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Theresa Ruth Howard Dancer/Writer/Teacher Theresa Ruth Howard began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. She has worked with choreographer Donald Byrd as a soloist in his staging of New York City Opera's Carmina Burana, his critically acclaimed Harlem Nutcracker, as well as the controversial domestic violence work The Beast. She was invited to be a guest artist with Complexions: A Concept in their 10th anniversary season. In 2004 she became a founding member of Armitage Gone! Dance. As a writer Ms. Howard has contributed to Russell Simmons’ One World magazine (art), and The Source (social politics), as well as Pointe and Dance Magazine. While teaching in Italy for the International Dance Association she was asked to become a contributor for the premiere Italian dance magazine Expressions. Her engaging, no nonsense writing style caught the eye of both the readers of Dance Magazine and its Editor in Chief who not only made her a contributing editor and has collaborated with Ms. Howard in See and Say Web-reviews. Her articles about body image prompted her to develop a workshop for young adult (dancers and non-dancers) My Body My Image that addresses their perceptions both positive and negative about their bodies and endeavoring to bring them closer to a place of Acceptance and Appreciation. She recently launched a blog by the same name to reach a broader audience (mybodymyimage.com) As a teacher Ms. Howard has been an Artist in Residence at Hollins University in and New Haven University in addition to teaching at Sarah Lawrence College, Marymount, Shenandoah, and Radford Universities, and the historical American Dance Festival. As a result of her work at ADF Ms. Howard was invited to Sochi, Russia to adjudicate the arts competition Expectations of Europe and teach master classes, and in Burundi, Africa where she coached and taught the Burundi Dance Company. Currently she on faculty at The Ailey School but also extensively throughout Italy and Canada. Ms. Howard's belief in the development, and nurturing of children lead her to work with at risk youth. At the Jacob Riis Settlement House in Queensbridge New York, she founded S.I.S.T.A (Socially Intelligent Sisters Taking Action) a mentoring program for teen-age girls where she worked to empower them to become the creators of their destinies. In addition she developed a dance program, which lead to an exchange with the Dance Theatre of Harlem. Through her teaching and travels Ms. Howard began to observe a universal disenchantment and disconnection in teenagers that disturbed her, thus she set out to address it. Combining her philosophies of life and teaching, with the skills she garnered through outreach programs with diverse communities, she developed the personal development workshop Principles of Engagement: Connecting Youth to the Infinite Possibilities Within which gives teens a set of workable tools to increase their levels of success at tasks, and goals not only in dance, and all aspect of their lives. Theresa Ruth Howard is certainly diverse and multifaceted as an artist, and is moved to both write and create work; however she sees every student she encounters as a work in progress, and the potential to change the world one person at a time. The only was to make this world a better place it to be better people in it!

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Ballet’s problem with non-white performers- The Royal Ballet’s Eric Underwood

I have the pleasure of knowing Eric from his New York Dance Theatre of Harlem days…he was  baby back then, I watched him join ABT and cheered when he was  offered a contract with The Royal Ballet. I cheered for a number of reasons. the first is obvious, it is a huge accomplishment regardless of race, but on  another level it marked how far we-they [the Royal] have come. You see, when I was in DTH there was an English boy there named Adam James, he was black and had been trained in the Royal Academy where they flat out told him that where they would train him they would never hire him…that was in the 1980’s so it is a pleasure not only to witness Eric’s career blossom and for him to become such a beautiful artist, but also to see that is is so eloquent, insightful, downtown to earth and clear as well. I am so proud of him and I encourage all of you dancers to read this article regardless of race, gender or whatever, hear this artist’s voice!!!

 

The Guardian, 9/8  2013 

Ballet corps are still the same identikit lineups. But, asks the Royal Ballet’s Eric Underwood, why should black dancers feel like the odd ones out?ric Underwood on stage

Right from the start of my career, I’ve noticed a lack of ethnic people in ballet. In a corps de ballet, especially for women, the idea is to be identical: you’re trying to move the same and not call attention to yourself. For someone who isn’t white, that’s difficult. You’re left with a choice: you have to either become so great a dancer that you’re not left in a chorus or a line, or embrace your beauty and hope others do, too – seeing it as beautiful, even if the symmetry is disturbed.

