Getting to Know Felipe Galganni

by Nicole Harris
Earlier this summer I spent some time in New York City working on Tap It Out with the amazing Lynn Schwab and the folks from the American Tap Dance Foundation.  While there I had the opportunity to get to know an brilliant young tap dancer and a all around fabulous guy, Felipe Galganni.  Since moving to New York from Brazil three years ago Felipe has been busy teaching, choreographing and performing all over the city.  While in town I got to see the premiere of his piece "Reverie in Rio", performed by Felipe himself alongside Lynn Schwab and Chikako Iwahori and singer Jackeline Ribas.  Here is a little conversation with Felipe about his work, moving to the United States and dancing in a foreign language!  Also, Felipe celebrated a birthday last week, so make sure you send your love!

 NH:  Who are your favorite choreographers (tap & otherwise)?
FG:  Chikako Iwahori, Brenda Bufalino, Max Pollak, Lynn Schwab, Michelle Dorrance. I love Bob Fosse.

NH:  I know that meeting Heather Cornell had a big influence on your life.  What is it about her work/dancing that speaks to you?
FG:  I met Heather in January of 2010. I am from São Paulo (BRA), and she was teaching a workshop in Rio, so I flew to take that.  São Paulo is not the most tap dancing city in Brazil so every time someone came to the area I tried to go.

When I met Heather I instantly felt in love. Her kindness, humbleness and the way she talked about tap dance and music inspired me so much that I decided I wanted to take her summer intensive, here in NY.  I think it's a Master thing, this power of inspiring people! Two months before I come I decided to sell my car and move to USA. Here I am since then.

NH:  I know you grew up studying other forms of dance besides tap.  Do you still take any of those classes?  Do you feel like having studied jazz etc. has had an effect on your tap dancing?

FG:  I grew up dancing samba like most Brazilians. And academically taking jazz, later tap, ballet and contemporary. I was never a strong ballet dancer but I feel it was very important to develop some basics,  like turns and balance. And even to "awake" the upper body as a tapper.

 
NH:  You recently told me a wonderful story about your first pair of tap shoes and your subsequent first tap class.  Can you share that story here?
FG:  Sure! When I was 14 years old I got some money from my family as a birthday gift. So I decided it was finally my chance to buy a pair of tap shoes. I was always putting them on to "practice" and even to do performances at school. Without having ever taken class at that point.  

So when I was 15, I finally find a school that I could go by myself and take a tap class. I remember it was not very affordable for my family, but they know I really wanted to do that. So they supported me.  When I got in class the teacher came to me and asked: "have you ever tap danced before?" and I said , very confidently "YES!"..."oh, so please show me your favorite step"... And I started my very unique style of tap. Later on she told me that it was the most funny experience she have ever had.  Her name is Valeria Petroni, and she was an amazing instructor for those first tap years. I am very thankful of all I learned from her.

 NH:  Can you tell me about the tap community in Brazil compared to New York?
FG:  As I mentioned before, I am from São Paulo and the tap dancing scene is pretty small in there. I was always traveling to another cities, or bringing people to teach me and my tap friends.  New York tap community is big!  Just so you have and idea, in Brazil I had situations that I had to explain to people what tap dance is.  The community is growing though. Go Brazil !!!
 

NH:  It has now been three years since you moved from Brazil and in talking to you you would think you'd been speaking English for much of your life.  Can you tell me about teaching in the early years in New York when your English was much shakier?  What sort of tools did you use to communicate in moments where language failed you?
FG:  I remember the fist class I taught here in US. It was for Lynn Schwab at Steps. It's hard when you have to communicate in a foreign language to native people, and explain stuff that you're so use to in your first language. It was a little frustrating, but I had to work on that, not been afraid to say the words wrong, and also asking the students in the class and learning from them.
 
But honestly my English still pretty shaky, and sometimes language does failed on me. Like in today's class the only way I found to tell my students what I wanted to express was "imagine you're wearing a baby diaper" and then later on I said "put your diapers on"... and of course by the end of the class I reinforced: "Don't forget your diaper for next week". LOL. It's fun!

