A Thought-Leader In Family & Children’s Dance Classes | Houston, TX
Frame Dance is a thought leader in dance education, inspiring the next generation of movers, makers, and world changers by offering dance classes for adults & children, multi-generational ensembles, professional performances, networking events, and film festivals. We are nestled between West U and the Museum District.
We believe in developing the whole dancer, teaching critical life skills such as creative thinking, leadership, collaboration, and resilience through our artful and playful dance curriculum at our studio and in partner schools.
Our adult modern dance classes are designed to offer you the joy and magic that’s possible when you create space in your life to move, to grow, and to share in the creative process with a like-hearted community.
For more than ten years, Frame Dance has brought radically inclusive and deeply personal contemporary dance to Houston. Led by Founder and Creative Director Lydia Hance, whom Dance Magazine calls “the city’s reigning guru of dance in public places,” the professional company is made up of six acclaimed co-creators committed to collaboration. Frame Dance has created over 50 unique site-specific performances and nine dances for the camera screened in festivals all over the United States and Europe. With an unrelenting drive to make dance in relationship to environment, Frame Dance has created dance works for and with METRO, Houston Museum of Natural Sciences, Houston Parks Board, Plant It Forward Farms, CORE Dance, Rice University, Houston Ballet, 14 Pews, Aurora Picture Show, and the Contemporary Arts Museum. Frame Dance’s productions were described by Arts + Culture Texas Editor-in-Chief Nancy Wozny as “some of the most compelling and entertaining work in Houston.” Creative Director Lydia Hance is a champion of living composers and is dedicated to work exclusively with new music.
The 1940’s were dominated by World War II and pulled the US out of the Great Depression. Women were needed in factories, agencies, companies and even baseball teams and the military to replace men who had gone off to war. Food, metals and various materials were rationed to help the Allies win against the Axis Powers that threatened the world. However, swingin’ new music from Glenn Miller, The Andrew Sisters, Artie Shaw, Count Basie and many others provided fast and up-beat songs for the latest dance crazes of the decade.
Glen Miller …. In The Mood (A tribute to the 1940’s)!
You get more negative reactions than positive reactions as you go through life, and the big lesson is nobody counts you out but yourself…I never have, I never will.
Buddy Ebsen began his career as a dancer in the late 1920s in a Broadway chorus. He later formed a vaudeville act with his sister Vilma Ebsen, which also appeared on Broadway. In 1935 he and his sister went to Hollywood, where they were signed for the first of MGM’s Eleanor Powell movies, Broadway Melody of 1936 (1935). While Vilma retired from stage and screen shortly after this, Buddy starred in two further MGM movies with Powell. Two of his dancing partners were Frances Langford in Born to Dance (1936) and Judy Garland in Broadway Melody of 1938 (1937). They were a little bit taller than Shirley Temple, with whom he danced in Captain January (1936). MGM studio chief Louis B. Mayer offered him an exclusive contract in 1938, but Ebsen turned it down. In spite of Mayer’s warning that he would never get a job in Hollywood again, he was offered the role of the scarecrow in The Wizard of Oz (1939). Ebsen agreed to change roles with Ray Bolger, who was cast as the Tin Man. Ebsen subsequently became ill from the aluminum make-up, however, and was replaced by Jack Haley. He returned to the stage, making only a few pictures before he got a role in the Disney production of Davy Crockett: King of the Wild Frontier (1955). After this, he became a straight actor, and later won more fame in his own hit series, The Beverly Hillbillies (1962) and Barnaby Jones (1973).
BROADWAY MELODY OF 1936 (Buddy & his sister Vilma)
Buddy Ebsen dancing 1978
Donald O’Connor and Buddy Ebsen (a RARE clip)
Fun Facts about Mr. Buddy Ebson
Got the nickname ‘Buddy’ from his aunt, so Christian changed his name to Buddy Ebsen.
Was a Boy Scout.
In the 1930s, Disney animators filmed him dancing in front of a grid to “choreograph”Wayne Allwine’s dance steps for the Silly Symphony cartoons.
Originally cast as the Tin Man in The Wizard of Oz (1939), Buddy was hospitalized as a result of inhaling aluminum powder used as part of his make-up. One chorus of “We’re Off to See the Wizard” in the movie and soundtrack album retain Ebsen’s original vocals as the Tin Man, recorded before he was forced to leave the production. Because of the prolonged hospitalization, he was replaced by Jack Haley (whose reformulated make-up used pre-mixed aluminium dust), and Ebsen’s scenes were re-shot using Haley. Footage of Ebsen as the Tin Man still exists, and was included as an extra with the U.S. 50th anniversary video release of The Wizard of Oz (1939).
