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

The “Triad”: Are You at Risk?

Dance Whenever you think about nutrition in the United States, chances are you wonder why Americans consume so much food.  When you read the government’s 2010 statistics, which shows that one in every three Americans is obese, the seriousness of the problem is quite obvious.1  Dancers are generally not affected by this problem because of the frequency and intensity of the mere act of dancing.  From a young age, dancers have studied and learned the details of form and technique - they have slowly developed a unique, personal style that helps them express their deepest feelings and emotions.  A dancer’s body curls, lengthens and spins creating an illusion, becoming art.

That artistic instrument that is your body requires certain amounts of fuel, in the form of food that will be burned while taking classes, rehearsing and performing. There is a syndrome that alters the body’s functions when the amount of calories burned is more than the ones that you eat - this syndrome is called the Female Athlete Triad and it affects dancers and other athletes who are required to maintain a slim figure.2  This syndrome is referred to as a “triad” because it has three components:  1. decreased energy, 2. abnormal menstruation and 3. weak bones. The syndrome typically starts when your body burns more calories than the ones you consume. Some dancers aren't aware of the fact that they’re not eating an adequate amount yet others do it consciously because of fear of gaining weight. You can tell this is happening to you if you are losing weight, feeling constantly tired and there is a perpetual sensation of coldness in your hands and feet.3  If this happens for a long period of time, your menstrual cycle will become irregular or it could stop for a few months. An irregular or absent menstrual cycle will subsequently affect your bone health and this can eventually lead to osteoporosis (weak bones) and fractures.

"Some dancers aren't aware of the fact that they’re not eating an adequate amount yet others do it consciously because of fear of gaining weight."

The Female Athlete Triad affects adolescents and young adults who participate in sports like long distance running, diving, gymnastics and dance.  The components of the Triad can happen independently.  You could be eating well and still have absence of your menstrual cycle for several months.  This occurs to many athletes who participate in intense training and the cause is usually that their percent body fat is bellow 22%.4  If your menstruation is abnormal, contact your health care professional because you could be at risk of developing osteoporosis and other health problems.

For those of you who struggle with body weight, blame it on the culture of thinness.5   We currently live in a society that sees beauty in people who are slim and this dramatically influences the way we think and behave.  Being slim is fine, but in order to perform well as a dancer you need to maintain healthy eating habits. If you are unhappy with the way you look and would prefer to lose weight, a nutritionist can be of immense help. They can assist you at finding a balance between nutrition and a training intensity that will work for you. They will also assist you in establishing healthy and realistic short-term goals - goals that are achievable will make you feel good about the effort you are putting in.  A nutritionist will also discuss the possibility of using positive reinforcement.  Positive reinforcement is a reward for your accomplishments.  The reward can come from yourself, your parents, friends or your teacher.   When you are rewarded for your achievements, you are more likely to repeat healthy behaviors that helped you achieve them in the first place.

"In adolescents, the basic healing time for a fractured bone is approximately two months for fractures in the arms and three months for fractures in the legs. It can take anywhere from 2 to 5 years for anyone to heal 100%.7   It is ideal to prevent these problems rather than to have to deal with them in the future."

Besides a nutritionist, there are other professionals who are available to you. Psychological counseling is sometimes recommended for dancers whose body image dissatisfaction leads to disordered eating.  During a counseling session with a psychologist you will explore the reasons behind your behavior and will find ways to modify it. Most people feel good about sharing their feelings with someone who is there to listen, be impartial and offer advice. When talking to a psychologist you could create behavioral contracts - these are small agreements that you will determine and that you will try to stick to during a certain period of time.  You create the rules depending on what you want to accomplish. This type of open one-to-one conversation can be very rewarding.

In some instances your physician will be the best person to talk to. Your physician might ask you to answer a questionnaire called the Pre-Participation Exam.6  This exam contains 12 questions that can determine if you are at risk of developing one or more of the components of the Triad.  If you and your physician determine that you are at risk, they will guide you as to what to do next.  As long as you have a desire and willingness to change, negative effects on your health can be prevented.