The Inside Scoop -- Subluxation -- Part 3

MEETING COURTNEY WAGNER
by Nicole Harris

I first met Courtney at the Cambridge Multicultural Arts Center's Boomtown Festival this past summer.  At her first Monkeyhouse rehearsal she was shouted at by inmates but did she flee?  No!  She and her giant cup hat continued dancing and has since joined us for performances at Dance in the Fells, Movement at the Mills and First Night.  Courtney was an incredibly supportive voice in convincing me to apply to the Green Street Studios Emerging Artists Program and I am THRILLED to have her dancing in Subluxation!

NH:  What was your first professional performance?

CW:  My first professional performance was "A Holiday for Hope," performed at the Bushnell Performing Arts Center in Hartford CT.  The performance was a Christmas benefit show for the "We Are The Children Foundation", a local charity which sought to provide Christmas presents and cheer for under-privledged Hartford area kids and their families.  My dance studio was chosen to perform as the ensemble which meant we got to both sing and dance.  The first year (2002) I wasn't actually old enough to perform, but I acted as assistant to the choreographer, and I was a paid dancer my junior year (2003).  It was a very unique experience to get to work with professional Equity actors and choreographers from New York as well as perform in front of a large audience in a well known venue.  While we were there, we also got to meet the cast members of "STOMP!" who were performing on the mainstage. 

NH:  What is your favorite performance experience?

CW:  It's hard to pick a favorite performing experience!  Each one and every group I've performed with has its own memories.  My favorite Monkeyhouse performance experience is First Night Boston thus far.  I also have fond memories from my annual dance shows at home, especially as I got older.  The year that stands out the most is my junior year, the show was "Hook." I was Smee, and my good friend, Josh Feder, played Hook.  We always had so much fun at rehearsals during that year and I loved the dances and the script and improvising we did for that show.

NH:  How do you think your dancing helps/changes/adds to your medical profession?
CW:  Blending dance with medicine and science has always seemed natural to me, and combining the two has helped me grow and become better in both.  In school, I could apply or reinforce things I learned in the classroom (anatomy, kinesiology, physics) to my dancing, or vice versa.  Cardiology may not be as applicable to dancing, but I think having something else I am so engaged in helps me interact better with my patients.  One of the doctors once told me I was unique for being actively involved in something so opposite of medicine (strict/logical left sided brain vs. creative right side) and better off for it.  I think it keeps me well rounded.

NH:  Who are some of your favorite choreographers?

CW:  Some of my favorites include (in no particular order) Mia Michaels, Wade Robson, Melissa Jean Feder, DeAnna Pellecchia and Bob Fosse.

** This post was re-posted from http://GSSEmergingArtists.blogspot.com **

Getting to Know Derick Grant--Part 1

by Nicole Harris

Somewhere around 2004 I took students of mine from Impulse Dance Center to a Manhattan Dance Project workshop where I met tap teacher Derick K. Grant.  I was instantly enamored with his laid back yet individualized teaching style and when I found out he taught regularly in New York City I promised to begin showing up at places he was.  A few months later I walked into his class at Steps on Broadway in New York City while I was in town visiting my sister and knew just who I was.  "You're that girl from Boston.  You said you were going to being stalking me and here you are!"  Since then I have been lucky enough to study fairly extensively with Derick and I consider him to be one of the biggest influences on my tap dancing today.  Last year he and I sat down to talk about his career, his choreography and his view on life.

NH: What was the first thing you ever choreographed?

DG: Lord have mercy, the first thing?  Well, let’s say the first official thing was a solo. It was called “Drums.” I was a rookie in the Jazz Tap Ensemble and I was challenged to choreograph a piece. I got to work with Jerry Kalaf, who was the musical director. It was the first time where I worked with live music, and had to like come up with arrangement, and make a dance. That was pretty cool. I was probably about 19. 

NH:  What are your biggest challenges as a choreographer?

DG:  For me being entertaining. I found that most of the tap choreography was very green. My main problem was getting people to dance while they tap, ‘cause most choreography that is used in shows is used with the purpose of telling a story. And most choreography that is used in tap dance are musical compositions. So finding a balance where you can use the body as a narrative, as an actor, but then use the sounds coming from those same movements, as a musical composition, is hardcore. 

