NEW CLASS "KONGA" with Yin
THE ULTIMATE FITNESS CLASS HAS ARRIVED - A one hour Konga class can have you burn over 700 calories due to the “switch-up” formula and the sustained, high intensity nature of the workout! Join us here at DANCE STUDIO 101 as we introduce KONGA w/Yin on Wednesday nights at 7.30pm! Konga is a full body high intensity, low complexity danced based workout that is a combination of aerobic fitness and dance styles set to your favourite music.
From dancehall to kickboxing, from hip hop to merengue, from 70's disco to Pilates. Konga is designed to tone, burn fat, improve endurance and have fun. It's not aerobics, it's not dance, it's the Konga. A one-hour Konga class can burn over 700 calories due to the “switch-up” formula and the sustained, high intensity nature of the workout.
Konga has been launched in Sydney January this year and has already made appearances in Cosmo, Grazia, Dolly, Prevention, Who magazine and soon to be in Weight Watchers and Women's Weekly. But it's for EVERYONE who wants that jungle body! Take advantage of our promo just $100 for the 10-class pass (KONGA valued at $150!)
Konga wih Yin - Sexy Toning routine- I Kontact
Konga with Yin - 'Boom Boom Pow'
Best of SoulTrain Line Dances
From Papa and the Rolling Stone to Chaka Khan. It was the "hippest trip in America," kicking down barriers and irrevocably changing the face of television. Hop aboard and take a ride at our Soultrain Workshop this Saturday 2nd May. Check out our selection of the Best of SoulTrain Line dances here...
Papa Was A Rolling Stone
HAPPY FEELING by EWF
DANCE WITH ME by RUFUS featuring CHAKA KAHN
Arlene Phillips OBE, 67, is a choreographer of West End shows and a judge on So You Think You Can Dance. When she was dropped from Strictly Come Dancing, Harriet Harman denounced the BBC in Parliament for 'ageism'. Arlene formed Hot Gossip, the dancers who featured on The Kenny Everett Television Show, and created the series Britannia High. Yesterday she hosted national VQ Day at London's Royal Horticultural Halls to celebrate the millions of vocational qualifications gained every year.
We were definitely the poor kids at Broughton preparatory school in north Manchester. My uncle paid for us to go. There was always a competition for who could bring the most Quality Street sweets for break, but we couldn't join in because we didn't have any. It was scary. They were so strict. The teaching was definitely good, but they were the kind of teachers who had a ruler in their hands, and I rather think if you were in a school like that it is hard to feel you belong. I would question the teaching of small children when you have to go around with a bag of books on your back as if you're a turtle.
Some children have an immediate understanding of what teachers are explaining, and some don't. You gradually see the gap between those who can and those who can't. I seem to belong to the first group, because I went on to pass the 11-plus, but I was at the lower end of those who did and I know what it's like in the second group.
After four years, we moved to Didsbury, and at nine I went to Beaver Road Primary School for a couple of years. Then I passed the 11-plus to Manchester Central High School for Girls. We had all passed our scholarship to get there, but I was in the middle-to-lower stream. We were treated as remedial – not so much by the teachers as by the other girls. I had got to the point when I was about to take eight or nine O-levels, and then I got permission to leave school because my mother was very ill. She died within six months. I never went back. Do I regret it now? Of course. A firm education is very important.
I wanted to dance: that's all I wanted to do. I had started at three, going to a little class. I didn't really like it – the teachers were so strict. However, I continued to dance and never really stopped. By the time I was eight or nine, it had become an obsession. When we moved to Didsbury, I went to the Muriel Tweedy School of Dance on Saturdays and after school. This made people at school think I was even odder than I actually was. There was, of course, no dance at school: you would play netball and run!
At the age of 16, I went on the full-time dance course. I loved every minute. The teaching was absolutely spectacular, brilliant – every kind of dance and relentlessly long days. It was a purely vocational training. If you want to dance, that's what you must do: train all day. At 20, I became a teacher there, and at 23 I went to London.
