety and danger – is that the world is a dangerous place and that they can’t cope on their own. And that feeling of vulnerability of course is a core belief of anxiety as well.”

 

In the program Oh, I have to wash my hair, look for the generational, parental encouragement – or insistence – for girls to accept social discomfort and fear. Do you see messages that female safety depends on external approval, which depends on their presentation, which is expected to be inoffensive, congenial, pleasant, acquiescent? Where are these messages in the show? Do you find them in your life? How dated or contemporary are these ideas? How are they encouraged or challenged in society?

 

Peterson talks about a sense of vulnerability that is primarily physical when it comes to parents and young children, but she points to the idea that this fear becomes generalized, and in social anxiety the belief that one is threatened with damage or destruction is no less real than the risk of falling off the monkey bars. But it is endlessly more ambiguous and subtle.

 

Stephan G Hoffman is director of the Social Anxiety Program at Boston University and he says, in an interview with Olga Khazan on theatlantic.com, that “people are social animals, and we have a strong desire to be part of a group and to be accepted by the group. Social anxiety is a result of the fear of a possibility that we will not be accepted by our peers. It’s the fear of negative evaluation by others, and that is [part of] a very fundamental, biological need to be liked.”  Angela Chen of the website theverge.com interviewed clinical psychologist Ellen Hendriksen and about her work with social anxiety and about her book How to Be Yourself: Quiet Your Inner Critic and Rise Above Social Anxiety. Hendriksen, echoing Hoffman, says the “social anxiety is a perception that there is something embarrassing and deficient about us, and, unless we work hard to conceal or hide it, it will be revealed and we will be judged or rejected for it.”

 

What does this fear of “negative evaluation,” judgement, and rejection feel like for you? Are there certain kinds of environments or people where these feelings are stronger? How do you address these fears when you see or hear about them in other people, perhaps in your child? Can you identify these fears in any part of Oh, I have to wash my hair, perhaps in the music, a dance score or scene, or an individual gesture or action? 

 

Both Hendriksen and Hoffman describe socially anxious people as employing certain habits before, during, and after stressful situations. Says Hoffman, 

 

Initially, they will dread the event, going there, they will worry excessively about the upcoming social event. They will be predicting that the worst thing will come true. And they will be extremely worried for a long period of time. Once you bring them into the situation, when they have to face whatever social challenge there is, they will then often report that they have no control over their anxiety. They believe that a mishap would have disastrous, long-lasting, irreversible consequences. They will report that they are not in control of their body, of their anxiety response, that others will see how anxious they are, and then they will try to avoid, to get out of the situation and escape. Sometimes they try to use strategies that are more subtle, such as holding tight on a glass while they talk to someone so people don’t see them shake and tremble. They will maybe stare at the ground to avoid eye contact. After the event, they will often engage in post-event rumination. Even in ambiguous situations that weren’t that bad, they will interpret them in a negative way, and identify weaknesses that they showed. This establishes a vicious cycle, and the next time they have to go into a similar situation, they will expect things to be even worse.”

 

And Hendriksen:

 

“The vast majority of social anxiety is anticipatory. People who are socially anxious engage in ‘safety behaviors,’ which are simply behaviors that trying to help you tamp down anxiety in the moment. For example, if you’re at a party and feel anxious, you hover on the edge of the room or you scroll on your phone or you might rehearse what you plan to say beforehand to make sure it doesn’t sound stupid. These behaviors take up a lot of bandwidth. If you’re thinking about how you come across, and there is very little room left over to just be our authentic, friendly self.”

 

Did you notice anticipatory anxiety in the dances? Specific behaviors dancers used to convey their stress? Can you identify “safety behaviors” of your own, or that you’ve noticed in others? How about the bandwidth of calamitous thinking? Doesn’t the idea of all this wasted energy and unnecessary suffering just knock you over like a wave?

 

Ugh. Thanks, I guess, Lydia, for asking us to look at this morass.  