After seeing Ebsen in Breakfast at Tiffany’s (1961), the creator of The Beverly Hillbillies (1962) wanted him to play family patriarch Jed Clampett. At the time, Ebsen was thinking of retiring, but the producers sent him a copy of the script, and he changed his mind.
Began his television series The Beverly Hillbillies (1962) at age 54.
Taught Judy Garland the shim-sham shimmy while they were at MGM.
Was a longtime friend of Dick Van Dyke, who hosted his memorial service on 30 August 2003.
He served in the Coast Guard during World War II as the executive officer on the Pocatello, a submarine chaser in the North Pacific.
Became a bestselling author at age 93.
Buddy Ebsen died on July 6, 2003. Just 3 weeks after his death, his longtime best friend, comedian Bob Hope, passed away.
Buddy Ebsen died just three months before his death, he celebrated his 95th birthday, on April 2.
Once a song and dance man, always a song and dance man. Those few words tell as much about me professionally as there is to tell.
James Francis Cagney, Jr. (July 17, 1899 – March 30, 1986) was an American actor and dancer, both on stage and in film, though it is film where he has had his greatest impact. Known for his consistently energetic performances, distinctive vocal stylings and deadpan comic timing he won acclaim and major awards for a wide variety of performances. He is best remembered for playing multi-faceted tough guys in movies like The Public Enemy and Angels With Dirty Faces and was even typecast or limited by this view earlier in his career. In 1999, the American Film Institute ranked him eighth among its 50 Greatest American Screen Legends. No less a student of drama than Orson Welles said of Cagney that he was “maybe the greatest actor to ever appear in front of a camera.”
Cagney was born on the Lower East Side of Manhattan in New York City. His biographers disagree as to the actual location: either on the corner of Avenue D and 8th Street or in a top floor apartment at 391 East Eighth. His father, James Francis Cagney, Sr., was of Irish descent. By the time of his son’s birth, he was a bartender and amateur boxer, though on Cagney’s birth certificate, he is listed as a telegraphist. His mother was Carolyn (née Nelson); her father was a Norwegian ship captain while her mother was Irish. Cagney was the second of seven children, two of whom died within months of birth; he himself was very sick as a young child, so much so that his mother feared he would die before he could be baptized. He later attributed his sickness to the poverty in which they grew up. The family moved twice while he was still young, first to East 79th Street, and then to East 96th Street.
The red-haired, blue-eyed Cagney graduated from Stuyvesant High School in New York City in 1918, and attended Columbia College of Columbia University where he intended to major in art. He also took German and joined the Student Army Training Corps, but dropped out after one semester, returning home upon the death of his father during the 1918 flu pandemic.
He held a variety of jobs early in his life, giving all his earnings to his family: junior architect, copy boy for the New York Sun, book custodian at the New York Public Library, bellhop, draughtsman, and night doorman. It was while Cagney was working for the New York Public Library that he met Florence James, who would help him on his way to an acting career. Cagney believed in hard work, later stating, “It was good for me. I feel sorry for the kid who has too cushy a time of it. Suddenly he has to come face-to-face with the realities of life without any mama or papa to do his thinking for him.”
He started tap dancing as a boy (a skill that would eventually contribute to his Academy Award) and was nicknamed “Cellar-Door Cagney” after his habit of dancing on slanted cellar doors.
He was a good street fighter, defending his older brother Harry, a medical student, against all comers when necessary. He engaged in amateur boxing, and was a runner-up for the New York State lightweight title. His coaches encouraged him to turn professional, but his mother would not allow it. He also played semi-professional baseball for a local team, and entertained dreams of playing in the Major Leagues.
His introduction to films was unusual; when visiting an aunt in Brooklyn who lived opposite Vitagraph Studios, Cagney would climb over the fence to watch the filming of John Bunny movies. He became involved in amateur dramatics, starting as a scenery boy for a Chinese pantomime at Lenox Hill Neighborhood House, one of the first settlement houses in the nation, where his brother Harry performed and his soon-to-be friend, Florence James, directed. He was initially content working behind the scenes and had no interest in performing. One night, however, Harry became ill, and although Cagney was not an understudy, his photographic memory of rehearsals enabled him to stand in for his brother without making a single mistake. Therefore, Florence James has the unique distinction of being the first director to put him on a stage. Afterward, he joined a number of companies as a performer in a variety of roles.