NH:  Who are some of your favorite choreographers?
DG:  I’m going to have to say Jerome Robbins or Bob Fosse.  I started to study ballets because I realized that ballets were bodies of work that represented choreographers, and those pieces would live long after the choreographers died. And that in terms of being a choreographer, that’s kind of like the point, that’s like the painter making the painting. You want to have a piece that can live beyond you. You know? So then I started checking out the ballets, seeing what they had in common, and then what made them different from each other in terms of style and storytelling. And I had some success, I mean it was a rocky road because I don’t know a ton about ballet, so I probably missed a lot of the subtleties; they all kind of looked the same to me after awhile. I mean I know what’s a pretty turn, what’s a pretty leap, but that’s about the extent of it.  With Fosse and Jerome, you can see it in the body, like that’s a tap dancer there.  It was easy for me to respond and to understand that.

Special Thanks to Melissa Dollman for her assistance in getting this interview transcribed.  We love you!

Getting to Know Tony Waag-- Part II

by Nicole Harris

As Tony Waag's TAP CITY Festival kicks off today, I wanted to take a moment to share with you another part of my interview with Tony from this winter.  Keep an eye out this week for more information about Tony, TAP CITY and Friday's performance (which I'll be dancing in!)

NH:  Who are some of your favorite choreographers?
TW:  Brenda Bufalino, Jerome Robbins, Bob Fosse, I love Fred Astaire's stuff with Hermes Pan.  I have a really hard time with the word favorite because I really do like variety.  I could say anything from Busby Berkeley to Balanchine.

NH:  Are you doing any performing right now?
TW:  No, not really.  Every once in a while.  I felt bad about that for a while but then I realized that I'm just taking a break.  I didn't feel like performing for a while, so now when I do I totally love it.  I don't NEED to perform, although I might feel the need to perform again.  Eventually there's a conflict.  There just isn't time.  You can't do everything.

NH:  What about choreography?
TW:  No, I would say I'm kind of revisiting choreography.  I have concepts that are going around it my head but I don't get into the studio much.  I have a piece in Thank You, Gregory.  I had never put a solo of my own on anyone else before.  We made it into a duet and I got a kick out of it, seeing my choreography on these two guys.  I changed it a little bit, but it was really just dipping back into it.  You know, you're never really done with a piece.  I'm never satisfied.

NH:  I hear you've been teaching an Absolute Beginner class?
TW:  I just started teaching again and I'm having a ball because it's just so...  I'm fascinated with it, really.  I feel like I'm looking at it completely different than I have before.  You look at these people and think, why can't they figure this out?  And then you think, well maybe if I try this...  After just three or four classes someone that you thought was hopeless has improved by 50%.

Getting to Know Jeff Shade

Jeff Shade is a staple in the Steps on Broadway faculty. His tap and theatre dance classes are filled with his high energy and positive attitude. Jeff's dedication to the dance and his classes has generated quite a student following of all ages, styles and levels. His resume is filled not just with teaching but performing and choreographing across the country. Gaby Mervis, who spent the summer in New York City on an internship took his class and fell in love. She was once again kind enough to chat with Jeff about his work and to share some of her conversation.

GM: How and/or why did you start choreographing?
JS: CHOREOGRAPHY was always part of my family! I am the youngest of six - - and I have four older sisters, who are all dance teachers. It just seemed like we were always "making up dances." I started choreographing professionally, as I started to perform less - - and when opportunities came up - - I happily said YES!!!

GM: Do you prefer performing or choreographing?
JS: When I was younger - - I loved performing much better -- for sure. Now - - I love having "something to say" - - and creating dance to say it!

GM: What was it like working with Bob Fosse?
JS: Working with Bob Fosse was a DREAM COME TRUE! As a youngster growing up in Pittsburgh - - I was fascinated by the sound of this name, his movies, and any touring company that came through the city. His work resonated with me - - and I appreciated his attention to detail and theatricality. Mr. Fosse was a father figure to me - - for sure. His approval was important - - and his support of my love of the dance remains with me today.