 

I will, though, leave you with a few notes of encouragement. First, notice the subtitle of Ellen Hendriksen’s book: Quiet Your Inner Critic and Rise Above Social Anxiety. This sounds like a call to be gentle with ourselves (although I’ve barely touched here on perfectionism and all of the ways it lives in the feminine psyche and feeds social anxiety, it is all over Oh, I have to wash my hair). Hendriksen isn’t saying that we must Silence our Inner Critic and Destroy Social Anxiety, but that there is the possibility of shushing the voice of fear and taking a distanced, more objective posture toward the experience of social anxiety. Hendriksen advises that we continue to engage with anxiety-producing social situation, because if we give up then we give in to “the two most fundamental lies about social anxiety:” first, the idea that the “worst-case scenario is a foregone conclusion.” If you don’t go to the Met Gala because you know that you’ll fall on the stairs and no one will ever respect you again, then you can never go to the Met Gala and not fall on the stairs. “And the second is that ‘I can’t deal.’ When we avoid experiences, we don’t get the evidence to disprove those two lies of social anxiety. We don’t see our own capabilities.” If you don’t go to the Met Gala because you know that you’ll fall on the stairs and no one will ever respect you again, then you can never go to the Met Gala and not fall on the stairs, or, go to the Met Gala, fall on the stairs, and find that people still respect you, and are in fact concerned for your well-being. 

 

Hendriksen even finds a positive perspective on being a woman with social anxiety. “The one thing I always like to add is that social anxiety is a package deal, and it often comes bundled with strengths like high standards and empathy and being helpful and altruistic. People who have social anxiety are often good listeners and conscientious and they work hard to get along with fellow humans. And those are all really amazing strengths that won’t go away even as people work on their social anxiety.” (I might have to buy this book. Women With Social Anxiety Book Club, anyone?) 

 

If you have social anxiety, you are not alone. If you are a woman with social anxiety, you are surely not alone and you may notice that these identities are connected by myriad strands. You may also notice that you can make compelling, brilliant art out of these identities and ensuing experiences. You may also notice that Lydia Hance’s art about those identities also gives us subtle encouragements and embedded choices. As I see the show, she suggests that engaging with anxiety-producing presentations and situations is a choice, so we can either accept or reject the opportunities and messages we are given. I also see that we can become bristly and defensive in our engagements, or we can become soft and find a power in that vulnerability. Mostly, I see that we as women are in this together, and that, again, there is a kind of vulnerability that is actually empowering, and that we as women can give each other the gift of empowered vulnerability in our social interactions. 

 

What did you see?

From Lydia: A Reminder, an Invitation, and a Wee Announcement

From Lydia: A Reminder, an Invitation, and a Wee Announcement

Frame | Work News & Updates

Framers,

Last week I got sick, like stay in bed all weekend sick. PILES of Kleenex on the nightstand sick.  I had to cancel class for about thirty families. I usually prefer to just push through, because it seems silly for one person’s illness to inconvenience 30+. But with Frame Baby #2 baking (yes! Did you hear? She’s due in March), I was thinking of both of us and what we needed to heal.

That got me thinking. Why can it be so hard for us to have boundaries when it comes to our own health? It was easier for me to think of protecting the baby than protecting myself. I relished the feel better, stay in bed responses to my emails. Somehow, other people validating my choice to prioritize my health made it easier.

Before I knew how sick I was, I was outside running on the grass with Micah. We were playing “chase” as he calls it, you may know it as “tag.” At one point he stopped, pointed to his stomach, and said My tummy hurts! He body slammed into the grass and pushed up into the most beautiful upward dog I’ve ever seen. And I thought wow! How did he know to open up is abdomen like that when he got a cramp? He didn’t. His body did.

Our bodies know more than we realize.

The stressful “madness” of the holidays – shopping, planning, social obligations, eating rich food, and thick sweaters in overly heated Houston houses – can have the effect of a sickness creeping in on us. For this reason, I wanted to plan a series of workshops to give time and space for our bodies to lead us into reflection. Whatever the past year held for you, gratitude is a practice, and mindfully celebrating all we have to be thankful for has a deep, cellular impact on our bodies, our long-term health, and our fulfillment.

I truly hope that you join us for these workshops, because they were specifically designed for movers of all bodies and experience levels. Nervous? Bring a friend!

For a welcoming, instructional, and creative class:

I will be teaching two Intro to Modern Dance classes.

For reflection, peacefulness, and opportunities for expression:

Jhon Stronks and I will each lead a Candlelight Dancing class.

For a fun celebration and something tropical:

Jamie Williams will lead a Winter in Hawaii Hula class.

All of these classes are safe for beginners, and Frame Dance always gives dancers choices to make adaptations for any immobility or recovering injuries. Our instructors want to meet you and talk with you before class about any concerns you have.

