Bitter End - Sweet Offerings

Matthew Murphy Ryan Davis "aka FOCUS Photography"

Join Dana Foglia Dance TONIGHT, January 15th 2013, 10PM at The Bitter End!

Live music, Dana Foglia Dance, and guest performances. You wont want to miss it - come and support your local NYC artists! Tickets are only $7 at the door.

The Bitter End 147 Bleecker St, New York, New York 10012-1437

ABOUT THE COMPANY

Futuristic, athletic, fearless, mesmerizing, super human dancing. All of these words have been used to describe Dana Foglia and her company. Artistic Director/Choreographer, Dana Foglia is truly the cutting edge of commercial hip hop and contemporary fusion. She and her dancers bring incredible classical technique with strength, raw street styles and sophisticated nuance. With her visionary artistic direction, Dana takes the audience to another place, allowing them to feel something almost unimaginable, transfixing them and always leaving them wanting more. From studying at the Ailey School to touring the world with Beyonce, Dana's experience as a performer has always been wonderfully diverse. Her company shares this great depth in their theatricality and artistic mentality.

Support this company by donating to their Kickstarter Page HERE!

Make You F*cking Dance!

You can catch Enforced Arch Founder, James Koroni, in Robert DeLong's new music video on MTV.com with Emma Rojas and Genna Baroni! So honored to have danced for choreographer Celia Rowlson-Hall, directors Charles Alan Whitcher and Sam Stephens. I love the makeup artist, Heidi Callaway!

"connie & jimmy"

"connie & jimmy" is romantic nostalgia. We romanticize the thought of taking a horse-carriage ride, as if it makes us feel connected to our ancestors. It's quite the opposite actually. To honor them we ought to observe the past and allow it to assist us in building a brighter future. We now know that the horse-drawn carriage industry is inhumane, dangerous to horses and people, and unnecessary. Alternatives are available. It's time to make history!

"connie & jimmy" supports New York State Senate and Assembly Bill S5013/A7748, sponsored by State Senator Tony Avella and Assembly Member Linda Rosenthal. This bill calls for a ban of horse-drawn carriages in New York City and finding good homes for all the carriage horses.

Gosh, don't get pulled in. Boycott horse-drawn carriages.

[flagallery gid=9 name="Gallery"]

New York Moves

'New York Moves' is a dance concert series presenting the work of New York choreographers in effort to raise money for victims of Hurricane Sandy.

Presenting works by: Lauren Adams Sidra Bell Dance New York BEings dance - Emily Bufferd R.E.D(Rhapsody En Dance)-Rhapsody James Calen Kurka Billy Larson Dana Foglia Dance Shelly Hutchinson David Marquez The Next Stage Project-Marijke Eliasberg, Jana Hicks Synthesis Dance Project- Tracie Stanfield Kristen Sudeikis Wes Veldink

TUES. DECEMBER 18th 2012 8:30pm at Manhattan Movement & Arts Center 248 West 60th St., New York, New York 10023 Tickets can be purchased online at Brownpapertickets.com $15 General Admission $12 Student Discount http://bpt.me/299720

100% OF PROCEEDS are going to the communities on the New York shores during their recovery and rebuild phase from this disaster.

The storm has passed but there are so many people who were suddenly left homeless, many of them sick and elderly. Shorelines destroyed and once thriving, small businesses gone. Rebuilding and clean up is going to be the most difficult part and these people need help!

Let us contribute whatever we can to let them know they’re not alone. Let’s help them get to what resembles a normal life again. A line up of beautiful dancers and big hearts. You don't want to miss this!

For anyone who cannot attend the concert and would like to donate, or CAN attend the concert and would like to help a little more, please direct donations to a local non-profit helping the Rockaway community since 2001: http://www.gofundme.com/1jt2lk

Ho, Ho, Holiday Show

Ho, Ho, Holiday Show to benefit Toys for Tots will present the works of 10 choreographers, all set to holiday music – a lighthearted, festive way to celebrate dance and do some good!

Saturday, December 8th, 2012. 7:30pm and 9:30pm The Salvatore Capezio Theater at Peridance (126 east 13th St. NYC, NY 10005) Tickets are available at the door.

