connie & jimmy - episode 4

Connie & Jimmy The stars align in episode 4 of “connie & jimmy”! Inspired by the 1953 film I Love Melvin. This episode will keep you “A-boodle-oo beep beep baum baum baum”-ing for hours. In episode 4, our charismatic duo has returned home from a frustrating dinner party. What’s on the menu must also match what’s in the heart. Our conscientious couple can’t help but shake it off in this delightful twist on “Where Did You Learn To Dance?” originally performed by Debbie Reynolds and Donald O’Connor.

“connie & jimmy” enthusiastically shares ( as a resource for all your plant-based nutrition inquiries. It is sure to put a spring in your step!

Don’t bite the bum of an animal carcass. Plant-based protein is everywhere!


connie – Connie Castanzo jimmy – James Koroni

writer, director & co-producer – james koroni co-produced by Civil Sea Films co-choreographers – james koroni & Tracey Katof director of photography – Ben Effinger editor – Laura Mazzeo grip – justin van wie

Human Lauren In India

Lauren Cox Lauren Cox is traveling to Hyderabad, India from January 28th to March 6th, 2014. In this month she plans to:

  • Teach at a local orphanage.
  • Teach a two week workshop for beginners on western dances including strength & flexibility, contemporary, ballet, street jazz and freestyle.
  • Learn some of the cultural dances of India including Bharata Natyam (the "fire" dance) & Kathak (an Indian classical dance).
  • Choreograph and set a 30 minute showcase, including herself and the Steps Studio director, Prithviraj, for the local community at Ravindhra Bharathi auditorium in Hyderabad.

Human Lauren's Campaign / Fundraiser

The plane ticket has been donated by Steps Dance Studio. The workshop and show is still being conceptualized and the total amount needed to make this happen is $2,000 USD. Your donations will be used to:

  • Provide admission for five dancers who will attend her workshop.
  • Cover costs of costumes, props and music for the showcase.
  • Support the local orphanage.
  • Stipend for Lauren's living costs.

Dance is a pure expression of the soul, no matter what the background. This is my gift and I would like to share it with as many people as possible. I hope that in opening my gift I can inspire those that surround me to open theirs. Art and happiness is real when shared.

I recently traveled to Hong Kong to perform at the Hong Kong Coliseum with the beautiful Joey Yung and to teach a few classes at Ones To Watch Dance Studios. There is a demand for versatility in the industry and the dance community worldwide. The more diverse you are in your art the more unique, inspiring and valuable you become. This is my attempt to not only share this philosophy with others but to keep growing myself. I cannot wait to share the result of this trip with you!

-Lauren Cox

You can make your donations here:

Shut It!


I've seen it time and time again. Dancers with long cuts on the bottom of their feet that just wont close because, let's face it, what dancer has the luxury to rest it out until the wound heals properly? I searched the web for some tips and tricks, here's what I found:


The New York Times - The Claim: SUPER GLUE Can Heal Wounds - In 2001, the Food and Drug Administration approved a similar, antibacterial form of the substance called 2-octyl-cyanoacrylate, which is marketed as Dermabond.


I found this article on Suture, Glue or Tape – Wound Closure with Choices.

The following video will teach you a little about using a butterfly closure to secure a large cut temporarily.


It's not always easy to tell if a cut requires stitches. Ultimately, it's up to your health care provider to determine if stitches are needed. You should seek medical care for any cut that:

  • Is deep, jagged, or gaping
  • Is on the face or another part of the body where scarring may be an issue
  • Bleeds profusely, without stopping, after 20 minutes of direct pressure
  • Feels numb

Stitches SOURCE:

Emma Carson of ASHA Dance Company said "Taping has been the most efficient and painless solution before my performances."

Disclaimer - The information on this website is designed for educational purposes only. It is not intended to be a substitute for informed medical advice or care. You should not use this information to diagnose or treat any health problems or illnesses without consulting your pediatrician or family doctor. Please consult a doctor with any questions or concerns you might have regarding you or your child's condition.

Celia Rowlson-Hall

Celia Rowlson-Hall Often, when people go to work, they sometimes feel it's as tedious as going to the DMV. However, when I, James Koroni, woke up the morning of the Robert Delong music video shoot felt as though I had planned a day on the beach with all my friends. That day I had the pleasure of working for Celia Rowlson-Hall who has done a great deal of notable creative works as a choreographer, dancer, actress, and filmmaker. She is on her way to having significant cultural influence. I was impressed that Rowlson-Hall was very quick on her feet (pun intended), gave clear and friendly direction, and presented herself professionally. After the music video was finished I interviewed her for Enforced Arch.

