Rules Of The Game


Enforced Arch founder, James Koroni has been invited by Jonah Bokaer, media artist and choreographer to participate in Rules Of The Game. This past month Koroni traveled to Dallas, TX and had the pleasure of dancing with some of the most talented dancers from around the world: Sara Procopio, James McGinn, Elisabetta Rollo, Szabi Pataki, Laura Gutierrez, Callie Lyons & Albert Drake. Here's is the formal announcement from the Dallas Symphony Orchestra:







At Chez Bushwick’s annual gala honoring Daniel Arsham, Rules Of The Game, a new collaborative, performance project was announced. The piece is a partnership between choreographer Jonah Bokaer and his dancers, visual artist Daniel Arsham, and an original score by Pharrell Williamsperformed by the Dallas Symphony Orchestra. Rules Of The Game will have its world premiere in Dallas on May 17, 2016, at the Winspear Opera House as part of SOLUNA International Music & Arts Festival. Rules Of The Game will be the first collaboration between Arsham, Bokaer and Williams, collectively.

Rules Of The Game, a multidisciplinary work for eight dancers, is currently being developed. The music by Williams represents his first composition for live dance and theater. The Dallas Symphony Orchestra will provide the live accompaniment at the premiere.

“This collaboration is something that we have worked on for a long time,” said Anna-Sophia van Zweden, Director of Festival Advancement for SOLUNA. “We wanted to bring Daniel and Jonah to SOLUNA, and in our conversations, this project emerged. We are thrilled to present the world premiere performance of this work and to have the Dallas Symphony Orchestra perform original orchestral music by Pharrell.”

“I am excited to be working again with Jonah and Pharrell,” said Arsham. “We are currently in production, developing the concepts for the score and scenography, so it will be interesting to see how the piece changes shape over the coming months and to see its premiere at SOLUNA.”

Arsham has been designing and building sets since 2007, when he was commissioned by legendary choreographer Merce Cunningham to create the stage design for his work eyeSpace. His collaborations with Bokaer, who he met through Cunningham’s company, began in 2007, and over the past eight years, the duo have created a unique scenic language exploring themes of spatial reorientation and the perceived passage of time. Arsham and Williams have collaborated, beginning in 2013, when he cast Williams’ Casio MT500 keyboard, a formative part of his musical development, in volcanic ash, crystal and steel. The following year, Arsham cast Williams’ entire body for GIRL, Williams’ curatorial debut at Galerie Perrotin. The gallery represents Arsham, and has collaborated in the past with both Williams and Bokaer.

More information to follow. Tickets for the performance will be available later this year.

Humans Collective presents ALONE-ology


Humans Collective, brought to you by Lauren Cox, presents ALONE-ology, a one hour study of being alone, featuring a select community of performance artists including Sheila Barker, Joanna Numata, Carlos Neto and more! Details:

May 28th, 2015 @ 7:30 PM

The Nuyorican Poets Cafe 236 E 3rd st. New York, New York

Five dollars of each ticket sold will be donated to support Natasha's education, an orphan at the Rock Orphanage in Hyderabad, India.


Woodstock Farm Animal Sanctuary

Woodstock Farm Animal Sanctuary A few years ago James Koroni, founder of Enforced Arch, had the pleasure of dancing in the Catskill mountains at the Woodstock Farm Animal Sanctuary. A place where "food" animals have now found refuge and can live out their lives in peace. Watch it here:

Koroni will be hosting Woodstock Farm Animal Sanctuary's Cocktail Benefit at the chic Alexander Gray Associates art gallery in Chelsea, Manhattan. Please join him to support this pivotal animal advocacy organization!