It wasn’t difficult for me to embrace myself, because I was born in Washington DC around lots of black people, so I grew up confident in the fact I was black. I never felt apologetic. Only as a ballet dancer did I even notice I was black – before that I was just Eric.

It’s important to embrace yourself and say:

“I’m beautiful – and if that person doesn’t see me as beautiful, then they’re mistaken, because I’m amazing and I’m such a great dancer that it’s undeniable that I’m able to do this.”

If you are different from ballet’s norm, you need to be better, too: physically, you need to be on another level, just to be accepted as the same. But you wouldn’t want them to be there simply because they are black – they need to be talented enough.

For a child coming into ballet, this is all very difficult. The only way to achieve it is to have the right amount of training, and for ballet to be something to which people can relate. In a lot of households, ballet isn’t seen as important, so it needs to be more mainstream – we need more TV shows that give children an incentive to dance. Parents need to be introduced to it, too, since confidence is fostered at home. If your parents are always saying you’re beautiful and wonderful, you go into a dance studio feeling great about yourself, and you’re able to overcome all obstacles. Even more important is to make ballet economically accessible, because lessons are incredibly expensive.

Through the Royal Ballet‘s Chance to Dance initiative, I go out to schools in Lambeth, in Loughborough Junction – into neighbourhoods where Londoners don’t have ballet – to assess whether children have the necessary physical attributes. I meet their parents, introduce them to ballet, and show them my dancing so I can say: “This is what a dancer is and it’s OK for you to try to become that.” And maybe even start a prize for young underprivileged dancers.

There also needs to be change in audience attitudes. A lot of ballet audiences, especially those who come for traditional pieces, tend to view ballet in a dated way. They’re not interested in it reflecting today’s society, but in maintaining the history and tradition of the form. Yet to go forward in today’s society, we have to go forward in ballet as well; the stage should reflect what you see on, say, the tube.

This means audiences have to change their view of what beauty is. A ballet audience looks at all the girls coming down the ramp in La Bayadère and sees they are all identical – same height, same skin colour, everything exactly the same. They find that incredibly beautiful. But they have to start thinking: “That person looks different – however, this is also incredibly beautiful.” This change needs to be collaborative. It takes a creative director to say that it’s beautiful; it takes an incredibly strong dancer to know that it’s beautiful and exude that on stage; and the audience has to not just see this dancer sticking out of the line, but to see the broken line as beautiful.

Ultimately, being black is an asset. If you’re in a setting where you’re different, celebrate that – it’s a wonderful thing. Your upbringing, your culture, the things that have enriched you that maybe other people didn’t have – you have to incorporate them into your dancing. Growing up in America in a black household, I danced at weekends, danced with my family – it was a large part of our culture. I would even have little dance contests with my sister and our neighbours. I’m able to incorporate that into my dancing because, before I started classical training, I had learned how to move. I don’t think it’s anything bad to be exoticised; if you’re exotic, embrace it and dance well. It’s an extra something to shape you as a dancer. Denying your race isn’t just bad for your mental health, it’s also ultimately unachievable.

Maybe one day there will be so many people from ethnic backgrounds dancing, none of this will even need to be thought about.

• Interview by Ben Beaumont-Thomas

Julie Chen Had Eye Surgery to look “less Asian”

 

Julie_SurgeryOk so the other on the show the Talk Julie Chen made a confession that I suppose was meant to be shocking. She admitted that at in the early days of her career at 25 and a reporter for a local station in Ohio, her agent told her that she would have to do something about her eyes in order to work in front of the camera. You see Julie CHEN is Chinese and her hooded eyes apparently made her look… Asian..

well here is what she said he said…

“‘Let’s face it, Julie, how relatable are you to our community?’” Chen relayed. “How big of an Asian community do we really have in Dayton? … On top of that, because of your heritage, because of your Asian eyes, I’ve noticed that when you’re on camera, when you’re interviewing someone, you look disinterested and bored because your eyes are so heavy, they are so small.’”

