Did you know the Bayou Greenways 2020 project from @Houston Parks Board – Parks by You will create a continuous parks system along Houston’s major waterways? Come celebrate the progress and our city at #BayouGreenwayDay April 4! www.BayouGreenwayDay.org
The free, family-friendly event will take place on Brays Bayou in the East End and will feature fun activities like biking, kayaking, a fun run, Zumba, music and more! www.BayouGreenwayDay.org
The Framers are performing at noon, embarking from Mason Park. Meet us there!
for tickets, go here.
We hope you will join us at an exciting new community event from the Houston Parks Board: Bayou Greenway Day 2015 presented by Noble Energy! This free, day-long event will offer families the chance to walk, bike, run, stroll, play and paddle between park sites along Brays Bayou Greenway in the East End.
Event “hubs” in Mason Park, Spurlock Park, Gragg Park and Fonde Park – and the Brays Bayou Greenway trail in-between – will host fun activities for all ages. You will be able to start at any of these locations, enjoying activities and exploring the trails that connect the parks.
Activities will include 5K fun run/walk; bike rides, rentals and decorating; Zumba classes and dance performances; an interactive campsite; kayaking (for a small fee); giveaways and more!
Frame Dance will perform a work that travels along the bayou with elaborate time-lapse costumes by Ashley Horn.
Come experience the transformation happening along Houston’s bayous as part of Bayou Greenways 2020! Visit www.bayougreenwayday.org for additional information and an event map. Most activities free; April 4, 10 a.m. to 3 p.m. The Framers perform at noon starting at Mason Park.
Bayou Greenway Day 2015 is a project of the Houston Parks Board in collaboration with the Mayor’s Office of Special Events, the Houston Parks and Recreation Department, and the office of Council Member Robert Gallegos.
Charles Halka, Winner of the Frame Dance Music Composition Competition 2012
“After the birth of my beautiful daughter at the end of the summer, I started a new job teaching composition and music theory at Stephen F. Austin State University. Around that same time I was chosen as Musiqa‘s first “Composer+Intern”, a kind of composer-in-residence position through which I was commissioned to write three new works for their current season (the next one is at the CAMH on February 26!). It was a joy to finally be able to bring to life Imaginary Spaces, which debuted as METRODances, with Frame Dance Productions. The project had been in the works for quite some time, so it was really great to have it come alive and to get support from the Aaron Copland Fund for Music. Most recently, my orchestra work Impact got its U.S. premiere by the Shepherd School Symphony Orchestra, and my opera collaboration with composer-librettist (and Houston native!) Impact got its world premiere by the Mexican National Symphony in the Palacio de Bellas Artes in Mexico City in May 2014. John Grimmett and I were selected by Fort Worth Opera for its prestigious Frontiers program and showcase. Our opera, And Jill Came Tumbling After, will be workshopped and performed in Fort Worth in May.”
We are crowdsourcing the title of our May concert and we want your input. Vote here! Today is the very last day to vote.
This will be our 5th Anniversary Concert and we are very excited to celebrate with you. Let the good times roll.
8 Lessons for Dancers in Higher Education
by Sarah Wildes Arnett
1. Dance is not a terminal field, even though the MFA is. Most dancers (and performers in general) know and accept this as truth – dancers are students their entire lives. There is always a way to improve and become better as our bodies change and as the field evolves. I accepted this long before making the decision to go back to school. What I did not realize until much later was that this applies to my creative work as well. As I went into my thesis work and now, as a professional and in setting choreography on my students, I started the process of reworking old choreography. I’ve now taken what was originally a sextet and translated it into a duet (which works much better that way) that has been reworked at least five times on different dancers, each time finding out new information about the piece. The piece has evolved from a general exploration of rhythms and patterns to being about a simple relationship to death and the afterlife. I’m pretty sure it’s not perfect yet.
2. It’s ok to beat a dead horse (figuratively). Not every piece has to be a masterpiece and you don’t have to make work about something new and different every time. Some things are worth investigating again and again. Just because you tried something once doesn’t mean you are done and that you cannot do it again.
3. Age is just a number. I went to school with people from all walks of life, including those in my MFA program and the undergraduates working on their BFA and BA degrees. I truly believe that there are things to be learned from each other, no matter what the age as everyone brings in their own experiences and ideas. One of the best collaborators I ever worked with in graduate school (and best friends I’ve ever made) was an undergraduate student, Megen Burgess. We still work together and talk weekly about dancing ideas even though we live 9 hours away from each other.
4. Not every rehearsal has to be in a studio. Megen and I created an entire duet (and mind you, a very physically challenging duet) without managing to spend but maybe a total of 4 hours dancing. Sometimes you just need to have rehearsal at El Carreton. Sometimes you just have to draw a dance.
5. Write everything down. I cannot tell you the number of brilliant ideas (and I mean brilliant – I should be Trisha Brown by now) that I have forgotten because I didn’t write them down. Continue reading
by Amanda Diorio
I would make friends
I thought when I went back to school to get my MFA that I would be entering an uptight academic environment. I was so preoccupied with the idea of school and relocating my life that I forgot I would be entering a community of like-minded peers. In undergrad, even among dance majors, I was considered the “dance nerd,” In grad school I was surrounded by not only dancers but specifically “dance nerds,” people who wanted to explore, dissect and reveal as much about the art as I did. This community turned out to be a vital support group throughout the process of completing my degree. Having others to bitch to, socialize, laugh, and share my fledgling art with became essential for my survival during this stressful time. These bonds were not only a lifeline during the process but created many long lasting friendships and an excellent network that stands strong long after graduation.
The teacher/student relationship has evolved
When you enter a graduate program you have already passed a test in the eyes of the faculty. You have already completed one major academic step and have decided to continue onto another. There are fewer grad students for them to keep track of and you yourself are probably a much better student. For me this reduced a lot of the intimidationI felt with my undergraduate professors. Continue reading