> Tickets are $150 a person – Click HERE to Purchase <


'Ephemeral' - Contact Improv

Contact improvisation, although considered a modern dance technique, has no real rules. The only defining characteristics are that there are two or more people participating, they are moving and at various points they make physical contact. But really, I hesitate to even define it. For me, improvisational dance is the simplest form of expression, and contact improv allows dancers to communicate with each other with selflessness and sincerity. Contact improv is a gift that forces me to stay present. I have learned that it is vital during contact improv to always be connected to my partner—and not necessarily just physically connected. If not by touch, then by sight; if not by breath, then with emotion.

Contact improvisation is an art, and it is a process. I have had the great pleasure of participating in contact improv with fellow dancer and choreographer, Adán Aguilar, for the past five months.  While dancing together we have learned so much useful information about each other. Simply by moving together, we started to naturally pick up on various elements of each other’s movement characteristics, for example: quality, shifts in dynamics, habits with patterns, how we use space, how we use our own bodies, and especially what movement inspires the other person.

These are three things that always happen when Adán and I dance:

  • During our improvisation, I will accidentally whack him in the face at least twice.
  • Adán will ask me to try a seemingly impossible movement or lift that causes my eyebrows to furrow, my arms to cross and my right foot to stomp the floor.... And then we try it.
  • After an amazing and completely connected phrase together, we will stop and say, “What did we just do!?” and then realize we can’t remember. It is lost; it was just meant for that moment.

What I love the most about contact improvisation with Adán is that I must trust him and myself. It is imperative to let go of fear. Fear is crippling in dance, just as it is in life. Releasing fear from dancing has led to a huge shift from where we started. Our movement vocabulary and ability to communicate has flourished. Our stronger connection and understanding of each other has allowed our “conversation” to be more exciting, interesting and fluid.

Improv Dance

The video in this article captures the final contact improvisation between Adán and me. Nothing in this video was planned. It was purely organic. We walked into the studio, warmed up and started to dance. The name of this video is “Ephemeral,” which means simply “lasting for a very short time.” This name was chosen because Adán and I knew we would have this time together and that it would be short-lived. I am grateful for the opportunity to learn from a mover as intelligent and dynamic as Adán and to have captured this final improvisation together.

In the paragraphs that follow, I’ve attempted to recreate my experience dancing with Adán. It includes my observations as well as my inner dialogue:

We start with a breath, a handshake and a hug. We shift weight. My senses are heightened. I say to myself, Let go. I move; we move. What is our tone? What is this moment? Follow his lead. Stay connected. Take initiative.

It is an investigation of our selves. It is an investigation of each other. Invite him in. Breathe. Feel him; he constantly moves to support me. The sensation of touching another brings up a lot: a sense of vulnerability, the feeling of being nourished. The music brings up more: unclear sensations from my past.

Use your breath. Find opposition. Don’t get stuck in the same movement. Travel somewhere new. We are strength; we support each other. We are light; we find air. To confront frustration, or to just let it be and smile? He smiles. Yes, smile.

The music is everything. It leads us. When we connect, it feels beautiful. And then we miss, bump, trip, fall. Don’t resist. Just keep moving. As much as I want to think, to plan, there is no time. We find the next path. We are grateful to feel so alive and free. We speak through movement and learn it is enough.

For more articles from Tracey Katof CLICK HERE

For more on Tracey Katof visit,

Fusion Art - Fusion World

koroni-3 Enforced Arch Mover, Crystal Silmi is an Arab American Belly Dance Fusion artist native to San Francisco, California. She spent years studying and training belly dance with the masters of the industry where she was a member of the prestigious Suhaila Dance Company and Bal Anat. She also directed her own fusion dance company RaksArabi before making the move across the Atlantic to live in Spain.

With dedication and grace, Crystal shows us that a determined dancer can not only succeed in a new and foreign environment, but experience exponential growth as an artist. In less than 3 years, Crystal has gone from being an unknown artist in Europe to an internationally recognized teacher and artist.

Determined to spread the fusion fire from California, Crystal has been igniting passion in the European belly dance community teaching belly dance with modern and world fusion dance techniques. She continues to expand and grow in her repertoire as well studying Flamenco, Jazz and Hip Hop in Spain.

