Amy O'neal Is a Dancer, Performer, Choreographer, and Dance

Total Page:16

File Type:pdf, Size:1020Kb

Amy O'neal Is a Dancer, Performer, Choreographer, and Dance (music/dance/video) with musician/ BIOS composer Zeke Keeble, reating 6 evening Amy O’Neal is a dancer, performer, length works and several shorter works. She choreographer, and dance educator based teaches Contemporary Dance and Urban in Seattle, WA. For the last 15 years, she has Styles at Velocity Dance Center and House taught and performed throughout the US, at The Beacon: Massive Monkees studio in Japan and Mexico and choreographed for Seattle. She also teaches dance stage, commercials, rock shows, galleries, composition and improvisation for Seattle dance films and music videos. Her work is Theater Group’s Dance This program. an amalgam of her diverse movement and She holds a BFA from Cornish College of life experiences presenting social the Arts, and her dance writing has been commentary with dark humor and heavy published in Dance Magazine, City Arts beats. She is the recipient of numerous Magazine, and ArtDish Forum. grants including awards from Creative Capital, the National Performance As a founding member of CIRCLE OF Network, the National Dance Project, Mid FIRE, Alfredo Vergara aka “FREE” Atlantic Arts and the James W. Ray embodies the true essence of Project Venture Award through Artist Trust self-expression through movement. With and Frye Art Museum. Amy has been an over 15 years of experience deeply rooted artist-in-residence at Bates Dance Festival, in Breaking, he has gained the respect and Headlands Center for the Arts, the admiration of his peers and his community. US/Japan Choreographer’s Exchange, and He has participated in various dance events Velocity Dance Center. She is a and competitions locally and two-time Artist Trust Fellow, a DanceWEB internationally. From world famous Scholar, and two-time Stranger Genius breakdancing events such as Freestyle Awards nominee. She has worked Sessions (USA), Dance Delight (Japan), extensively with musician/comedian Reggie Red Bull: Lords of the Floor (USA), Juste Watts since 2002 both on stage and screen. Debut (France), and the International She choreographed his Comedy Central Battle of the Year (Germany), just to name produced “Fuck, Shit, Stack” video and a few. Internationally known for his toured nationally in his show charismatic style, Alfredo also starred in a Disinformation. She has created solo dvd “A Beautiful One Man Show”. commissioned pieces for Degenerate Art Alfredo’s knowledge and experience of Ensemble and Spectrum Dance Theater Breaking and other dance styles such as and collaborated with Savion Glover and Hip Hop, House Dancing, Freestyle and Daniel Bernard Roumain through Seattle the Brazilian martial arts/dance Capoeira, Theater Group. She has performed in the has allowed him to take part in judging work of Pat Graney, Scott/Powell competitions, discussion panels as well as Performance, and Mark Haim. From 2000 teaching workshops all over the world. to 2010, she was co-director of locust Brysen “Just Be” Angeles, a Madison Square Garden and Fashion founding member of the Massive Monkees Week to Dancing with the Stars. He has crew, started B-Boying in 1994. also lectured about the history of hip-hop Drawing early influence from legendary at Yale, Princeton, Rutgers, and the Seattle crews, such as DVS, BOSS Crew University of Washington. and Rock Steady Crew of the 90s, Brysen and fellow crewmembers from A dance major studying at UW, Michael Untouchable Style Monkees would go on O’Neal Jr. is originally from Tacoma, to partner with M.A.S.S.I.V.E crew to form WA. Since becoming a dance major he has Massive Monkees in 1999. Both on and off performed with UW’s Chamber Dance the dance floor Brysen plays a key Company, in UW’s student choreographed leadership role in Massive Monkees. Some and run show Influx, the Dance Majors of his accomplishments include winning the Concert and for the Dance Programs 2004 B-Boy World Championships in Faculty Dance and Master of Fine Art London, innovating new dynamic Concerts. Michael believes to be the best choreography as a member of the Seattle dancer he can be he must train in all styles Sonics “Boom Squad”, performing for and get out of his comfort zone. He is a millions on MTV’s hit show “America’s member of Chapter1NE, The Beat Best Dance Crew”, and launching Massive Hippies and NoDef dance crews. He often Monkees own studio (The Beacon) where posts his choreography under the hundreds of students in Seattle come to username Choreomike on YouTube. This grow artistically. is Michael’s second time dancing for Amy and through Opposing Forces he hopes “Fever One” is a B-Boy and DJ origi- that the audience will come away with a nally from Seattle, WA who relocated to new perspective on Hip Hop. New York