Admission: The donation of a new toy for Toys for Tots and a $5 minimum suggested donation.

Choreographers presenting works: Emily Bufferd Ginger Cox Val ‘Ms Vee’ Ho Shelly Hutchinson Francesca Dario Pascal Rekoert Sue Samuels Zanza Steinberg Michael Susten Marlena Wolfe

Sponsored in part by Peridance Capezio Center and The Young Choreographer’s Festival.

Edmonton Fringe Festival Part 6

Edmonton treated us well! Our trip was filled with emotion, performance opportunities, personal growth, inspiration, friendship, sweat and even a few tears. After our first week we became familiar with the Fringe grounds. We started recognizing friendly faces whether they be volunteers or artists who were also performing in the festival. After speaking with other artists I found everyone to be extraordinarily supportive of one another. The Fringe provides each show with eight comp tickets, of which you can give away to other artists with a secret comp code. There was little secrecy where that was concerned. On a Facebook group titled Artist Board - Edmonton International Fringe Theatre Festival all the artists shared their passwords freely and we did the same. I saw approximately thirty performances while I was in Edmonton. Of which, two changed me. I'd like to share their work with you:

RECESS

Focusing on a group of 7-year-olds, Recess takes the audience into the hearts and minds of children navigating their way through the public school system. In the Bronx, we meet Sherita Johnson, the 7-year-old protagonist of the play whose tumultuous home life sets the stage for her daily battles at school. Recess shines light on the tense and unpredictable interactions of Sherita, her classmates, and her teacher Ms. White. The struggles for power, criminalization of the youth and the effects of a suffocating bureaucracy are an every day reality. We witness how children encounter difficulties beyond their making and still find ways to prevail. Not just relevant to youth, or to those who work with youth, Recess is a story about how and where inspiration can be found if we take the time to listen to the voices of those who typically do not get heard. Recess was created and performed by actress, Una Osato.

To see when RECESS is performing in your city, visit http://www.recesstheplay.com/

LITTLE ORANGE MAN

Prepare yourself for Kitt, a high-octane Danish girl, as she fires up homemade technology to extract and reenact the audience's dreams.

Haunting and hilarious. CultureVulture.

The kind of inventive, heartfelt and unique storytelling you normally only dream about.Visitoriu.

Very Entertaining. CBC. Pick-of-the-Fringe Victoria & Vancouver. Live songs, shadow puppetry.

I reached out to the woman behind Kitt, Ingrid Hansen, an actress who transforms herself and the audience in an hour. As I said before, this performances changed me. I'm honored to share an interview with her about Little Orange Man, here on Enforced Arch.

James Koroni: You tackled a gamut of creative outlets in this performance. How did you come to include each element and why was it essential to telling this story?

Ingrid Hansen: This was my first time creating a solo show.  One thing I knew from the outset was that I didn't want to be talking to myself / playing multiple characters that switch back and forth.  So, if you don't have a co-actor to interact with, and you're not talking to yourself, who do you interact with?  Our answer was: the audience, and your environment.  So we wanted everything to happen 'live in real time' with the audience as living participants in the room, and we worked with a lot of different puppetry / object manipulation elements.

Koroni: Did you have experience in all these elements i.e. singing, puppetry, etc., or did you explore new arena's along the way?

Hansen: I worked on a children's TV series for four seasons as a puppeteer, and got to train with a fantastic puppet artist, Tim Gosley.  Since creating Little Orange Man, my director & co-creator Kathleen Greenfield and I studied at the Old Trout Puppet Intensive at the Banff National Arts Centre.  I cannot WAIT to train with them again.

My main inspiration for wanting to learn the ukulele was watching Taylor Mac perform in The Beast of Taylor Mac.  He used the instrument so artfully for intimate and theatrical storytelling, and I wanted to steal that from him as best I could.  I still have a lot of learning and growing to do as a musician, even though I've been singing and playing music since I was five.

Koroni: Do you intend to perform Little Orange Man any more this season OR are you looking forward to new productions?