James Koroni: My eyes have been glued to your work. The characters in your films are so distinct. What would you say is an underlying theme in all your work?

Celia Rowlson-Hall: Thank you James! The main theme and driving force of my work is simply my curiosity. I tend to go where I am curious to discover more about a particular feeling, image, or circumstance I can't shake.

Koroni: Now specifically talking about your new short film, 'The Audition', I am impressed with this character's/actor's composure throughout the audition. Regardless of what is being asked, such as altering one's aesthetic appearance, masturbation, etc. she seems committed to her craft. To what lengths do you think is appropriate for an artist to be pushed to in these circumstances?

Rowlson-Hall: Well I think the artist can go as far as she/he wants, if it is on their own terms... I say the further the better. But in the case of "The Audition", the actor is letting herself be completely manipulated, which is what makes it uncomfortable.

Koroni: On the other hand your performance displays that actors are capable of these elements and all at a moments notice. Are you making a commentary OR are you taking a stand against it?

Rowlson-Hall: This piece actually never intended to be a commentary on the audition process. I simply thought it would be fun/tragic to create the ultimate audition over a menial role for a really bad TV show or movie, so that is what I did! But I did use moments in the film that have happened to me in auditions such as "dancing in a club", "drink spilled on you", changing my appearance for certain roles... which is pretty ridiculous.

Koroni: As a filmmaker, how has being a professional choreographer and dancer influenced your work?

Rowlson-Hall: My film work is entirely influenced by my dance background. Movement is my way of communicating, so I have brought that not only to the subject matter that I shoot, but also give close attention to how the camera moves, and then bring an awareness to timing and rhythm in the edit. The whole process of filmmaking is so similar to choreographing a dance.

Koroni: How have your completed works influenced or fine tuned your vision for future works?

Rowlson-Hall: Oh yes! Every time I make something, I make a tremendous amount of mistakes. I love it though because they are so valuable and greatly inform how I approach and shoot the next project. I try not to get hung up on what went well because what is the fun of doing the same thing over and over just because it "worked"?

Koroni: Aside from your obvious mediums of expression; dance, choreography, directing, acting and styling, what also is a powerful tool for you when you are in your creative space?

Rowlson-Hall: When working on projects, a powerful and necessary tool for me is to have collaborators that I trust and who share and honor my creative space. I have been very blessed to have so many wonderful friends and collaborators who have helped bring every project of mine to life.

Koroni: What have you come to rely on to keep your active and sometimes unpredictable lifestyle manageable for you?

Rowlson-Hall: Yoga!

Koroni: I admire you for being vegetarian and it makes me curious, what's so damn interesting about vegetables anyway?

Rowlson-Hall: They provide one with all the nutrients one needs without wreaking havoc on the earth's resources!

Koroni: What artists currently are influencing your work?

Rowlson-Hall: I can't get the Rineke Dijkstra exhibit at Guggenheim from this summer out of my head. Perfect.  Pina Bausch will forever be an inspiration.  And the genius that is Mark Rylance, best actor I have ever seen.

Koroni: What book are you reading?

Rowlson-Hall: Half the Sky.
Koroni: What's the best movie you have seen in the past year?

Rowlson-Hall: Alps.

Koroni: What was the last song that made you loose your shit on the dance floor?

Rowlson-Hall: "motion sickness" by hot chip. But the dance floor was my living room...

For more on Celia Rowlson-Hall visit,

Kathleen Stansell

Kathleen Stansell Kathleen Stansell has been dancing since the age of three and continues to pursue her passion of dance as a teaching artist, performer, and choreographer. She teaches a variety of movement skills including gymnastics, ballet, tap, jazz, modern, and creative movement. Kathleen graduated from the University of Southern Mississippi with Honors and a Bachelor's degree in Performance and Choreography. She is currently using her performance skills with Upaya, Catey Ott Dance Collective, and her own company, Move for Change. Along with her friend and colleague, Dan Kinch, Kathleen is the Co-Artistic Director of Move for Change and the Brooklyn Culture Jammers, an artistic collective in support of Occupy Wall Street used to bring awareness to issues such as food justice and a myriad of other social issues. For Kathleen, dance comes secondary to aiding the advancement of character of both her students and her audiences.