In his first professional acting performance, Cagney danced costumed as a woman in the chorus line of the 1919 revue Every Sailor. He spent several years in vaudeville as a hoofer and comedian, until he got his first major acting part in 1925. He secured several other roles, receiving good notices, before landing the lead in the 1929 play Penny Arcade. After rave reviews, Warner Bros. signed him for an initial $500-a-week, three-week contract to reprise his role; this was quickly extended to a seven-year contract.
Cagney’s seventh film, The Public Enemy, became one of the most influential gangster movies of the period. Notable for a famous scene that makes dramatic use of a grapefruit, the film thrust Cagney into the spotlight, making him one of Hollywood’s biggest stars as well as one of Warner Brothers’ biggest contracts. In 1938, he received his first Academy Award for Best Actor nomination, for Angels with Dirty Faces for his subtle portrayal of the tough guy/man-child Rocky Sullivan. In 1942 Cagney was awarded the Oscar for his energetic portrayal of George M. Cohan in Yankee Doodle Dandy. He was nominated a third time in 1955 for Love Me or Leave Me. Cagney retired from acting and dancing in 1961, deciding to spend time on his farm with his family. He exited retirement, twenty years later, for a part in the 1981 movie Ragtime, mainly to aid his recovery from a stroke.
Cagney walked out on Warners several times over the course of his career, each time returning upon much improved personal and artistic terms. In 1935, he sued Warners for breach of contract and won; this marked one of the first times an actor had beaten a studio over a contract issue. He worked for an independent film company for a year while the suit was being settled, and also established his own production company, Cagney Productions, in 1942, before returning to Warners again four years later. Jack Warner called him “The Professional Againster”, in reference to Cagney’s refusal to be pushed around. Cagney also made numerous morale-boosting troop tours before and during World War II, and was president of the Screen Actors Guild for two years.
James Cagney shows us how to dance down stairs
Great Dance Routine: James Cagney and Bob Hope
Yankee Doodle Dandy
Fun Facts about Mr. Jimmy Cagney:
Famous for his gangster roles he played in the 1930s and 1940s (which made his only Oscar win as the musical composer/dancer/actor George M.Cohan most ironic).
Cagney’s first job as an entertainer was as a female dancer in a chorus line.
(1942-1944) President of Screen Actors Guild (SAG)
Pictured on a 33¢ USA commemorative postage stamp in the Legends of Hollywood series, issued 22 July 1999.
Was best friends with actors Pat O’Brien and Frank McHugh.
Earned a Black Belt in Judo.
He was voted the 14th Greatest Movie Star of all time by Entertainment Weekly.
Extraordinarily (for Hollywood), he never cheated on his wife Frances, resulting in a marriage that lasted 64 years (ending with his death). The closest he came was nearly giving into a seduction attempt by Merle Oberon while the two stars were on tour to entertain WWII GIs.
His electric acting style was a huge influence on future generations of actors. Actors as diverse as Clint Eastwood and Malcolm McDowell point to him as their number one influence to become actors.
Lived in a Gramercy Park building in New York City that was also occupied by Margaret Hamilton and now boasts Jimmy Fallon as one of its tenants.
Though most Cagney imitators use the line “You dirty rat!”, Cagney never actually said it in any of his films.
His performance as George M. Cohan in Yankee Doodle Dandy (1942) is ranked #6 on Premiere Magazine’s 100 Greatest Performances of All Time (2006).
His performance as Tom Powers in The Public Enemy (1931) is ranked #57 on Premiere Magazine’s 100 Greatest Movie Characters of All Time.
Yankee Doodle Dandy (1942) is ranked #88 on the American Film Institute’s 100 Most Inspiring Movies of All Time.
Turned down Stanley Holloway’s role as Eliza’s father in My Fair Lady (1964).
Turned down the lead role in The Jolson Story (1946), which went to Larry Parks.
Broke a rib while filming the dance scene in Yankee Doodle Dandy (1942) but continued dancing until it was completed.
Awarded the Presidential Medal of Freedom by Ronald Reagan at a ceremony at the White House on 26 March 1984.
Wrote that of the sixty-two films he made, he rated Love Me or Leave Me (1955) costarring Doris Day among his top five.
A studio changed his birth date from 1899 to 1904 to capitalize on his youthful appearance.
He refused payment for his cameo in The Seven Little Foys (1955) even though he spent ten days learning his complicated tap routine for the film.