Hansen: YES!   Right now we're booked to perform Little Orange Man at The Great Canadian Theatre Centre in Ottawa and then Centaur Theatre in Montreal in February 2013.  We tour to the Festival of Animated Objects in Calgary in March of 2013, and then we have applications pending at a bunch of other theatre festivals.  We're looking into possibly getting a touring agent to help with bookings.  (We'd love to come to your city.  Let us know how!)

We're also in the second development phase for our show, Kitt & Jane: an Interactive Survival Guide to the Near-Post-Apocalyptic Future, co-created by Kathleen, myself, and Rod Peter Jr.  Kitt & Jane is a companion piece to Little Orange Man.  It premiered in it's first incarnation at the Belfry Theatre SPARK Festival in Victoria, and we're looking to tour it in the future as well.

Koroni: Little Orange Man has a great deal of comedy but also leaves you with a heartfelt message. What message or messages do you hope the audience will leave with?

Hansen: We always work motivated by our politics.  However, I don't like to explicitly state what audiences "should" get from a show, because I love for people to experience things on their own terms and connect to things in their own way.  I hope to offer people a space to connect with the freedom and limitless imagination we have as young people before we learn terrible self-oppressing habits in the process of 'growing up.'  I hope to make openings, to wedge a little emotional space into our increasingly isolating existence.

Koroni: Which artists are currently inspiring your work?

Hansen: Shaun Tan, Don Kenn the post-it note artist, Taylor Mac, The Old Trouts, our baby cousins, Freaks and Geeks, David Suzuki, Elizabeth May, Atomic Vaudeville, Anne Cirillo, Tasha Diamant and the Human Body Project,  Terry Gilliam, Tim Gosley, Sue Morrison and Red Bastard.

Koroni: What book are you reading?

Hansen: Leviathan (comic) by Peter Blegvad, the adventures of a faceless baby and a cat.

For more information on Ingrid Hansen please visit, snafudance.com.

Edmonton FRINGE – Part 1 Edmonton FRINGE – Part 2 Edmonton FRINGE – Part 3 Edmonton FRINGE – Part 4 Edmonton FRINGE – Part 5 Edmonton FRINGE - Part 6

8 Million Protagonists

I walked into 8 Million Protagonists not knowing what I was going to see. What I saw was my life displayed in front of me like a mosaic. True to it's title, 8 Million Protagonists didn't follow any one story but rather displayed moments that New Yorkers live every day. It truly captured the endless possibilities that make up this remarkable city.

While I appreciate all the comedy that New York inspires, I was especially moved when Iñaki Baldassarre portrayed the role of a confident transgendered woman. I can't quote her perfectly from memory, but she said that if in her last moment of life she has her surgery to become the woman she knows she is inside, then she will know that this was a good life. Who can't relate to a harbored self trying to be honest with themselves and everyone they encounter on their journey through life? For this I say that this production deserves another Off-Broadway run.

The eclectic cast of artists added so many layers of story telling and made this a very stimulating experience for the audience. Incorporating comedy, drama, dance, acting, video projections, evolving props and a narrator that occasionally joined the cast for a cameo or two. I am a New Yorker and I deeply relate to the sense of humor, dreams, sarcasm and the many commentaries on life here in the Big Apple.

What you're left with is that regardless of any hardships or discomfort this massive melting pot brings, you really can't imagine being anywhere else...

...that's the right attitude New York.

Improve Your Movement

... with the 6 essential pilates concepts: Part 2 – Concentration Concentration is the pilates principle that brings full attention to the exercise, linking mind and body.  Practicing this principle instills a sense of presence.  This self awareness and entrance into the present moment is essential for changing old habits and creating new ones.

The advanced pilates student is not the one that can do the most ab exercises, it is the student who finds the hardest work in the most simple exercises.

To practice concentration let us attempt a basic exercise.  In fact we will take it a step further.  Lay down on your back before exercising and bring the attention to your body. Sound easy?  Notice your current postural habits set in.  You may feel your shoulders roll forward, your ribs pop up and your abs release. This awareness is the first step.  Now try to bring your body into the most efficient alignment.  Feel the back of your head, shoulders, ribs and pelvis press into the floor, tighten your abs, lengthen your spine, pull your shoulders away from your ears, reach your arms long by your sides, draw your shoulder blades down your back, drop your chin to lengthen the back of your neck... the list of cues goes on and on. Now concentrate and focus your attention on these details for a full minute.