"It is important to me to be as socially responsible as possible in my daily life so I may contribute to the happiness and peace of others. This means restraining the use of any animal products, reducing the output of wasteful materials, and doing work that is for the benefit of other people's health and well-being. Dance and acting are the creative outlets of which I am most talented and passionate about; therefore, I use those talents as a gentle approach to communicating issues surrounding food waste, the monopolization of food products, excess, and human rights. I move for change." -Kathleen Stansell

Paris Journal 2011 Part 4

James Koroni, Celine Orang, Paris, Creadanse, Enforced Arch The Eiffel Tower Freestyle Dance (La Tour l'Eiffel danse main-levée)

Celine Orang, owner of Creadanse in Paris, invited James Koroni, creative director of Enforced Arch to dance under the Eiffel Tower with the students of Creadanse led by Loïc "Speedylegz" a member of Criminalz Crew and one of Madonna's current dancers!

featuring Céline Orang James Koroni Loïc "Speedylegz"

editor James Koroni camera operator Joshua Katcher

brought to you by special thanks to

Celine Orang, Loïc "Speedylegz", James Koroni, Enforced Arch, Creadanse

Paris Journal 2011 Part 1 Paris Journal 2011 Part 2 Paris Journal 2011 Part 3 Paris Journal 2011 Part 4 Paris Journal 2011 Part 5 Paris Journal 2011 Part 6 Paris Journal 2011 Part 7 Paris Journal 2011 Part 8 Paris Journal 2011 Part 9 Paris Journal 2011 Part 10 Paris Journal 2011 Part 11 Paris Journal 2011 Part 12 Paris Journal 2011 Part 13

"So You Think You Can Prance?"

364 Series

You know Dasher and Dancer and Prancer and Vixen, Comet and Cupid and Donner and Blitzen. Or do you?

'364 The Series' wittingly addresses ecological and social issues while poking fun at popular culture. I find charisma in its playful approach. With a sense of humor they speak to somewhat unreachable ears. People often want to mourn in what ignorance is dwelling. It is our responsibility to tackle current issues and make it known that we are enraged. Until we make society realize that artists are not only talents but also 'Movers', we will continue to live in delusion or live without a voice. In order to make this shift we must do our research and make our medium carry a message.

James Manzello

James Manzello, the writer of '364 The Series' carries the leading role of Donner, a reindeer with good intention, although seemingly disheartened by the worlds current state, finds himself excitable at moments of truth. By alluding to certain topics, Manzello offers a platform of discussion influenced not only with his vegan lifestyle but by having a sense of humor. His performance will inspire others to develop opinions and hopefully make for a more informed society. Fortunately, compassion is found in many forms, and James' seems to find his voice within a chuckle.

While we thought reindeer only had one simple job of pulling Santa's sleigh - the other 364 days of the year they have lives just like you and me.

All styling for '364 the Series' done by cruelty free vegan Marlena Pavich, also featuring vegan recording artist Mandy Duffy in episode 4!

'So You Think You Can Dance' occasionally brings our attention to issues of grave importance. Pieces such as Addiction by Mia Michaels and 'This Woman's work' about a woman with Breast Cancer, by Tyce Diorio are a few I will never forget. With Diorio's message brought to the forefront of the dance community I would like to continue addressing the issue.

Looking back to April of this year, I recall Kentucky Fried Chicken making efforts to raise money for the Susan G. Komen foundation.

50 cents per bucket of deep fried, "chickens, breasts."

How Ironic, this irresponsible fast food chain not only serves food that is breast cancer causing but also perpetuates diabetes, heart attacks and a slue of other health problems! Not to mention it's a bucket full of CHOPPED OFF CHICKENS BREASTS!

Fortunately the Breast Cancer foundation involved pulled out of this fundraiser. These fast food companies are a disgrace to life, compassion and welfare. Not only are they death to small business, they cause health issues in all those who consume their products and get their food through the inhumane practices of factory farming.

A moving quote from Nigel Lythgoe, a judge on 'So You Think You Can Dance,' "I don't know as a choreographer, where you get the strength from... to do a piece like this."  Issues such as these often haunt us, hearing about it day to day almost makes us want to avoid it. Unfortunately being ignorant is more popular these days than ever. We can only make change for those suffering if we as choreographers, "find the strength" to be moved by such issues.

Why do you dance?

Please leave a comment, let everyone in the Enforced Arch community know.