When I formed Hot Gossip, we had three years of total rejection. Producers were going: "They're fantastic to watch, but too sexy for television." Finally the group was going to break up, when the producer of what was to be The Kenny Everett Television Show saw our photograph and said: "Somebody find me Arlene Phillips and Hot Gossip!"
Hot Gossip- SLEAZY
BENI show for Groove in the Moo festival, Bendigo Victoria 5th May
Both shows on the weekend were big crowds and a huge success. The promoters were over the moon. .... Here's the feedback from the first show, with our dancers Cory and Eli aka "THE BROTHERHOOD".
Beni’s up next and his dancers must be seen to be believed. A pair of gents dressed as officers strut around in skyscraper stilettos to Someone Just Like You while demonstrating jaw-dropping flexibility and gymnastic feats that wouldn’t be out of place onstage with Madonna. One dancer jumps into the splits and squashes an empty plastic hippie of Smirnoff that has somehow made its way up there. As well as his own tracks (It’s A Bubble goes off!), Beni incorporates such classics as Show Me Love (Robin S) and Horny (Mousse T). Beni bravely attempts an unco running man in between his two exceptional dancers, but the man is undeniably no slouch behind the ones and twos. My companion draws comparisons to Danny Tenaglia.
For the full review on Beni, Public Enemy and the other line-up click here.
Fishnets and Fedoras
Now, picture everything you know about Tango … Women in revealing dresses, men wearing fedora hats, dramatic postures, acrobatic moves, the man throws the woman down on the floor and drags her by her hand, or foot … Yes? Now discard everything that you think you know. Our general understanding of Tango is misshaped by exposure to television, by such shows as Dancing with the Stars and movies that emphasize the show-like aspects or specific steps to impress the audience.
However, this is not at all what Argentine Tango really is. The soul, the very foundation, of Argentine Tango is deeply rooted in the music and the embrace that originated in the 19th and early 20th century slums and immigrant barrios of Buenos Aires, the artistic mixing pot of cultures and traditions. Unlike other dances, Argentine Tango’s embrace is very much like a natural hug, and unlike Ballroom dancing, there is no pre-determined sequence of steps or patterns. So then, what is Argentine Tango and why is it so unique?
For me, Argentine Tango is a chance to be free, a chance to improvise, a chance to do, or not do, to move or not move, all the while being in the embrace with another person who, at the same time as me, is also feeling a whole range of emotions evoked by the music, and moving with me, in sync, as one, to the rhythm of tango music. You find yourself liberated, free to constantly improvise, and interpret unique rhythms for every moment of the dance. In this embrace, two people share the movement and the music.
I noticed that every time I danced Argentine Tango, I felt good, I felt happy, I felt fulfilled. While the world could be crumbling all around me, for that moment when I was dancing in an embrace with another person, I felt outside of all the chaos, I felt soothed and comforted… then the music would end and the reality would return, only again to be blocked out by the soothing effects of moving to the music in unison with another person.
At the same time I noticed how my coordination greatly improved. It is as if the part of my brain that enabled me to respond to rhythm and movement was further stimulated by simply listening to tango music, while at the same time enabling me to multitask. Argentine Tango naturally improves balance by training the dancer to step in all directions.
Gorgeous Golden tango shoes- Shoes so good you can wear out of the studio..
Amazing Argentine Tango performance with Chicho y Lucia
Adrian Medina is BACK!! Join us on Tuesdays for 2 back to back classes: Cuban Contemporary 7.30pm followed by Afro Cuban Rumba 8.30pm.
Adrian Medina was born in Havana Cuba, His dance training began at the Narciso Medina Dance School where he developed and perfected his Modern and Contemporary dance technique and Afro-Cuban styles. This is your chance to learn authentic Cuban dance from a Master teacher...Everyone welcome!!! Click for full bio
Beni and The Brotherhood at GoodGod!
Check out what we've been up to..creating havoc with the Brotherhood dancers for Beni tour. Party at Goodgod Friday 11th May. This will be a Waacking, Voguing and Shablaming Battle Dance extravaganza. Calling all dancers!! Check out the details and hit me up for the guestlist..