Not so easy anymore to lay down, is it? When laying down to prepare for an exercise becomes the exercise, you are finding the concentration necessary for changing habits and improving your body.

“It’s the mind itself which shapes the body.” – Joseph Pilates

Part 1 - Centering

World Premiere of "Silo" by Travis Magee

World Premiere of "Silo"A Solo Exhibition of Dance Photography by Travis Magee Opening Night Party: Friday, November 16th from 7PM-10PM Closing January 1st, 2013 Free Admission Space On White 81 White Street New York, NY 10013  (212) 227-8600

In the summer of 2012, Travis Magee was awarded a residency at DANCENOW[NYC]'s Silo facility, an 80-acre farm in Springtown, Pennsylvania where he was given unprecedented creative freedom to produce dance photography.  Over ten days, Mr. Magee brought together seventeen dancers from some of the world's most prominent dance companies, including members of the troupes of Mark Morris, Alvin Ailey, Martha Graham, Merce Cunningham, Larry Keigwin, Aszure Barton, Sean Curran and others.  It was one of the only times in history that so many dancers from such diverse backgrounds had come together for one dance photographer.

Travis Magee's photography is based on the concept of capturing real-life kinetic movement in order to elicit complex emotions.  As a result, all of Mr. Magee's photography is achieved in one choreographed shot, and he does not use Photoshop to manipulate or construct his images.

"Travis Magee's photographs are like compelling choreography. there seems always to be an implied narrative but it is up to the viewer to decipher and to decide for themselves what the hell is going on!" Sean Curran

SUBJECT, 2012

SUBJECT, 2012 from James Koroni on Vimeo.

The questions that SUBJECT asks are, "Who is a subject? To what do we subject others? Is this a subject worth considering?" In philosophy, a subject is a being that has subjective experiences, a subjective consciousness or a relationship with another entity.

In SUBJECT we reveal the intimacy of human and non-human relationships, validating them as subjects, which departs from their popular assignment as objects to be subjected to human will, whim and desire.

In SUBJECT, I perform for, with and around these rescued farm animals at the Woodstock Farm Animal Sanctuary, and they acknowledge my presence. They are viewers. As a performer I evoke emotional responses, some jovial and affectionate and others curious and reserved. They are complex sentient being and all respond as individuals.

To meet the animals visit, http://woodstocksanctuary.org/.

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, http://www.celiarowlsonhall.com/.

Food Waste Walking Tour

Kathleen Stansell, artist, activist, and avid food rescuer airs on the Sex and Politics Radio show from Brooklyn College every Friday night between 8PM & 9PM. In her weekly segment, Kathleen discusses her personal experience with dumpster diving, shares locations from which to find fresh produce that has been dumped in the trash, and contributes to the listener delicious recipes made from the rescued food. This week Kathleen will be discussing the Food Waste Walking Tour that happened last Thursday. Tune in to the live airing at http://sexandpolitics.podbean.com.

Alien Of Extraordinary Ability - Bettina May

If you missed Mover, Bettina May on The Couch this morning it is a must see. She is an inspiration to us all!

More of Bettina May HERE!

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

History Of Flamenco Dance

The music, song and dance of Flamenco is said to have originated in Andalusia, in Southern Spain. It’s influenced by traditional music of Romani, with elements traced back to northern India, and even Greek, Moorish, and Jewish cultures. Influences can still be seen in the Indian Kathak dance.

The core of Flamenco dance is based upon personal improvisation and spontaneous expression. It is renowned for its emotional intensity and proud presence; and can be easily recognized by an expressive use of the arms and rhythmic stamping of the feet.

The role of the dancer is to interpret the words of the singer. It is made up of song (cante), guitar (toque), and hand clapping/dancing (baile), and although not from traditional dance, the castanets are often widely used in the dance. It involves a rhythmic collaboration of foot tapping, stomping, intricate guitars, and hand clapping with beautiful traditional song. Singers of Flamenco are known as cantaores, and are the most important element in the juerga (informal, spontaneous gathering similar to a jam session).

