Good day to you over there, I need a Private dancing Teacher for my wife (Reta) and my son (Jenny) for 3 months. I got your advert while surfing through the internet and I really want them to be taught by you. Reta is 37 year old and and Jenny is 15 years old. Although, I understand you are in U.S.A, but I am working on the arrangement for their accommodation since they are coming on 3 months Vacation Holiday. The both of them are beginners, I just want to fix this to make them busy at times. We are based in London, UK and they will be arriving on 28th of Desamber. Kindly get back to me with.

1.YOUR PRIVATE CLASS CHARGE FOR AN HOUR?

2.TOTAL CHARGES FOR 3 MONTH THAT THEY WILL BE TAUGHT 3 TIMES PER WEEK?

3.FULL NAME AND ADDRESS?

4.YOUR PHONE NUMBER?
Don't hesitate to e-mail with your total charges for the 3 months Private lesson.

"...more than 14 million people practicing yoga or tai chi nationwide, up 136% since 2000, orthopedic surgeons, physical therapists and chiropractors across the country are dealing with the increasing fallout from yoga gone awry. Over the past three years, 13,000 Americans were treated in an emergency room or a doctor's office for yoga-related injuries, according to the Consumer Product Safety Commission...Edward Toriello, an orthopedic surgeon and spokesman for the American Academy of Orthopaedic Surgeons, says most of the injuries he sees are sustained by 'weekend warrior' baby boomers who begin yoga without realizing that their bodies are no longer what they used to be." [When Yoga Hurts by Pamela Paul Time 10/4/07]



OCTOBER 12
THE INCREDIBLE LIGHTNESS OF DANCE

Live dance and other performing arts are ephemeral and mutable by nature. The performance you saw one night is not the same one your friend sees on another. In fact, if you are close to the stage and your friend is in the back, the performance is wildly different for both of you even on the same night. An audience itself can affect a performance. A high energy engaged audience often produces a different performance from a restive low energy audience. Your very personality, your background and how the performance was marketed to you may not directly affect a performance, but they affect how you receive the performance, and there is no real way to separate the performance from its response.
[Art in Which Reputations Rest on Ephemeral Memory and Fragile Faith by Claudia La Rocco NYT 10/2/07 free signin required]


OCTOBER 2
NUREYEV BIOGRAPHY CHRONICLES THE DANCER AND HIS FOIBLES

Nureyev: The Life, the latest biography about the most exciting male ballet dancer to hit the stage, has just been released and includes never before published information on his personal and artistic life. "Nureyev...did things that are 'absolutely out of our habits'. He dropped ballerinas on the floor, threw dinner plates at people, and blew his nose on hotel towels. He repaid his greatest benefactor by going to bed with the man's wife." - Joan Acocella. And yet, the world forgave Nureyev his shocking behavior because of what he could bring to the stage. Brittany and wannabes take note, artistry trumps impropriety.
[Wild Thing Rudolf Nureyev, onstage and off by Joan Acocella New Yorker 10/8/07]


AUGUST 17
ELVIS' DANCE PARSED

Pia Catton, the arts and culture reporter for the New York Sun has written an excellent article on how Elvis was able to use an unusual balance style to move the way he did.

"The inherent eroticism of dance - with all its sweaty bodies in any sort of motion — can shift from discreet to overt with even the subtlest of movements. But there was nothing subtle about Elvis Presley...Those loose, jutting hips gave America in the mid-1950s enough eroticism via dance to stop and stare. With a combination of flexibility, control, and balance, Elvis presented movement in a way that gave audiences something new to watch - and gave later performers, Michael Jackson in particular, a starting point."
[Pop & Lock, Elvis Style by Pia Catton New York Sun 8/16/07]


JUNE 8
THE BIG APPLE'S ARCHAIC DANCE LAW

If you had to name a city in the U.S. that has banned most social dancing, your answer would probably not be New York City - that bastion of cosmopolitan liberality and civil rights. But, in fact, New York has an eighty year old prohibition against social dancing in any business without a dance license, and that license is hard to get. Once ignored, the law is now enforced much to the dismay of swing, salsa and tango dancers (among many others). Last February, New York's appeals court ruled that the law was valid and on May 19, several thousand irate dancers took to the streets in protest and they protested by dancing.

According to the state Appellate Division, "Recreational dancing is not a form of expression protected by the federal or state constitutions." However Barbara Ehrenreich, the author of Dancing in the Streets: A History of Collective Joy, makes a case for dance as a communal bonding tool of the highest importance as well as a sop for depression (maybe the main reason for depression is an individual's disconnected-ness from society). In last Sunday's New York Times, she makes an impassioned call to arms (or legs in the case of dance) and advises dancers to continue to protest by dancing through the streets. [Dance, Dance, Revolution by Barbara Ehrenreich NYT 6/3/07 free signin required]

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