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Ok, Let’s get real her eyes were just the start, she looks like she had her nose done as well…

Now I have nothing against a person getting a nip and a tuck, that is a person’s personal choice, and I do understand how it was a culturally conflicting issue for her however  I want to make 2 points:

1) Don’t cop to an eye job, present it as a cultural conundrom and then in the end be fine with doing to and the results! At the end she says it got her career in front of the camera going! So what are we really talking about?

2) Don’t cop to having eye work done and COMPLETELY gloss over the elephant (with a big trunk) in the room, and that is you GOT YOUR NOSE DONE once or twice!

Clearly this just about a story for the show… something to chew on….I mean half the people in show business (Black, White, Asian, Jewish, Persian) get there noses done whether they “need” it or not.

Ugh I’m over it. what about you

Tyra Banks in “WhiteFace” Racist or Artist?

Tyra Banks is preparing an art exhibition called Tyra Banks Presents: 15, in which she transforms into “iconic images of her colleagues, competitors, and friends.” Recently she posted 3 images from the project up in twitter, the subjects happened to be 3 white, female models Cara Delevigne, Kate Moss, and Cindy Crawford. it got some people up in arms claiming that this  is “white face” (the reverse of Black Face) and calling it “racist”.

here are the pics:ku-bigpic

 

 

 

 

 

 

Now I have to say, this is kinda cool, and I am not a super Tyra fan, but it’s on point. But let’s get to the ideas of the racist allegations that people are trying to attach to this project. First lets just define what Blackface is and then we can take it from there:

Blackface is a form of theatrical makeup used in minstrel shows, and later vaudeville, in which performers create a stereotyped caricature of a black person. The practice gained popularity during the 19th century and contributed to the proliferation of stereotypes such as the “happy-go-lucky darky on the plantation” or the “dandified coon“.[1] In 1848, blackface minstrel shows were an American national art of the time, translating formal art such as opera into popular terms for a general audience.[2] Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right, until it ended in the United States with the U.S. Civil Rights Movement of the 1960s.[3] …

Stereotypes embodied in the stock characters of blackface minstrels not only played a significant role in cementing and proliferating racist images, attitudes and perceptions worldwide, but also in popularizing black culture.[6] In some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that “blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in binary opposition to one’s own.”[7]

Blackface historically emanates historically from the world Minstrelsy which at is core is derogatory and racist:

Minstrel shows lampooned black people as dim-witted,[1] lazy,[1] buffoonish,[2][1] superstitious, happy-go-lucky,[1] and musical. The minstrel show began with brief burlesques and comic entr’actes in the early 1830s and emerged as a full-fledged form in the next decade. In 1848, Blackface minstrel shows were the national art of the time, translating formal art such as opera into popular terms for a general audience.

So where I know what we are racially sensitive and acutely aware (as we should be) but Banks’ project does not in my mind, nor in definition fall under the spectrum of Racism. I understand the sensitivity that surrounds the body, image, race, religion and gender, but we have to assess things with a level head and really look at the facts, not solely at the feelings they stir in us. I do believe that we (all- and artist specifically) have a responsibility to respect a people’s history, and even in the name of “art” somethings are better left undone.

That having been said I think that historically there has a been a lack of respect, care and sensitivity towards the African American experience relative to the racial history, bigotry and social and systematic social and political prejudice and injustice that existed and exists presently in this country. There are liberties that are taken with the African American history- culture etc. that would NEVER be taken with other groups of people. For instance, when it comes to black face, several fashion publications have done editorial spreads using white models painted black, donning afro textured hair and the whole nine yards. When it was called into question, it was qualified as being solely artistic and aesthetic-