1970s Disco Dances
During the 1960s, New York City Hispanics, largely Puerto Rican and Cuban, kept the 1950s teen tradition of Bandstand-style swing alive, at the St. Mary's Church dances in the Bronx and elsewhere, partially because it had always been considered masculine for Latino men to dance. When the disco scene erupted in New York City in 1970, partnered dancing was revived, with the disco dancers adopting the local teen's style of swing kept alive by Latinos during the sixties.
The term Latin Hustle therefore refers to the NYC Hispanics who were still dancing this way, not because it's a from a Latin American country. During the first eight years, disco dancing was primarily partnered dancing, the living tradition of swing. That changed in 1978. To quote Maria Torres, a disco dancer from NYC, "The thing which really killed partner dancing was Saturday Night Fever. It was originally an underground dance, done mainly by Hispanics, blacks and gays, who could really do partner dancing. They were incredible, but that was an underground thing.
Then when Saturday Night Fever came out, the masses flocked to the clubs to experience what they saw in the movie. But what they thought the Hustle was was freestyle, because that's what John Travolta did." Partnered Hustle did continue, but was somewhat overshadowed by freestyle solo dancing in the final two years of the disco craze.The original script for Saturday Night Fever called for only partnered dancing, as was actually done at the 2001 Odyssey club in the story.
But John Travolta felt that a solo dance would better develop the character arc of the storyline and insisted that the script be changed to feature him doing freestyle dancing. Travolta said, "I had to enforce that scene. They were basing this movie on his being the best dancer, and he didn't have a solo. I had to prove to the audience that he was the best." Little did he know that his added scene would change the dynamic of disco dancing.
Disco looks began in the 1970s and was memorable for its hot pants look and Spandex tops. Shiny clinging Lycra stretch disco pants in hot strident shiny colours with stretch sequin bandeau tops were often adaptations of professional modern dance wear that found itself making an impact in discos as disco dancing became serious. Gold lame, leopard skin and stretch halter jumpsuits and white clothes that glowed in Ultra Violet lights capture the 70s Disco fashion perfectly.
Disco gave way to dress codes and a door screening policy. People had to have tried to look right to gain entry to clubs. Disco wear was never acceptable for day wear, but for night it was the only possible wear to enable the participants to be part of the action, to be part of the atmosphere of strobe lighting, mirror balls and spotlighting of individuals at any time. Satin jackets that reflected the light and a medallion resting on a tanned chest in an open neck shirt with the collar turned up were de rigueur, however awful such fashions might seem now. The latter is a fashion male individuals will never admit they followed, yet for many men it was the equivalent of the iPod accessory or mobile phone of today.
Films like Saturday Night Fever of 1977 as John Travolta illustrates in the header, emphasised how important it was to release all the pent up energy of the working week on the weekend. Posing clothes designed to show off the body and made in materials like figure moulding stretch Lycra were ideal. The elevation provided by platform soled shoes which were the epitome of the spirit of the seventies, also gave an air of theatrical space age fantasy as individuals in Lurex and satin flared silver trousers shimmered as they swayed to the music beat.
Soul Train is an American musical variety show that aired in syndication from October 1971 to March 2006. In its 35-year history, the show primarily featured performances by R&B, soul, and hip hop artists, although funk, jazz, disco, and gospel artists have also appeared. As a nod to Soul Train's longevity, the show's opening sequence (during later seasons) contained a claim that it was the "longest-running, first-run, nationally syndicated program in television history," with over 1,100 episodes produced from the show's debut through the 2005-06 season.
