connie & jimmy - episode 4

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

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

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

CREDITS

connie – Connie Castanzo jimmy – James Koroni

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

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 <

Heineken EUFA Champions League Game

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.

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"]

M.O.V.E. For Liberia

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. sungiantenergy.org.

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

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/.

Kathleen Stansell

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

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

Paris Journal 2011 Part 4

The Eiffel Tower Freestyle Dance (La Tour l'Eiffel danse main-levée)

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

featuring Céline Orang James Koroni Loïc "Speedylegz"

editor James Koroni camera operator Joshua Katcher

brought to you by www.enforcedarch.com special thanks to www.creadanse.net

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

Paris Journal 2011 Part 1

Walking through the streets of Paris today I noticed that many Parisians present themselves in such a way that shows self respect and confidence. I don't mean designer labels and expensive accessories. I'll call it thoughtful. I appreciate their thoughtful sensibilities because I very similarly put thought into what I wear, for example, in the image above Joshua Katcher & I are both wearing vegan biker jackets from APRIL 77. The "Mastermind" shoes on the left are from Brave Gentleman, an eco-vegan brand. I previously wore these shoes for the dance promo video Cut Color Move. Here are a few vegan meals I've enjoyed thus far:

Airplane Food: chickpea masala, white rice & broccoli, romaine salad with tomatoes & olive oil/balsamic dressing & honeydew. Bon appétit!

Dinner: grain baguette, Vitaquell Creme Olives, Vegi-Cheezly & Taifun Papillon.

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

Tracey Katof

TRACEY KATOF

Tracey Katof graduated magna cum laude from Hofstra University with a Bachelors of Dance. She also trained at Alvin Ailey Dance Theater, Dance New Amsterdam, and Ballet Academy East in New York City. Tracey has contributed choreography and performed for both stage and video productions. A few of her credits include HBO award winning comedian Rebecca Drysdale, international pop star Sasha, Calabash Records, Naganuma Dance, Avodah Dance Company, and The Society for Cultural Exchange. In collaboration with James Koroni, she a was invited to Paris to perform at La Bellevilloise. Tracey is honored to be working with a talented cast and production team as the choreographer of Lemon Meringue.

"I choose dance as my form of communication and self expression because I feel speaking through movement is the natural global language. In addition,  I hope that my body and movement can serve as a vessel for social change and awareness.  My dancing is driven by my devotion to a cause and a desire to express truth.  If I can spark an emotion or idea in an audience member that leads to a positive change, then I have accomplished my goal. In a sense, I dance to be larger than myself." -Tracey Katof