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I have to admit the images are incredible, they do make me feel a certain way though. Mainly it makes me think about how they would rather paint a white women them book a black model–I KNOW I KNOW  that is not the point but you get my point. If this was some Jewish vaguely Nazi themed editorial people would really be up in arms… that’s how I feel. Some might say that the whole Nazi thing is an unfair comparison, but if you know your history it’s not so far off…as a friend of mine says “know your history know yourself” I feel like there are certain people’s histories are honored, and respected and therefore not exploited and there are others (browner) people’s histories that are up for grabs…. you know where I’m coming from right? I have no answers just opinions.

ghettonewsflash-beyonce-blackface-queenditathis one is particularly troublesome to me, it is Beyonce, and the “Ghetto News Flash” doesn’t sit well with me….

 

 

MBMI is now accepting submissions: An Open Letter to my Body

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a while ago I wrote an open letter to my body, it was a very cathartic experience for me. Most of have complex relationships with our bodies and I am certainly no different especially with my ballet background. Now I would like to open the space up for you to compose your own letter and share it here in this forum. submissions can be Emailed to :

Lady Gaga? Something is different – Is Gaga going under the knife hypocritical?

opnakedcaca1If you are wondering who this is it is Lady Gaga..

She looks NOTHING like herself, and it is not that fact that she is stripped bare (no pun intended) of her wigs and make-up and shades. No she almost looks …cute. Gaga was never a “cute” looking woman, she was interesting looking, to me she had a mature face, meaning that she kind of always looked like a middle aged woman- and I am not hating — I would be hating on myself. (I am not trying to be mean or snarky, but there are people who always look 40 years old even when they are 10!) I think that it is clear that she has had work done, she got her nose did!!

lady-gaga-noseIn the first she looks like a young Donatalla Versace in the second..Cute

lady-gaga-plastic-surgeryIn the first she looks mature right? in the second…cute…

Now a celebrity getting a nose job is not breaking news however it is a bit hypocritical of Lady Gaga when she has been so outspoken about how stars getting plastic surgery inspires insecurity…

Speaking to Harper’s Bazaar in 2011 after sporting prosthetic horns and claiming they were her ‘bones’ she said:

‘I have never had plastic surgery, and there are many pop singers who have. I think promoting insecurity in the form of plastic surgery is infinitely more harmful than an artistic expression related to body modification.’

‘And how many models and actresses do you see on magazine covers who have brand-new faces and have had plastic surgery, while I myself have never had any plastic surgery?’

 

Let me be honest here, I am not, have not and nor never will be a fan of hers, I think that she has worked the system using Madonna’s methodology, bringing her model of self re-creation, cutting edge fashion, provocativeness and Cher like bravado into the millenium. She is authentically talented, but also authentically manufactured as well. She has seduced this generation with exactly what they want to hear- you are perfect, “born this way”, wave your freak flag, be outrageous, as she runs around half dressed, wearing slabs of meat that would be better served to feed hungry people and carrying tea cups around whist in England. She reminds me of all the kids I went to arts school with who where so desperately trying to prove that they were cool, hip, “out there” above it all and so “artistic” that you just don’t get it…(*now there were some who were authentically out… and you could tell the difference, ironically often, they were not the cool kids)

I get it but for a chick who grew up watching Madonna create herself, Gaga is not new, or ground breaking, and Born this Way is just a remixed Madonna tune…. I just think that she is a woman who will say what people want to hear and be the voice that has not yet been heard not a bad thing in and of it’s self but she will say it whether she believes it or not. Just like her above statement says all the right things, promotes having a healthy body image and say to hell with what “the media” expects us to look like… that is all well and good until you go and get a new nose!

lady-gaga-before-and-afterIt’s hypocritical! and trust I am not against plastic surgery I have an issue with hypocrites that say what you wan to hear to get you to invest in them and end up being just like the rest of them. And truth be told…no one cares!! Now we care because you made yourself a liar!

I guess she can’t say that SHE was born that way anymore…snap!

oh and now that she has dropped the weight, what’s up with her body image platform- yeah a nose job supports that too huh! Ok THAT was snarky!