In the 18^th Century the art of Flamenco dance was learnt from other performers, not in schools. But the guitarists went through rigorous professional training. Today, however, there are more Flamenco academies in Japan than Spain!

It was largely part of the Gypsy community but as this became less segregated it was possible for the community and the dance to be seen more publicly. Originally the Cante (song) was the core element of Flamenco, the guitar and dance came much later.  It first became a public performing art in the second half of the 19^th Century, when Cafés Cantantes became popular in Seville 1842, and was known as Opera Flamenca.  

From the 1850s, it became a more professional dance. Performers used wooden platforms, but soon singing overtook the dance spectacle.

Flamenco occurs in four settings, in the juerga, in convert venues, in the theatre and in small-scale cabaret. The juerga and cabaret performances are informal settings, while the concert and theatre settings are formal. A traditional concert is very different to a juerga, as there is only one singer and one guitarist.

In theatres, Flamenco has become an extended dance in its own right comparable to ballet, and professional Flamenco companies such as Maria Pagés encourage and nurture professional Flamenco dancers.

In the mid 20^th Century, Flamenco dance became popular again and was integrated into Ballets Flamencos, which were a mixture of traditional flamenco and new modern ideas. Concerts became less traditional, too, meaning that instead of just one guitarist and singer accompanying the dance, you’re more likely to find a Flamenco band consisting of three guitars, including a bass guitar, a piano, flutes or saxophones, and a cajon, a traditional wooden box drum played by hand (so without drumsticks). There are also more singers in this more modern setting, who often take turns to sing solos.

The main influencers on the evolution of Flamenco music include classical Andalusian Orchestras of the Islamic empire, Andalusian regional folk forms, Punjabi singing from India, Persian Zyriab singing, Jewish chants used in the Synagogue, African influences from slaves of New World Caribbean, as well as Central and South American colonies, Arabic Zayal, and Mozarabic forms such as Zambra and Zarchyas.

This variety of influences has also played an important role on the evolution of Flamenco dance styles, and modern influences and changes are shaping the way of Flamenco to this day.

The article was written by Move Dancewear, providers of dancewear for ballet, jazz, Flamenco and tap. Move are enthusiastic about dance, and aim to provide resources and inspiration to dancers of all dance varieties.

Ashani Mfuko Is Unstoppable

Her heart is full for the dance community which is why she is launching a new television series entitled "Inside NYC Dance."

Since the launch of her radio show “Let’s Talk Dance” in 2010, Mfuko has gained a following of more than 20,000 listeners and launched more than 60 episodes and YouTube features. Active in the online community, Mfuko’s weekly #LetsTalkDance tweetchats are often among the top trending topics on Twitter, weighing in with questions and commentary around current trends and artist needs. Listeners and followers tune in from around the world. Mfuko provides tips and tricks as well as educates the dance community in regards to marketing, branding, utilizing social media and developing media to increase exposure and online presence. The addition of “Inside NYC Dance” will further increase community engagement to dance news and reach a new audience through MNN’s subscriber base of 620,000 in the Manhattan area.

“This past year we’ve really seen the popularity of dance TV shows take off, but there’s no real representation of what’s happening in the center of the dance world, in New York City,” says Ashani Mfuko. “This TV series is a much-needed boost to the Dance Community. Not only does it provide larger community exposure to dance visionaries but will also highlight upcoming dance events to drive community interaction.”

The weekly show premiered last Friday night at 10:30 p.m. on the Manhattan Neighborhood Network (MNN) Culture Channel (Time Warner Cable 67 | RCN 85 | FiOS 36) and continues each Friday for twelve episodes.

This coming Friday we can expect features on The Young Choreographer's Festival, Exec. Director of The Ladies of Hip-Hop Festival, Michele Byrd McPhee, and Media Relations Specialist, Amber Henrie.

Where can I watch "Inside NYC Dance?"

Residents within the five boroughs of New York City can watch the show through their local cable network (Time Warner Cable 67 | RCN 85 | FiOS 36). Viewers outside of NYC can watch the show’s live stream at http://mnn.org. The show will air every Friday night at 10:30pm. For additional information and details on each upcoming episode follow the show on Facebook.com/InsideNYCDance and Twitter.com/InsideNYCDance, or visit http://insidenycdance.com.