GM: Do you prefer to choreograph tap pieces or theater pieces and why?
JS: I love choreographing the wide-spectrum of dance pieces. Sometimes, a story or feeling is best told with the percussive sounds of tap shoes - - and other times - - well - - it's bare feet for a concert/contemporary feel or jazz or character shoes for a more traditional jazz or musical theater dance feel!

GM: When is your birthday?
JS: My birthday is June 29th! The best gift I ever received..............THE DANCE!

GM: Where did you grow up?
JS: Pittsburgh, PA - - in the inner city!

GM: Besides working with Fosse, what was your early training like?
JS: I was lucky that my four older sisters were dance teachers - - by the time I was born. They taught me all I know about tap dancing - - and certainly instilled the LOVE OF THE DANCE!!!!! I learned to twirl the baton and to acrobatics, too! Please check out "twirling me" at www.jeffshadedance.com. You will have a good smile!!!!

GM: What were the pros and cons of going to college for dance?
JS: I think there are many ways to explore the art of dance. I think each person needs to evaluate his/her interests and where he/she will blossom best - - in the dance. Of course - - many people have interests that go beyond dance. I, for one -- LOVE SCHOOL - - and never majored in dance. I have a BS in business from Duquesne University, an MBA is marketing from Columbia University, and an MA in dance therapy from Lesley University! School is cool!

GM: How has your tap background influenced your theater dance and vice versa?
JS: Tap certainly has given me a rhythmic appreciation for music. Theater dance has given me a great appreciation for dance-based story telling. Combine them - - and LIFE IS GOOD!

GM: How do you record your choreography?
JS: If there is time - - I video the choreography. With some productions - - I am only permitted to video tape a rehearsal - - with no music - - and only counts. Those are the rules of several unions.

GM: In general, do you show your work to people while you are developing it?
JS: It is impossible not to show work "in progress" when working with a director, musical arranger, and producers. It is part of the collaborative process. When it comes to concert or "all dance" work -- some times I do - - and some times I don't. When I do - - it's usually to give the dancers the feeling of performance – that "Oh - - someone will be watching this!"

GM: Can you tell us about "Cagney?"
JS: CAGNEY is a new musical based on the life of James Cagney! It was conceived by Bobby Creighton -- who is currently in THE LITTLE MERMAID on Broadway! I had a great time working with director, Bill Castellino, to create the many dances for CAGNEY! The styles of the dances ranged from vaudeville-esque type dances to full out hoofin tap dances! I think the show is great! It is a wonderful story of a son of an immigrant family making good in tough times -- and there are three scoops of red, white, and blue!!!! YANKEE DOODLE!

GM: Of all the projects you have worked on, which was the most enjoyable for you?
JS: The show that I wrote, directed, and choreographed, called PLAYGROUND: THE ADVENTURES OF A RESTLESS SPIRIT is certainly the most valued. The process was rich, and the product is one that is provocative - - taking people on the journey of a person on the verge of ending his life - - but presented with "options" for making life rich and creative.

GM: What classes do you teach at Steps on Broadway?
JS: I love teaching - - or as I call it, SHARING THE DANCE! I teach theater dance at beginner, intermediate and advanced levels - - and I teach all levels of tap (mostly Broadway styles).

GM: Do you prefer choreographing short exercises for your students in class or full-length dances for the stage?
JS: Both! I think the "practice" of choreographing short combinations in class helps hone my creativity muscle for creating a full-length piece. Teaching also helps me to be a better communicator! I love SHARING THE DANCE!

GM: What exactly does a dance therapist do?
JS: DANCE THERAPY uses dance and other art forms to foster the process of psychotherapy. Allowing the embodying of a process is the final frontier in growing towards full personal fruition. Dance therapy has influenced my teaching style and my choreographic approach greatly!

GM: How do you think dance builds self-esteem?
JS: If dance is delivered in a loving and accepting environment -- one that reflects back to the dancer a sense of I AM HAPPY YOU ARE HERE, YOUR SPIRIT IS BEAUTIFUL, AND YOU ARE A UNIQUE ENTITY IN THIS WORLD - - that will build self-esteem - - how a person feels about him or herself in general. BEING A GOOD DANCER or SUCCESSFUL may be useful in building self-confidence in the "category" called dance or profession! SELF-ESTEEM is the much richer sense of a healthy I AM.