Theresa Ruth Howard Interview ~For The Iliev Dance Art Foundation Sofia Bulgaria

I found an interview I did while in Bulgaria for the Dance IT! intensive this pass Spring hosted by the Iliev Dance Art Foundation in conjunction with the America for Bulgaria. I had a wonderful time, taught some rockin’ ballet classes, choreographed a repertory piece at break neck speed, had a fish pedicure (that’s right). I can’t wait to go back this August, this time on the Black Sea in Burgas!!! A working Vacay with GREAT people!!! (the best kind)

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With Petur Iliev and Christian Von Howard

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And in between classes we did a couple of interviews…it is kind of odd because you don’t hear the question I am answering…

Dustin Hoffman’s poignant discovery while preparing for the role of Tootsie: “I think I’m an interesting woman”

tootsie-0001Tootise (1982) is an iconic  film. Dustin Hoffman’s portrayal of  Dorothy Michaels was impeccable. Dorothy was a a firecracker, she was smart, sassy, witty, sensitive but… unfortunately not a looker. The detail and sensitivity with which Hoffman played this woman was incredible, it was like the male version of Julie Andrews Victor Victoria in a way. The Performance was so layered and incredibly authentic. But how did he get there?

Here is an interview with the actor, hear what Hoffman had to say about why he did the film, and about seeing himself-becoming a woman. It is incredibly insightful and pure, and honest, and ladies,  it is our story. He got US, he GOT what it is to be a woman, and he wept. I wept as he talked about it.

Okay I love that he GOT that it shouldn’t be about his being in drag, I love the fact that he wanted to be beautiful, and the way that he says it, it was from a very human (non gendered) place, he wanted to be attractive. One of my favorite parts is when he tells his wife that he thinks he is an interesting woman…

I think this interview tells so much about not just the depth of his integrity as an actor to really, authentically, try to answer that original question “How would you be different if you were a woman?“. To approach it with such integrity so early on in the process of the discovery of this “Dorothy” character, but it shows the sensitivity, the empathy…When he said:

“I thought that I should be beautiful”

In that simple sentence he echoed a foundational desire of most women- and his disappointment and heartbreak when the answer was:

“That’s as good as it gets”

Well ladies who has not been there? You can’t make yourself taller, shorter, lighter, darker, smaller, thinner, you name it! in the end you are like Paula Deen “I is what I is!”

I wish all men could watch this clip to get a better understanding of what we, as woman feel. For that matter I wish all women could watch it as well, just to know that what you feel is real, you are not alone and at least one man (an incredibly brilliantly talented man at that) gets you!

here is a clip from Tootsie to refresh your memory:

Physical Therapy Tip With Dr. Sara Rakov -Patellar Tendonitis

Here is Dr. Rakov with helpful tips on how to identify if you might have Patellar Tendonitis, and what you can do to treat it. It is very similar to Achilles Tendonitis.227162_890911653742_5787273_n

Sara Rakov, DPT – Physical Therapist – Dr. Rakov is a former dancer who chose to combine her love of dance and science into a career as a physical therapist. As part of her doctoral degree, Sara completed clinical rotations treating a variety of orthopedic, pediatric, acute, and neurological conditions. She now works as a contractor for Divine Physical Therapy providing therapy services to dancers of Alvin Ailey American Dance Theater. She combines her dance backgrounds with her clinical knowledge as a physical therapist to effectively optimize clients’ health and performance. Her treatment approaches focus on manual therapy, neuromuscular re-education and patient specific therapeutic exercise.

Amputee Christina Stephens builds herself a prosthetic leg- from LEGOS -VIDEO

This  I think is the coolest thing ever:
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An occupational therapist and clinical researcher Stephens built the leg after someone jokingly told her to do it!

“Challenge accepted. I liked the idea, because I am very comfortable with my body and like encouraging others to be more comfortable with theirs.”

It’s kind of like the man (I think he was in China ) who built himself an arm (with working fingers) out of scrap medal,but he could only wear it for short periods of time because it was so heavy.
Check out the video

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