As an active vegan, Crystal was also invited by PETA in 2012 to join as an activist for a cruelty free fashion show in Seoul, Korea to show the world that the cruelty free lifestyle is maintained by healthy, active and creative people.

For information about Crystal and her upcoming workshops, events or whereabouts visit

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.

It Was Never Your Fault!

Lemon Meringue HELL WEB ONLY Rich Ryan Productions, LLC through the We Are Many Foundation are pleased to present LEMON MERINGUE, a new play written by Rich Ryan, directed and adapted for the stage by Terri Muuss and choreographed by Enforced Arch 'Mover' Tracey Katof, with original music by Athena Reich will premiere at The TBG Theatre November 8th - November 24th in New York City.


LEMON MERINGUE is a moving roller-coaster ride through the therapeutic process of Rich, a typical guy from Long Island. As Rich struggles to overcome the devastating effects of childhood sexual abuse, we witness his anger and pain slowly giving way to happiness and forgiveness. This true story, told through music, dance and dialogue, illustrates one man's inspirational journey towards survival and finding, then healing, his inner child. LEMON MERINGUE is a compelling success story that should not be missed. It will leave your heart soaring.

The show runs at The Barrow Group Theatre, 312 West 36th Street 3rd Floor (bet 8th and 9th Avenue), New York, NY 10018. Tickets $18. For tickets visit: LEMON MERINGUE is an Equity Approved Showcase.

Rich Byllott

Rich Ryan (Writer) is a devoted father of three who lives on Long Island and works in New York City. Rich is a survivor of childhood sexual abuse. Since breaking his silence in 2003, Rich has been dedicated to raising awareness about childhood sexual abuse and helping others heal from the effects. He has attended many male survivor conferences and his artwork has been displayed at several survivor art shows. In 2010, Rich made an appearance on The Oprah Winfrey Show to share his story with a group of 200 male sexual abuse survivors and a national television audience of 15-20 million people.

Rich is a fervent believer in the notion that victims of abuse have the power to live full, rewarding lives. Recognizing the profound impact that sharing one's story can have on the healing process of others, Rich felt inspired to write Lemon Meringue - a one-act play that chronicles the story of a man struggling with and overcoming the effects of childhood sexual abuse. This is his story. For Rich, the process of writing a play for the first time - particularly a play addressing this subject - has been both challenging and rewarding.


Rich has dedicated Lemon Meringue to all of the men and women who have perished from the effects of childhood sexual abuse as well as those who continue to struggle.

All proceeds from the new play LEMON MERINGUE ( benefit The We Are Many Foundation (

The We Are Many Foundation helps, heals and educates society concerning children who have been sexually victimized, as well as adults who struggle in their current life from the horrific ordeal they experienced when it was done to them in their youth.

For more about the show, visit

Chicago’s Beethoven Festival

Danielle Lurie, James Koroni, Beethoven Festival, Chicago I had the honor of working with Danielle Lurie, one of Filmmaker Magazine’s ’25 New Faces of Independent Film,’ and a fellow of IFP’s 2011 Emerging Visions symposium. Lurie is a New York City based filmmaker and photographer. She has been shooting films and photos since graduating from Stanford University in 2000 with a BA in Philosophy.

Danielle Lurie, James Koroni, Beethoven Festival, Chicago

As a filmmaker, regardless of the space she inhabits, Lurie creates endless possibility. Her positivity, enthusiasm and curiosity breaks down any inhibitions I may have felt when collaborating. This particular piece was set on an open rooftop, in the rain where I could have let the elements, a random passerby or onlooker from the adjacent apartment windows distract from our process. This was of no concern with Lurie present. Lurie brings her warmth to the process making the results something to marvel at because what may have seemed rigid at first has somehow been captured organically.