in 1997 and eventually joined the world famous Rock Steady Crew. He is MozesLateef is an artist who rhymes, most well known for his ‘gunzblazin’ style dances, draws, acts, models and films. which he developed while studying with his Lateef is an active member of Circle of mentors Icey Ice and Lil’ Lep of the New Fire Crew, which strives to build its com- York City Breakers. Inspired by a Poppin’ munity by using the crew’s skills to Battle in Seattle’s Central District and the maintain the B-Boy culture and carry out aggression he saw in breakin’, Fever One the responsibility of expressing positivity had become influenced by the in the process. Over the years Lateef and spirituality and competitiveness of dancing Circle of Fire Crew have performed and by the age of 10. Since then, Fever One competed internationally at the Korea Hip became a member of the world famous Hop Festival, Battle of the Year Germany, Rock Steady Crew which took his career Dance Delight Japan, and Juste Debut to new heights. He has performed in many France. In Seattle Lateef has performed prestigious venues from Lincoln Center to with Circle of Fire at the Seattle Center EMP Opening, The Paramount Theater, Amiya Brown received her BA in Drama and with Soul Shifters at The Moore with a minor in Dance from the University Theater. Mozes has taught workshops and of the Incarnate Word in San Antonio, breakdance classes to disabled youth at Texas. At UIW she pursued acting, Camp Long, students at Spectrum Dance dancing, painting, and lighting design. Studio and a 2-week workshop with Folk After college, she worked as a performer, Life. His band, Global Heat, performs lighting designer, and theatre practitioner. locally at events around the city and won In 2010, she received her MFA in Hard Rock Café’s Rock Band Theatrical Lighting Design from the Uni- Competition. Recently, Lateef represented versity of Washington. Her career is com- Circle of Fire in the film Tribelution, which prised of collaborations with explores the evolution of Hip Hop. He is choreographers, theatre companies, and currently working on another album with musicians, as well as, solo visual art works. his rap group Dirty Scientifix. Northwest collaborators include zoe | juniper, Kate Wallich + YC, Amy O, Pat WD4D, Waylon Dungan, blasts the Graney, Catherine Cabeen, Kyle Loven, hinges off genre definitions with his Alice Gosti, Cornerstone Theatre inventive and eclectic style. Not only a Company, and Washington Ensemble knowledgeable producer but an Theatre. engaging performer as well, WD4D was named champion of Seattle’s 2010 Battle of the Mega-Mixes. When he is not pushing forward his unique beat-flipping sound, WD4D is supporting the musical community and promoting other artists who blend futuristic Hip Hop with electronic possibilities. This busy producer is also a resident at the weekly future beat and breakers party Stop Biting, one of the most forward-thinking nights of music in Seattle. With plenty of initiative and industry savvy to match his sharp production skills, WD4D is an unstoppable force that brings new music to light- and then sets it on fire! WD4D has shared stages w/ Girl Unit, Lunice, B. Bravo, Slugabed, Daedelus, Onra, Sweatson Klank, and countless other major influences..
Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • Star Dance Workshop Series
    Jo’s Footwork and The Dance Workshop present “ Star Dance Workshop Series” 2018/2019 S The classes will be held at S T ►Jo’s Footwork Studio (708) 246-6878 – 1500 Walker Street, Western Springs – Studio I OR T ► A The Dance Workshop, (708) 226-5658 - 9015 West 151st Street, Orland Park – Studio I. A R S T A R D A N C E W O R S K H O P S E R I E S R ►Sunday, November 11, 2018 ~ T A P -with Star Dixon Location: The Dance Workshop (DWS) Continuing thru Intermediate 1:00pm – 2:30pm Intermediate/Advanced 2:30pm – 4:00pm D Star Dixon ~ is an assistant director, choreographer, and original principal dancer of world renowned tap company, MADD Rhythms . She has taught and D performed at the most distinguished tap festivals in the country including The L.A. Tap Fest, DC Tap Fest, Motorcity Tap Fest, Chicago Human Rhythm A A Project's Rhythm World, Jazz City in New Orleans, and MADD Rhythms own Chicago Tap Summit . Internationally, she's taught and performed in Poland, N Japan, and Brazil several times. She's been featured in Dance Spirit Magazine twice (Artist on the rise & Speed Demon), The Chicago Reader, & independent N film "The Rise & Fall of Miss Thang" starring Dormeshia Sumbry Edwards. Outside of MADD Rhythms, she's performed as a guest with such companies as C Michelle Dorrance's Dorrance Dance, Chloe Arnold's Syncopated Ladies, Lane Alexander's Bam, and Jason Samuel Smith's ACGI. Star is currently on staff at C E numerous dance studios, schools, and After School Matters.