First Steps to Weight Loss

PART TWO: Eat Salad Every Day

THE BIG PICTURE Leafy green vegetables, especially dark green ones, are the most nutrient-dense foods on the planet. That makes the act of eating a salad one of the most important things you can do to improve your overall well being and maintain a healthy amount of body fat. As long as your salads are done right (see below), eating more of them will both decrease the calories you take in and increase the nutrients you get. This means salad consumption is very helpful for both weight loss and health gain.

NUTRIENT DENSITY Healthy foods are nutrient dense, meaning they have a lot of nutrients per calorie. Micronutrients are a class of nutrients that are crucial for having a long, healthy life. They keep your body in running order, including your bones, soft tissues, eyes, and immune system. Getting lots of them also significantly reduces your risk of many diseases, including certain types of cancer. Calories are what give you energy. Since you only need so much energy per day, you’re better off getting as much nutrition as you can along with those calories. Most people eating Western diets get too many calories and not enough micronutrients. This almost always leads to too much body fat and ill health. That means most Westerners need to eat more foods that are more nutrient dense, like greens.

Salad is high in many nutrients, including fiber. Eating fibrous foods such as vegetables, beans, and fruit fills the volume of your stomach and makes you feel full and satisfied. That leaves less room for food that is less healthy. And so, one easy step you can take to reduce the amount of calories you eat while increasing the amount of nutrients you get is to eat a salad every day, preferably before a big meal like lunch or dinner. Some people even base an entire meal on salad by adding other yummy ingredients, like the ones below.

WHAT MAKES A SALAD AWESOME? Aside from green leaves, there are many more tasty and health-promoting foods you can add to your salad. Here are some:

-greens: romaine lettuce, spinach, mixed greens, arugula -other vegetables: bell peppers, onions, tomatoes, carrots, sprouts, artichoke hearts -fruits: diced grapefruit, apples, figs, berries, and any dried fruits -nuts and seeds: pumpkin seeds, hemp seeds, sunflower seeds, walnuts, almonds, flaxseed -herbs, fresh or dried: cilantro, oregano, mint -legumes: black beans, red lentils, garbanzo beans, kidney beans, sweet peas -whole grains: brown rice, quinoa, barley, millet, wild rice, corn

The more ingredients you add from the vegetables, legumes, and fruits categories, the more nutrients your salad has per calorie. And when you include fruits, herbs, and other delicious foods, the tastier your salad becomes and the less dressing you might want to add.

WHAT MAKES A SALAD BACKFIRE? Adding foods that are low in nutrients but high in calories can destroy the health status of a salad in no time. Meat, cheese, and oil are common examples. If you add these foods, they should be in small amounts (the smallest amount you can muster). Croutons made from white bread are another example of a low-nutrient food often added to salads.

Many salad dressings are based on oil, which is one of the least nutrient dense foods around. Even olive oil, which has been heavily advertised as a health food, is actually very low in nutrients aside from fat, from which it gets 100% of its calories. That means that the more oil and oil-based dressings you add to your greens, the less health-promoting the salad becomes. And the harder it will be to maintain a healthy weight or to lose weight.

HOW DO I MAKE A HEALTHY SALAD DRESSING? If you are buying a salad dressing, one of the first ingredients in the ingredient list should be some kind of vinegar or water, not oil. One trick is to just buy vinegar on its own, such as balsamic, apple cider, etc. You can also use hummus, tahini, salsa, and hot sauce as great salad toppings that can be mixed in to add a lot of flavor.

There are lots of recipes for healthy salad dressings, but here’s a simple formula you can use to create your own: Pick a vinegar, a nut butter or seed butter, an herb or spice, and a citrus fruit. Put these ingredients into a blender and add enough water to blend. Keep adding water until you have the desired consistency and flavor power. Lots of vinegar will take lots of water and other ingredients to mellow out. The more nut or seed butter you add, the more calories the salad dressing will have. Athletes needing more calories can be generous with the amount of nuts and seeds their salads--and any meal--include.