Created for the 2013 Beethoven Festival, this is a segment of the Video Art Piece created by Danielle Lurie, Featuring Dance by James Koroni. Set to J.S. Bach’s Concerto in F Minor. (below)

Created for the 2013 Beethoven Festival, this is a segment of the Video Art Piece created by Danielle Lurie, Featuring Dance by James Koroni. Set to Astor Piazzolla's Five Tango Sensations. (below)

Directed and filmed by Danielle Lurie Choreography and dance performance by James Koroni Beethoven Festival Curated by Catinca Tabacaru

ALLIANCE - International Tour

Enforced Arch Presents an International Tour London, Paris, Berlin October, 2013

VegFest - London, England Paris Vegan Day Festival - Paris, France Site-Specific Installation - Paris, France Site-Specific Installation - Berlin, Germany

Enforced Arch Dance

ALLIANCE Art & Activism By Creative Directors, James Koroni & Tracey Katof

Enforced Arch Dance Company is thrilled to present ‘ALLIANCE’ Art & Activism, a presentation that harnesses the relationship between performance art and the pursuit of social justice. In our fall 2013 tour we will be presenting a collection of past and new works honoring the 'ALLIANCE' of art and activism. The performance features video installation by exceptional video artists including, Joshua Katcher and Yessi Yes-Yes Ruiz.

In the past two years Enforced Arch has been invited to share their work in cities such as, Washington D.C., New York City and Paris, and has addressed issues such as human rights, environmental awareness, animal rights and ethics & fashion. Each piece celebrates our ability to speak up for those who are less fortunate.

By making a donation to our fundraiser you also contribute to our collective voice and make it heard that much louder. Thank you for making our important work possible. Here's how we will be using the money raised by this campaign:

Costumes = $500

Rehearsal space abroad = $270

Rehearsal space in NYC = $270

Travel (London, Paris, Berlin) = $2,414

Per Diem = $560

Housing = $700

TOTAL COSTS = $4,714

ADDITIONAL funds raised will go toward our annual company performance of ALLIANCE: Art & Activism in New York City tentatively scheduled for Spring of 2014.


Please join us this Fall for an informal studio showing before we head abroad:

New York City Studio Showing (LOCATION TBA) Thursday, September 19th

For more information regarding this performance please contact us at


Instrumental music in video by Clara Lofaro

James Koroni for honest by. Bruno Pieters


Photography by Joshua Katcher Text by Bruno Pieters

James Koroni for honest by. Bruno Pieters

BP: I LOVE THE IMAGES OF YOU DANCING IN THE STREETS OF NEW YORK. WHAT WAS THE INSPIRATION BEHIND THE DANCE AND PHOTOGRAPHS? JK: thank you! my inspiration for this piece is the city itself. I rarely find myself alone in New York City and it can be overwhelming at times but most often it is a source of inspiration. In the video, you'll notice, while I am dancing in the street, a rush of traffic, a man waiting in stillness and while dancing I could hear three teenagers cheering me on across the street. By being present and paying attention to my surroundings I am fuelled creatively and in return can offer something unique because it is reflective of my surroundings. I suppose then what I am trying to express is the creative symbiotic relationship that I have with my environment, which is why I am so sensitive to and concerned with its well being.

Read the rest of the interview HERE!

James Koroni for honest by. Bruno Pieters

Young Choreographer's Festival

Emily Bufferd After hearing so many spectacular reviews about the Young Choreographer's Festival (YCF), I had to get a hold of the brilliant mind behind the scenes and ask her a few questions. Emily Bufferd, founder of the YCF and creative director of BEings dance, is also a young choreographer in New York City and believe it or not, has had her own share of challenges along the way. Being a young choreographer in the dance world can be very overwhelming. Fortunately, the YCF provides much needed clarity for young choreographers. Let's see what Emily Bufferd has to say on the subject:

James Koroni: In your own words what types of struggles have you come across as a young choreographer?