Like I’ve realized, it’s hard to have boundaries for our own heath—physical, mental and spiritual. But, here I am saying to you feel better, come dance.

Hand to heart,

Lydia

Lydia’s Big Professional Announcement: Composer Competition Winners, 2019

Lydia’s Big Professional Announcement: Composer Competition Winners, 2019

Frame | Work News & Updates

 

Dear Framers,

Lydia here. Drum roll, please! 

 

I am thrilled to announce the winners of the 2019 Frame Dance Composer Competition, and eagerly anticipate the work that the company and I will do with them in the coming performance year. 

 

Frame Dance is dedicated to working with 100% new music in all of its productions and has held to this commitment since its inception. As a means to access outstanding new music, Frame Dance has held an annual competition for the past nine years to select music for its upcoming season. The winning composers’ music becomes the basis of a new original work at Frame Dance in film and/or live performance. This has given us opportunities to work with over 24 contemporary composers. Our commitment to new music benefits Houstonians by exposing the work of new composers to local audiences. This successful competition has attracted exciting composers from across the world to collaborate with Frame Dance. A list of past winners can be found here.

 

Let me give you a quick taste of what you’re in for this year. First, the panel consisted of Charles Peck (2017 winner), Daniel Harrison (2018 winner), and Patrick Moore (Axiom Quartet cellist and frequent collaborator with Frame Dance), and me. We reviewed about 200 pieces of music and chose four. That’s stiff competition, people. On the call for music we indicated that we were looking for at least one piece of music for cello (because of our upcoming collaboration with Patrick), and we selected:

 

-a surprising and engulfing electronic piece by Jake Sandridge,  

-a meticulously crafted dynamic trio for cello, violin, and piano by Jack Frerer, 

-a highly restrained and delicately suspenseful piano piece by Paul Kerekes, and 

-a heavenly and shadowy piece for cello and playback by Hannah Selin.

 

Learn more about them below. I look forward to creating new dances with their music this season. Frame Dance our performances are really like multiple concerts woven into one—dance, music, theater, visual art… are you on our email list and in the loop on our performance announcements? 

 

In Art,

Lydia

 

 

As a composer, sound artist, and performer of contemporary music, Jake Sandridge creates sound as a method of expressing themes of memory, transformation, nature, and comfort. He understands and experiences art as a unique space that allows for the suspension of disbelief where audience and performers can experiment with the juxtaposition of ideas that might originate from dissimilar places. Mr. Sandridge is a doctoral student in the Shepherd School of Music at Rice University. 

 

Winning piece: Garden of our Own

 

Composer, violist and vocalist Hannah Selin juxtaposes acoustic instruments with electronic sounds, field recordings and recorded interviews to imagine new and unlikely sound-spaces. Her compositions range from solo instrumental and chamber music with and without electronics, to songs, music for dance, orchestral music and sound installations.

 

Winning piece: Hirondelle

 

 

Paul Kerekes is a composer/pianist based in New York City who often confronts and blurs the space between composition and performance. Omnivorous, he can often be found premiering pieces with his piano sextet Grand Band or his quasi-rock-band composer-performer-collective, Invisible Anatomy. As consummate collaborator, he plays well with others and feeds off the exchange of creative energy. 

 

Winning piece: Vantages

 

 

 

The “exuberant” and “delicious” (Boston Musical Intelligencer) music of Jack Frerer (b. 1995) has been performed across the US, Australia, Europe and Asia, and will performed this season by ensembles including the Nashville Symphony, the Arapahoe Philharmonic, the Albany Symphony’s “Dogs of Desire” ensemble, and the UT Austin Wind Ensemble, among others. Jack is the recipient of a Charles Ives Scholarship from the American Academy of Arts and Letters, a Morton Gould Composers Award from ASCAP, the Suzanne and Lee Ettelson Composers Award, and the Brian Israel Prize from the Society for New Music.  He is a Tanglewood composition fellow for 2019, a composer for the New York City Ballet’s 2019 Choreographic Institute, and is currently Composer-in-Residence with the Arapahoe Philharmonic. Jack studied with John Corigliano and Robert Beaser at The Juilliard School, and was awarded a Benzaquen Career Advancement Grant upon graduation. 

 

Winning piece: Stutter Step