Part 1: Stop Drinking Calories!

DISCLAIMER: The author is neither a nutritionist nor registered dietician. Information contained herein was gathered from many sources and can be found in the literature of such organizations as the World Health Organization, the American Dietetics Association, the American Council on Exercise, National Institutes of Health, and others. Consult with a physician before making changes to your diet or exercise program.

For more about the Author, Sebastian Grubb visit: SebastianGrubb.com

Improve your movement

... with the 6 essential pilates concept: Part 1 - Centering Centering means beginning movement from what is referred to as the powerhouse or core. In pilates, the center of the body is located between the lowest ribs and pubic bone.  By initiating all movement from this region, the rest of the body will be able to align and move more efficiently.

Many people think the core is just the abdominals and then think of a crunch or situp. In pilates we know that the core includes the abdominal, lower back, and buttocks.  It is a misconception that in order to engage your core, you must bend the spine (like in a crunch), hold your breath & press your abdomen outward. In actuality, it is the opposite!  First of all the spine does not need to bend in order to engage your core.   The core can engage without any structural change of the body. Second, breath is essential for your muscle strength and endurance.  And Finally, a strong core is a tight and pulled in feeling.

Try it out: This can be done standing, sitting, laying down and basically in any other position. If someone is watching you, they should not see your body change positions.  I like to think of the core as I would a fist.  To make a fist I curl my fingers in, wrap my thumb around and squeeze.  I ask my clients to engage their core in a similar way.  Think of pulling the core muscles inward and like a fist, wrap the muscles around the spine. You will feel an intense 360 degree tightening of the core.  This is your powerhouse!

Part 2 - Concentration

Footloose In New York City

Did you know it’s illegal to dance in most bars, restaurants and even well established clubs in New York City? Or that, unless it’s a performance, dancing is not recognized as a form of expression protected under the First Amendment?

In 1926, while liquor was bootlegged and Jazz was shaking things up in Harlem, New York City instituted the Cabaret Law that required establishments serving food or drink to obtain a separate license before permitting any dancing or live music on their premises. This law successfully sought to police and restrict the interracial mixing happening in dance clubs uptown. Almost 100 years later, though times and racial attitudes have changed, the Cabaret Law is not only still in effect and enforced, but contemporary zoning regulations effectively make dancing with your friends absolutely illegal in large parts of the city!

New York’s restrictive dancing regulations affect not only individual dancers and communities, but businesses too, who suffer under the weight of intransigent bureaucracy, legal costs, irregular enforcement and disproportionate fines. Consequently, the number of legal venues has also been declining at an alarming rate. In the 1960s, in the Five Boroughs of New York City there were over 12,000 Cabaret Licenses. By 2008 there were only 179 and as of September 4th 2012 – just 135. (See details here)

After an attempt to repeal the Cabaret Laws on First Amendment grounds failed in 2006, the only avenue toward meaningful change now is through legislative action and we need your support! Please help us repeal the 1926 Cabaret Law and remove the following 7 words from the Zoning Code: "or establishments of any capacity with dancing." These reforms will have no effect on the applicability or enforcement of any of the numerous noise, fire, safety, alcohol and drug ordinances that keep our persons and venues safe and our neighborhoods livable. Help us free dancing by signing this petition and voting for candidates who support and advocate for it!

Social dancing should be freely available to anyone and everyone in any venue in the City of New York where it is safe to do so. No neighborhood should be zoned "No Dancing Allowed." Local communities and small businesses should be allowed to dance and flourish. (SOURCE)

PLEASE visit Change.org and sign/share the petition to repeal this archaic law HERE!

Article written by and brought to you by Ina Sotirova.

Bettina May at Nurse Bettie

I had a night out on the town with Bettina May. We met up in the Lower East Side at Nurse Bettie where she performed to Shoo-B-Doop and Cop Him by Betty Davis. She wore a pleather one piece and looked ravishing.

She then took me to a new vegetarian falafel shop around the corner where they make fresh whole wheat pita bread every hour. It was the freshest falafel sandwich I'd ever had.

A fun nite, as always, with Bettina May! Check out her performance schedule HERE.