Emily Bufferd: I think as a young choreographer, the hardest part is getting people to take you seriously, and feeling like you have to prove your ability.  Applying to shows in the hopes of being presented when you have no track record is asking someone to take a chance on you, and since dance is such a fragile art-form to begin with, it sometimes is really hard to find that person who is open to being the first one to present you.  You have to continuously prove that you are capable of handling the job.

Koroni: Are these the reasons why you created the Young Choreographer's Festival(YFC)?

Bufferd: It is definitely a big part of it; I was fortunate enough in the early stages of my starting to choreograph that one of my mentors/friends suggested I attend a selection panel he was sitting on with him as a learning experience.  It really showed me how hard it is to get your work presented, especially as a young artist who doesn't have tangible proof of why you should present them.  It can be hard when watching so much dance to be able to see past the fact that it is rehearsal footage, or not costumed/lit/finished... any number of reasons.  I wanted there to be something that looked past all of those factors, and only looked at the caliber of the work.


Koroni: Did you anticipate that the YCF would be such a big success?

Bufferd: 100% truth, I had no idea.  Is it a big success?  I hope someday it is; we're getting there I think (I hope).  I want all of our young choreographers to book jobs and work; I would love to be able to provide them with more opportunity and education.

Koroni: Aside from supporting and celebrating young choreographers, does your selection process consider other criteria such as innovation?

Bufferd: The selection process takes many things into consideration... quality of the choreography (in all genres) is top priority though.

Koroni: From receiving your newsletters, it seems that you are offering programs or informative lectures for selected choreographers. Would you please tell me a little about this?

Bufferd: I think education can make the difference between being a successful artist and a not so successful one, so we have introduced programming for that purpose.  The selected choreographers this year got a mentor (this was the first year of this!), and will have a talk back panel with industry folks.  Sometimes the best way to learn is simply just to listen to someone who has been where you hope to go and let what they tell you sink in so I love to be able to have those with more developed careers sit down with our young artists to give them guidance, and answer some of their questions.


Koroni: I’ve also seen that you have invited established choreographers to present their work at the festival. I imagine that the purpose of their presence is to elevate the expectations of selected young choreographers. Have the young choreographers found it challenging to put work up on the stage before or after these professional choreographers?

Bufferd: My main purpose of having guest choreographers is, quite honestly, to inspire the young artists... a 'this is what I can become' kind of situation.  In my personal experiences, I have never felt more excited (or nauseous) as I did when I saw my name on a roster with the likes of Sidra Bell, Rhapsody, and Jason Parsons for the first time - it was an indescribable feeling of gratitude and accomplishment.  With that said, I have never felt in the years of having YCF that the young choreographers' works didn't stand up just as well as the guest artist's pieces... I guess that's why they were selected.

Koroni: Do you have plans to expand upon your vision for the YCF, for example, choreographer summer intensives or business workshops?

Bufferd: YCF will definitely continue to grow, and absolutely is aiming to build our educational aspects - next year is our 5 year celebration and we have some exciting things in the works for it.

Koroni: With a new group of choreographers each year there must be a whole different feel from festival to festival. What should we come to expect this year?

Bufferd: Each year is exciting because a show definitely does take on a vibe due to who is being presented.  This year's show has a really nice mix of genres being represented, and with 22 wonderful pieces being shown, it's going to be a full dance party!

Looks like the the Young Choreographer's Festival is going to be an evening of excitement not to miss. It's this Saturday, June 15th at 8pm and you can get your TICKETS by visiting:



No Sweat!