    [Show full text]
  • Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
    Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ......................................................................................................................................
    [Show full text]
  • Keigwin + Company
    presents KEIGWIN + COMPANY LARRY KEIGWIN Artistic Director ANDREA LODICO WELSHONS Executive Director NICOLE WOLCOTT Co-Founder/Education Director BRANDON COURNAY Rehearsal Director & Company Manager RANDI RIVERA Production & Stage Manager DANCERS ZACKERY BETTY, KACIE BOBLITT, BRANDON COURNAY, KILE HOTCHKISS, GINA IANNI, EMILY SCHOEN, JACLYN WALSH, NICOLE WOLCOTT 1 KEIGWIN + COMPANY EPISODES (2014) LOVE SONGS (2006) CHOREOGRAPHY Larry Keigwin CHOREOGRAPHY Larry Keigwin with the Company LIGHTING DESIGN Burke Wilmore LIGHTING DESIGN Burke Wilmore COSTUMES Sarah Laux COSTUMES Fritz Masten MUSIC On the Town – Three Dance Episodes, Leonard Bernstein MUSIC Roy Orbison “Blue Bayou” and “Crying” DANCERS Zackery Betty, Kacie Boblitt / Gina DANCERS Emily Schoen & Brandon Cournay Ianni*, Brandon Cournay, Kile Hotchkiss, Emily UNDERSTUDY Gina Ianni Schoen, Jaclyn Walsh MUSIC Aretha Franklin “Baby, I Love You” and “I Episodes was commissioned by the John F. Never Loved a Man (The Way I Love You)” Kennedy Center for the Performing Arts and DANCERS Jaclyn Walsh & Zackery Betty the National Symphony Orchestra, Christoph Eschenbach, Music Director, as part of the 2014 MUSIC Nina Simone “Ne Me Quitte Pas” NEW Moves: Symphony + Dance. and “I Put a Spell on You” *alternating cast DANCERS Nicole Wolcott & Larry Keigwin Love Songs was created in part with generous CONTACT SPORT (2012) support from The Greenwall Foundation. CHOREOGRAPHY Larry Keigwin MUSIC “Monotonous,” Lyrics by June Carroll & TRIPTYCH (2009) Music by Arthur Siegel; Performed by Eartha CHOREOGRAPHY
    [Show full text]
  • Dance with Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy
    Dance With Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy By: Ann Dils Dils, A. (2001) Dance with Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy. Dance Research Journal. 32 (2), 7-31. Made available courtesy of University of Illinois Press: http://www.press.uillinois.edu/journals/drj.html ***Note: Figures may be missing from this format of the document Dance critic Walter Terry was in the audience the evening of Rosalind Pierson's last, glorious performance with Virginia Tanner's Children's Dance Theatre (CDT). In his review for the New York Herald Tribune of that July 1953 Jacob's Pillow performance, Terry discussed the girls' connections to the Church of Jesus Christ of Latter- day Saints, described the outdoor performance setting, the program, and the children as "wonderfully disciplined yet gloriously free in movement." He concluded his performance description with this paragraph: Other children have danced such themes and there are other children ... who have performed with ... far more precociousness of a technical nature but none, I think, have conveyed so perfectly the bright (not pallid) purity of child-dance. It is difficult to describe even the most potent intangibles and the best I can do is to say that the children danced as if they had faith in themselves, had love for those of us who were seeing them, actively believed in their God and rejoiced in all of these. (Terry 1953)1 The "potent intangibles" that Walter Terry wanted to describe—those feelings of faith, love, belief, and joy— pervaded the work of Virginia Tanner and her Children's Dance Theatre, especially in the years prior to 1960.