Hector LazodaI am a physiotherapist and, unfortunately, I meet dancers quite often when they have already suffered an injury caused by the "triad".  The most frequent injury that we see is a stress bone fracture but some dancers suffer muscle and ligament injuries as well.  The rehabilitation can be long and painful and you will not be unable to work and rehearse during that time period of healing.  In adolescents, the basic healing time for a fractured bone is approximately two months for fractures in the arms and three months for fractures in the legs. It can take anywhere from 2 to 5 years for anyone to heal 100%.7   It is ideal to prevent these problems rather than to have to deal with them in the future.  Think seriously about this information.  The first step to prevent and treat the Female Athlete Triad is by being aware of its existence, which is something you have done just by simply reading this article.  If you decide that there is a problem related to your weight and how it is affecting your dance career, talk to somebody about it.  It could be your fellow dancers, your friends or any health care provider with whom you feel comfortable speaking.

Hector Lozada, Physiotherapist, doctoral student at Boston University. Email:


1. Ogden CL, Carroll MD, Kit BK, Flegal KM. Prevalence of Obesity in the United States, 2009–2010. U.S. Department of Health and Human Services, Centers for Disease Control and Prevention, National Center for Health Statistics.  NCHS Data Brief, 82;2012.

2. Barrack MT, Ackerman KE, Gibbs JC. Update on the female athlete triad. Curr Rev Musculoskelet Med. 2013;6(2): 195–204.

3.  Signs of the Triad. Female Athlete Triad Coalition. Available at:  Accessed October 15, 2013.

4. Rintala MMustajoki P. Could mannequins menstruate? BMJ.  1992;305:1575-1576.

5. Halliwell E.  The impact of thin idealized media images on body satisfaction: Does body appreciation protect women from negative effects? Body Image. 2013;10(4):509-514.

6. De La Torre DMSnell BJ. Use of the preparticipation physical exam in screening for the female athlete triad among high school athletes.  J Sch Nurs.  2005;21(6):340-5.

7. Weerakkody Y, Schubert R. Fracture Healing. Radiopedia web site.  Available at: Accessed October 15, 2013.

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

Jasmin Singer & Tapper!

I read this inspiring article by Jasmin Singer, co-founder of, recently and had to share it with the Enforced Arch community. Check it out:


Jasmin Singer: Who would have thought that tap class would teach me about how to be a better activist? Certainly not me. And to be honest, I’m not sure that my partner Mariann had that in mind when, earlier this year, she urged me to dust off my tap shoes and revisit a hobby that had been such an important part of my life back when I was a teenager, 20 years ago. Mariann simply thought that I needed a new activity, something that would effectively get me out of head, force me into my body and into the moment, and — if for just 90 minutes a week — give me something else to think about besides animals. Rather than dusting off my old taps, I bought new ones. Vegan ones. Glittery, silver, fabulous ones that everyone asks me about. “They’re vegan,” I proudly proclaim at least once every time I’m at my tap school. Let’s just call that taptivism.


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

Riley Thomas: Looking Forward

Enforced Arch Founder, James Koroni, is portraying the role of Jack, a young and gifted autistic man, in Riley Thomas' work in progress 'Deuces Wild'. Deuces Wild is one of four new works-in-progress which makes up this exciting evening of Musical Theater! In addition to acting in this production he assisted the sweet and talented choreographer, Jennifer Knox as dance captain of Deuces Wild.

About Looking Forward:

Riley ThomasAfter a sold out award-winning run of his musical Stuck at NYMF '12, writer/composer Riley Thomas looks to the future with snapshots of four new works-in-progress, ranging from gritty black box pieces to full-scale Broadway style shows.  Come be a part of the development by voting for your favorite!

Deuces Wild: Atlantic City better watch out when a New Jersey gambler realizes his autistic cousin has a head for numbers.

Living Larkin: Delve into a lurid but eloquent mind in this gritty one-man exposé.  (R-rated.  Book & Additional Lyrics by Jon Larkin)

Wearing Black: Evan must navigate the drugs, debts and relationships he inherits when his twin brother is killed.

Blood Fountain: An ancient and evil wizard seeks to restore his lost power in this sweeping fantasy epic.

Looking Back

DATE: July 11th, 2013 - 5PM & 9PM

LOCATION: The Romulus Linney Courtyard Theatre

480 West 42nd Street, New York, NY  10036


RUNNING TIME: 1 hour 15 minutes with no intermission.