Arrest YourselfAs Commercial choreographers we often focus so much time and energy on the movement portion of the creative process that the message behind it gets put on the back burner. This can lead to a hot looking bit of choreography that impresses our eyes but may not linger in our hearts for days to come. While I am an advocate for taking time to write up an artist statement for every piece and obsess over every little detail of the costuming, there is another option that is effective and requires less time. This tip can be your creative backup plan. Enforced Arch Dance creative directors Tracey Katof and I, James Koroni, have been working on two new pieces for a New York City based music group that fuses electronic, soul, hip hop and pop sounds to make a new genre they call "Superfuture". We are so thrilled to be collaborating with them! For costuming we felt that their sound would go well with a fresh urban look. We decided to wear t-shirts with positive messages on them to complete our urban look. This is when we realized that this idea could apply to most looks.Tracey Katof and James Koroni

One of our favorite designers and friend, Leanne Mai-ly Hilgart of Vaute Couture, makes t-shirts that say "For the love of dog adopt!" By wearing her t-shirts while dancing we make the artist look hip and socially relevant. With these shirts on, our piece is now complete, "no sweat". The movement impresses the audiences' eyes, just as we had hoped, while the message is something that sticks with them after all is said and done.

Another great idea would be to see if your favorite non-profit organization is selling t-shirts with positive messages on them. They often do this to encourage supporters to buy their clothing, promote the non-profit and apply the money raised towards their cause. Could this be any more perfect!

Here are few other examples of great apparel to wear while dancing:

Autism Speaks

The Trevor Project

Sea Shepperd

Treeline Dance Works & Friends In Concert

Treeline Dance Works On April 20th,  2013, Treeline Dance Works, a modern dance performance co-op based in NYC and Phoenix, presents an evening of dance by Artistic Directors Jenny Showalter (AZ) and Lyndsey Vader (NJ) with guest artists Megan Bascom (FL), Kirstin Kapustik (PA), and Merisha Meshihovic (Sweden). Dedicated to honoring the creative voices of its multiple collaborators, Treeline Dance Works & Friends creates kinetically charged works rooted in the wellspring of memory.

The performance will begin at 8:00 PM at the Salvatore Capezio Theater at Peridance. For more information and tickets, please visit

WHO:        Treeline Dance Works Artistic Directors, Jenny Showalter and Lyndsey Vader WHAT:      Treeline Dance Works & Friends in Concert WHEN:      Saturday, April 20, 2013  at 8:00 pm WHERE:    Salvatore Capezio Theater at Peridance | 126 East 13th St. NY, NY

About Treeline Dance Works

Treeline Dance Works is a New York City and Phoenix-based modern dance performance co-op under the direction of co-founders Jenny Showalter and Lyndsey Vader. It is the mission of Treeline Dance Works to honor the creative voices and artistic input of its multiple collaborators through joint investment in movement research.

With an emphasis on an open feedback forum, this collaborative entity entangles juxtaposition in movement, intermingling the quirky with the athletic, the subtle with the explosive, and the personal with the universal. Treeline Dance Works creates kinetically charged works rooted in the wellspring of deeply intimate memories, thoughts, and encounters.

The company has been presented in over 32 venues across the United States including the Ailey Citigroup Theater, 92nd St. Y, Manhattan Movement and Arts Center, Kodak Hall at Eastman Theatre, and the Merce Cunningham Studio. In 2011, the company had its international debut at Les 7eme Rencontres UPPAdance in France. The company will return to Europe in September of 2013 to perform in Abundance Dance Festival in Sweden. Choreography by the artistic co-directors of Treeline Dance Works has been set on Perpetual Motional Modern Dance Oklahoma, INC., Grand Valley State University, University of Buffalo, Western Illinois University, and Ball State University.

M.O.V.E. For Liberia

Photo Credit: Jarrid Jones Dirraj Inc.

Today's youth are failing to fulfill their full potential as effective citizens of their communities on both a national and a global scale. In efforts to fulfill their potential as young effective citizens, members of Javanna Productions M.O.V.E. (Motivation Opportunity Vision Entertainment) will introduce their form of community service in honor of this year's M.O.V.E. For Liberia effort. M.O.V.E. For Liberia is an effort that is raising funds to empower a village in Liberia through the implementation of solar power tools. The Sun Giant Foundation is the ultimate recipient of funds raised from the M.O.V.E. For Liberia effort. Sun Giant is responsible for creating, installing and managing solar power energy tools and resources in Nehemiah, Liberia.