    [Show full text]
  • State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios
    Utah Dance Education Organization State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios Kay Andersen received his Master of Arts degree at New York University. He resided in NYC for 15 years. From 1985-1997 he was a soloist with the Nikolais Dance Theatre and the Murray Louis Dance Company. He performed worldwide, participated in the creation of important roles, taught at the Nikolais/Louis Dance Lab in NYC and presented workshops throughout the world. At Southern Utah University he choreographs, teaches improvisation, composition, modern dance technique, tap dance technique, is the advisor of the Orchesis Modern Dance Club, and serves as Chair of the Department of Theatre Arts and Dance. He has choreographed for the Utah Shakespearean Festival and recently taught and choreographed in China, the Netherlands, Mexico, North Carolina School of the Arts, and others. Kay Andersen (SUU) Ashley Anderson is a choreographer based in Salt Lake City. Her recent work has been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston-Jones, Regina Rocke & Dawn Springer.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Dance Magazine
    11/11/2020 This Choreographer Directs a Physically Integrated Flamenco Company in Spain - Dance Magazine José Galán (bottom) with Lola López. Photo by Ginette Lavell, Courtesy Galán This Choreographer Directs a Physically Integrated Flamenco Company in Spain Bridgit Lujan Nov 04, 2020 Spain's José Galán challenges audiences to rethink how they perceive those who are disabled. For the past decade, he has directed Compañía José Galán de Flamenco Inclusivo, a professional company that features artists in wheelchairs, with vision impairment and with Down syndrome alongside dancers without disabilities. Regarded as the foremost expert of flamenco dance for people with disabilities, his trailblazing productions require a mindful gaze on the dancers' bodies. Along with his company, his instructional method, Inclusive Flamenco, has been presented across the globe at flamenco's top dance festivals and events. He recently spoke with Dance Magazine about how he got into this work and how he collaborates with his dancers. https://www.dancemagazine.com/disability-flamenco-2648443561.html?rebelltitem=4#rebelltitem4 1/8 11/11/2020 This Choreographer Directs a Physically Integrated Flamenco Company in Spain - Dance Magazine José Galán (left) with Lola López Ginette Lavell, Courtesy Galán How he started his company: "I improvised for the first time with a group of people with Down syndrome as an undergraduate pedagogy student. I fell in love with their ways of feeling, expressing and the trusting relationship they formed with me without even knowing me. It awakened my interest in approaching dance from another place. "In Madrid I danced with Ballet Flamenco Sara Baras and also an inclusive theater and contemporary dance company, El Tinglao.
    [Show full text]
  • "Who's Right? Whose Rite? American, German Or Israeli Views of Dance" by Judith Brin Ingber
    Title in Hebrew: "Nikuudot mabat amerikiyot, germaniyot ve-yisraliot al ma<h>ol: masa aishi be'ekvot ha-hetpat<h>ot ha-ma<h>olha-moderni ve-haammami be-yisrael" m --- eds. Henia Rottenbergand Dina Roginsky, Dance Discourse in Israel, published by Resling, Tel Aviv, Israel in200J "Who's Right? Whose Rite? American, German or Israeli Views of Dance" By Judith Brin Ingber The crux of dance writing, history, criticism, research, teaching and performance of course is the dance itself. Unwittingly I became involved in all of these many facetsof dance when I came from the US forfive months and stayed in Israel forfive years (1972-77). None of these facetswere clear cut and the diamond I thought I treasured and knew how to look at and teach had far more complexity, influences with boundaries blending differently than I had thought. Besides, what I had been taught as to how modem dance developed or what were differencesbetween types of dance had different bearings in this new country. My essay will synthesize dance informationand personal experiences including comments on Jewish identity while reporting on the ascension of modem dance and folkdance in Israel. It was only later as I began researching and writing about theatre dance and its development in Israel, that I came to realize as important were the living dance traditions in Jewish eydot (communities) and the relatively recent history of the creation of new Israeli folkdances. I came to see dance styles and personalities interacting in a much more profoundand influential way than I had ever expected. I was a studio trained ballet dancer, my teachers Ballets Russes alums Anna Adrianova and Lorand Andahazy; added to that, I studied modem dance at SarahLawrence College in New York.
    [Show full text]
  • Martinez, Danny Interview 1 Martinez, Danny
    Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 6-5-2007 Martinez, Danny Interview 1 Martinez, Danny. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Martinez, Danny Interview 1, June 5 2007, Interview with the Bronx African American History Project, BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Danny Martinez Interviewee: Freddy Martinez Interviewer: Mark Naison Date: June 5, 2007 Transcriber: Danielle Jakubowski Marc Naison: Today is June 5, 2007. We’re at Fordham University and today we are interviewing Danny Martinez, known as “Beat Man,” one of the original Bronx Deejays and his brother Freddie Martinez. And - - we always start off by asking about family. Where was your family from originally? Danny Martinez: Well my parents, well they met here in New York, but my father’s from Puerto Rico and my mother’s from an Italian background and she resided in Brooklyn and then my mother and father met back in the fifties and you know, they were just friends at first from, from what I remember and it grew into a romantic interest and they had me. MN: [laughs] DM: You know what I’m saying? And then my brother and my sister afterwards.
    [Show full text]