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:



Heineken EUFA Champions League Game

Heineken, James Koroni, Choreographer I had a spectacular time choreographing the halftime show for Heineken's private event for the EUFA Champions League Game last month. The entire experience was something I will never forget. I owe a great deal of thanks to my amazing team of collaborators.


First of all my assistant choreographer, Tracey Katof taught me a great deal about sorting through your thoughts. You may think you are prepared before starting a big job like this, and you may very well be, but it's always good to have someone to process your thoughts with before you step into a room with 50 people who are looking to you for direction. I need to thank her for being a tremendous support in this way.

Heineken, James Koroni, Choreographer

I also want to thank Remezcla, Momentum Drums & Broadway Dance Center. These companies put in a lot of resources to make this all possible and I encourage you, if you haven't already, to check out these great companies!


Lastly I want to thank all the dancers who made this one big weekend of fun. You were all so positive and never gave less than 100%! Thank you and I look forward to working with you all again in the future!

Here's a slide show from that day:

[flagallery gid=11 name="Gallery"]

Peace For Elephants


Peace For Elephants - A Night of Fun and Fundraising! Sunday, June 2 from 7-9 p.m. at Broadway Dance Center 322 W 45th St.  New York, NY

Featuring choreography by Brinae Ali, Cat Cogliandro, Ryan Davis, Nicholas Young and more!

Join in on the fun, as local artists present their talent to bring awareness to the endangered elephant's plight and the work of Peace For Elephants.

Attendance is FREE! Wine, raffles, snacks at 7 p.m.

Born To Love You

Clara Lofaro, James Koroni, Born To Love You NEW YORK - “What were you born to do?” asks Clara Lofaro, New York-based independent pop singer-songwriter. The answer to this is explored in her new video single, “Born to Love You,” an equal parts raw and sizzling single, exploring the fine line between pleasure and pain created by love.

See end of video for credits.

Enforced Arch creative director, James Koroni, inspired choreography for Clara's "live" performance sequence in Born To Love You. Not only did he contribute behind the scenes but he also portrayed the role of the love interest with whom Clara shares this experience.

Produced and mixed by Christian Lohr (Sting, Joss Stone, Andrea Bocelli), a multi-platinum producer and writer and co-mixed, engineered and mastered by Robert L. Smith (Lady Gaga, U2, David Bowie) in a Bavarian castle, “Born to Love You” is a testament to the enduring power of music as a universal connector to each other and, for Lofaro, to herself.

"'Born to Love You’ was inspired by music and a romantic love that I held at equal value. After the love had gone, music survived. It always will."

The “Born To Love You” video was filmed in Bushwick, Brooklyn at The Hive, a barter supported free artist space. Clara would like to extend a special thank you to Pete Carma of StreetcredMusic for bringing the people and elements together to help her vision come to life.

Clara Lofaro, Born To Love You

Don’t miss Clara’s special music video screening at her single release show at Rockwood Music Hall Stage 2 at 10:30 TONIGHT, Monday, May 13th!

Go Grey on Mother's Day!

Kathleen StansellKathleen Stansell, one of Enforced Arch's movers, dedicated to speaking out against not only cruelty to animals, but also to humans, is performing on Mother's Day! If you go to Socrates Sculpture Park on May 12th around 5pm, don't look for an energetic, bouncing, smiling young woman. Instead look for a grey-haired politician in a dark blue suit. He goes by the name of Johnny Boy Rogers and will be displaying daring acts of flight and extraordinary feats of strength on an Aerial Silks apparatus. Rest assured, you don't want to miss this. JB needs your help voting him into office as Governor of New Patriarchinsaw! Kathleen is unable to be with her mom on Mother's Day because of distance, so she will be doing what she loves in honor of her mother, Janice. For more information on the event, please visit the facebook page.

Son Of Kick

Son Of Kick EOW Enforced Arch Creative Director, James Koroni, is featured in Son Of Kick "EOW" feat: Virus Syndicate & Foreign Beggars (Official Video).

Director: Charles Whitcher Executive Producer: Persis Koch & Eric Berkowitz Producer: Dana Discordia Director of Photography: Aaron Platt Art Director: June Everett Wardrobe: Marianna Guerrero Hair & Makeup: Akiko Owada Editor/FX: Charles Whitcher Production: Humble Featured dancers: Tyrone Bevans, James Koroni & Breck Oxford

Son Of Kick EOW

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.