Spring Choreography Collaboration Project entitled REM. REM is a full length contemporary piece that questions the notions and players in civil war conflict and international aid.

DATE: March 30th, 2013 - 8PM LOCATION: Paul Taylor Dance Theater 551 Grand St: Take the F to Essex St.


CHOREOGRAPHERS: Emily Greenwell Lexi Dysart Sam Glennerster

DIRECTORS: Nicole Javanna Johnson Emily Bufferd Clare Maceda


Cynthia King Dance Studio Brooklyn, NY - Cynthia King Dance Studio's (CKDS) spring 2013 production, CYGNIFY! Is a spectacular leap forward for the school's students, and Artistic Director Cynthia King. Arriving at Brooklyn's Kumble Theater for the Performing Arts in April, CYGNIFY! is a fast-paced mélange featuring never before seen choreography performed by dancers of all ages.

Cynthia King Dance Studio

"Cynthia King Dance Studio, where they are transformed from children into dancers." - The New York Times

CYGNIFY! is an exuberant work that brings together ballerinas, breakdancers, and hoofers to a global soundtrack that includes classical Russian music, salsa, and live African drumming. CYGNIFY! audiences will experience a unique tour through scenes from Swan Lake, take an outer space excursion, and meet sneaky pink panthers and frisky flamingos.

"CYGNIFY! is colorful, creative, innovative, uplifting, and funny," says Cynthia King. "This performance includes some of the most challenging technique we've presented. It's filled with flares, helicopters, pirouettes, and grand jetés."

Friday, April 5; 7PM Saturday, April 6; 3PM, 6PM Sunday, April 7; 2PM, 5PM

Kumble Theater for the Performing Arts One University Plaza Brooklyn, NY 11201 (718) 488-1624

Tickets: $29.50

Cynthia King Dance Studio is a vital part of Brooklyn's rich dance culture. Training dancers and producing local performances for more than a decade, King is a major contributor to the local community and the driving force behind original and compelling dance works. CKDS continues to prioritize strong technical training, innovative performance, and community involvement to create a unique and personally rewarding experience for all of its dancers and their families. Learn more at

connie & jimmy - episode 2

In the second installment of “connie & jimmy”, an episodic 1940’s black & white mini-series, a couple deals with a hairy situation that’s not so black & white. Jimmy has all the best intentions but he can’t seem to avoid slipping up. Good thing Connie can keep him in check with her talent for turning classic songs on their heads in an effort to teach Jimmy an important fashion faux pas. “connie & jimmy” keeps your heart all aflutter but your feet on the ground.


Even though “connie & jimmy” are living in the 1940’s they’d be astounded at what visionary designers such as Leanne Mai-ly Hilgart of Vaute Couture and Joshua Katcher of Brave GentleMan are doing.

For more information on these and other fashion rebels visit:

Pink Slippers Mc'Thug

Scott CorrI met, dancer and choreographer, Scott Corr when we both entered our freshman year as Hofstra University dance majors. He was a b-boy, ready to take on ballet and modern with no fear, appearing at our first ballet class with pink slippers. One of my favorite Hofstra moments was when we broke the news to Scotty that guys can wear black ballet slippers. He was stunned... and it was absolutely hilarious. That night we awarded nicknames, Scott's being 'Pink Slippers Mc'Thug.' Equipped with a sense of humor and excellent work ethic, Scott is a talented dancer, choreographer, and artist. The dance community as a collective can benefit from the awareness and growth of his company, which is dedicated to creating more opportunities and support for male dancers. You can meet Scott in person at the NYC company kickoff party in April! Details to follow. In the meantime, here is my interview with him:

Tracey Katof: What is your mission?