GM: What was your most memorable moment as a dance therapist?
JS: Oh! There are so many, and it has been a humbling privilege to be a collaborator with people in the mix of making their lives better. ...and, if not a collaborator, a true honor to witness someone grow through what are often very rough times.

GM: Can you tell us about "House of the Roses"?
JS: "House of the Roses" is very cool volunteer dance company that does outreach to VERY ENERGETIC YOUTH! Sometimes the youth are part of a community center, or in homeless shelter, or have a mom or dad in prison. Dance volunteers go ON LOCATION to some really life affirming dance and drumming with these amazing young people! The goals are to build self-esteem and self-confidence, foster a sense of community, and give opportunity for positive labels (I am a dancer, I am creative, I am a performer, I am a team player, I AM HERE!). "House of the Roses" is inspired by the simplicity of Saint Therses the Little Flower -- who invites us all to "do the ordinary with extraordinary love." That is quite an invitation! YES! I started the program several years ago -- but left when I went home to Pittsburgh to be the primary caregiver for my mother. The organization goes on today - - and the WORK continues to be done!

GM: Who are some of your favorite choreographers?
JS: Mmmmmmmmmm Bob Fosse, Michael Bennett, Jerome Robbins, and Ohad Naharin.

Getting to Know Jonathan Lee

Often referred to as "Sunday Funday" by the staff, Sundays at Steps on Broadway are a little less busy and a lot more laid back than weekdays. One of the highlights of the day is Jonathan Lee's 2:00 Beginning Hip-Hop Class which is always overflowing with dancers and non-dancers alike, fun and cutting edge choreography and a contagious energy.
Danielle Thibault, a student and hip-hop instructor at Impulse Dance Center in Natick, MA agreed to talk to Jonathan about his career as a performer, choreographer and teacher.

DT: What attracts you to hip hop more than styles such as ballet or modern?
JL: What attracts me to hip hop is the music. I love all different styles of dance but hip hop gives me the freedom to express myself more freely.

DT: Out of all the things you've done, such as working with famous performers, being in commercials, theater productions, taking class, and teaching -- which is your favorite and why?
JL: I love performing out of all the things that I do, whether it be in front of the camera or on stage. It's like breathing I can't live without it!!

DT: What was it like to work with people such as Britney Spears and Madonna? JL: I enjoyed working with Britney and Madonna. I was so blessed to work with such huge pop stars.

DT: Who has been your biggest inspiration in life and why?
JL: My biggest inspiration is my faith in God. Through good and bad, He has always kept me grounded.

DT: When did you start dancing?
JL: I started dancing when I was able to walk but I started taking class when I was 8 years old. =-D

DT: When teaching a class, what is your goal for the students entering?
JL: When I teach, I want my students to have a good time. Even though they may not get every step the first time I want them to feel and know that they eventually will.

DT: Have you always known that you wanted to dance? If so, did you always see yourself doing hip hop?
JL: I didn't know that I always wanted to dance but I knew I always wanted to entertain. I enjoyed being the ham. Hip hop and dance in general has really catapulted that into a reality.

DT: How did taking other styles of dance influence your choreography in your hip hop classes?
JL: I feel other dance styles have made me a better and stronger dancer, choreographer, and teacher. Nowadays, there is so much fusion going on that you have to well versed in all disciplines.

DT: What do you find the hardest part of teaching? And what is the best part?
JL: The hardest part of teaching is being patient with myself and my students. I tell my students if they are patient with themselves I am patient with them as well. The best part is being able to share my craft with people and hoping that after taking class they walk away feeling inspired and better about themselves.

DT: Did you go to college for dance?
JL: I did not go to college for dance but I did go to school for music.

DT: Who are some of your favorite choreographers?
JL: One choreographer that I have to give it up to is Mr.Wiggles, who is one of my mentors. I like Tabitha and Napoleon, Alvin Ailey, Bob Fosse, and Jerome Robbins. There are so many. People have so much to offer.