Scott Corr: Our mission is to promote the growth of men in the dance community through the sale of apparel, products, and services.

Katof: What is your background in dance?

Corr: When I was growing up as a kid, I loved to dance. I used to watch Michael Jackson, Janet Jackson, Madonna, Usher, Sisqo, 'N Sync, and other artists; I would try to copy their moves. I had very supportive parents who wanted me to dance, but I still never took a formal class. Why? Because I felt uncomfortable, and I felt that there were not many classes I could try that were good for boys/men. Instead, I played sports. I was a runner, lacrosse player, and wrestling champion. When I got a little bit older, and let go of my ego a little bit, I started to take dance a bit more serious. As I became more mature, the stigma of being a male in the dance community bothered me less, and less. In my junior year of HS, I started training seriously as a b-boy (breakdancer, popper). I met kids from all over the island, and we would practice at various places- schools, dance studios, you name it! Through this network of people, I met my first hip hop choreographer. I started to learn hip hop choreography, and perform- I loved it. I started picking up some jazz moves (turns, jumps, etc.) from girl friends that I had, and was the first male in my school to perform in a huge Theatre Dance competition called "blue and gold"; sure, there were other men involved in making props, and things like that, but I was the first boy to DANCE! I also started choreographing hip-hop routines for talent shows, and performing salsa routines with my ex-girlfriend. This is where I really started to fall in love with dance...

Katof: Why did you start this project?

Corr: I realized that I have a keen eye for dance companies and performances that are what I call good "starter companies for men (or people outside the dance community)". In other words, I really know how to pick performances that my guy friends actually enjoy! I have even had people who once made fun of dance, ask me about upcoming performances! After recognizing this ability, I thought, "maybe I can use this ability for something positive?" started as an idea to use my ability, and create cool masculine apparel that could promote the growth of men in the dance community. This idea led to more brainstorming, and developed into an entire interactive project.

Katof: How can you help benefit the dance community?

Corr: We sell apparel, and with part of our profits, we donate to dance schools, and college dance programs throughout the country. These donations are used to create scholarships, and tuition assistance for boys/men who want to dance. The idea is to make dance as accessible as possible to these young men. Furthermore, we are able to feature them on our site! So, you go to our site, and purchase a product. That product promotes men in the dance community AND promotes the project. Even better, it helps fund tuition assistance programs! You then get to see these recipients on our site- it all goes full circle. The next person logs on, sees all of these cool recipients, and promotions; then they decide to buy a product, and the wheel keeps on spinning.

We also feature male dancers, and cool lifts on our Facebook page. Anyone who sends us photos can be featured. We want male dancers to get some exposure without having to pay a dime! I am filled with many more ideas, and we are putting them into motion. Right now, we have one product, plenty of ideas, and a dream.

Katof: What do you see in the near future for your company?

Corr: We are working with a dance studio on Long Island to do a "day of dance" led by all men. 2-3 masterclasses, and maybe one yoga class will be offered. Again, all of the teachers will be MEN. We will split profits with the dance studio, and they will create a "Real Men Lift Women" fund. This fund will provide free dance classes to any boys who want to take class at that studio until the fund runs out! We hope that parents who are on the fence about putting their boys in class will say, "Let's try it, it's free!".

Another way to break stigma is by bridging dance with other things that are considered more "masculine". We have gotten a lot of backing from athletes, coaches, and fitness instructors. Why not teach a class that is half cross-fit, and half ballet barre? Why not add a dance class into a baseball camp? Why not mix a petite allegro with push ups, and kettle ball training? Adding dance in little chunks is a great way to slowly push young boys and men into this great community. We plan on combining sports, and other methods of physical training to to show people how athletic, and masculine dance can be!

Next year, we want to have a full online store, workshops throughout the country, and many many more men saying- "Let's dance!"

For more on Scott Corr visit

To read more about contributor, Tracey Katof, click HERE.