The series was created by Don Cornelius, who also served as its first host and executive producer, and aired first-run episodes from 1971 to 2006. Production was suspended following the 2005-2006 season, with a rerun package (known as The Best of Soul Train) airing for two years after that. With his smooth, resonant baritone, Cornelius introduced hundreds of stars to the nation's multicultural TV audience, including James Brown, Jerry Butler, Marvin Gaye, The O'Jays and Barry White. In the background were a colorful menagerie of partiers who influenced dance and fashion and opened a window onto black culture that had received scant media exposure."Motown had laid down the sonic groundwork, but Don Cornelius let you visualize it," he says. "Black power was visible on Soul Train. It's what led to the love affair between black and white culture, and why eventually you started seeing white musicians like Boz Scaggs on Don's show. That show filled a gap."
The program was rife with iconic elements. There was the Soul Train line, in which pairs of dancers popped creative dance moves and flashed outrageous jumpsuits and Afros on their way down. The Scramble Board gave two dancers 60 seconds to unscramble the name of a notable African-American entertainer or historical figure. The dancers became stars in their own right and created moves such as locking, roboting and waacking (later known as voguing) that would be replicated at clubs and parties around the world. Singer Jody Watley and dance partner Jeffrey Daniels, who would become part of hit-making trio Shalamar, got their start on the show. (Daniels' "backslide" step is credited with influencing Michael Jackson's moonwalk.) So did Rosie Perez and Fred "Rerun" Berry (What's Happening!!).
Moon Shoes Boogieland
TOP 20 Disco Songs
1. I Will Survive - Gloria Gaynor - 1978 2. Le Freak - Chic - 1978 3. Stayin' Alive - Bee Gees - 1977 4. Super Freak - Rick James - 1981 5. Funky Town - Lipps Inc. - 1979 6. Disco Inferno - Trammps - 1976 7. YMCA - Village People - 1978 8. Born To Be Alive - Patrick Hernandez - 1979 9. Billie Jean - Michael Jackson - 1982 10. Get Up...I Feel Like Being A Sex Machine - James Brown - 1970 11. Mandolay - La Flavour - 1980 12. I Feel Love - Donna Summer - 1977 13. Love To Love You Baby - Donna Summer - 1975 14. Shame - Evelyn "Champagne" King - 1977 15. I'm So Excited - Pointer Sisters - 1982 16. Do You Wanna Funk - Sylvester - 1982 17. Babe We're Gonna Love Tonight - Lime - 1982 18. That's The Way I Like It - K.C. & the Sunshine Band - 1975 19. Knock On Wood- Amii Stewart - 1978 20. Night Fever - Bee Gees - 1977
Rihanna pays tribute to legendary Dancehall Dancer at the 2012 Grammies April 17th 2012
Barbados-born Pop princess Rihanna busted the 'Willie Bounce,' "Wacky Dip' and the 'Weddy Weddy' dance during her highly anticipated performance with Cold Play during the Grammys on Sunday. Ri-Ri, a long time Dancehall lover, either knowingly or unknowingly, paid the ultimate tribute to legendary Dancehall dancer Gerald 'Bogle' Levy. In case you missed it, here is Rihanna and Cold Play ... Wacky Dip-Wacky Dip-and Dip!
Bogle, Born Gerald Levy became a prominent Dancehall fixture when Buju Banton's dance tune "Bogle" hit the party scene and the airwaves in 1992. He was called the dance master because he could create dances without much effort. Some f the dances which are credited to him Also known are Row-the-Boat, World Dance, Zip it up, Out and Bad, the Jerry Springer dance, Willie Bounce, Wacky Dip and many many moves through the 90s and into the early 2000s. One of his most popular dances Willie Bounce was made in honour of his fellow crew member Willie Haggart. Bogle was gunned down in Kingston, JA in 2005. In 2006, Jamaican film and video director Jay Will paid homage to Bogle in his first full-length documentary Its All About Dancing: A Jamaican Dance-u-mentary:
Spanish Flamenco Dance March week 4 2012
Flamenco denotes the typical dancing art from Spain having a special recognition from Southern Spain. The Flamenco was started in the 18th century by Aundalusians an autonomous community of Spain with their traditional music and dance. It will be quite right to say that Andalusian gypsies are the inventors of Flamenco. Nowadays it is so popular that many countries of the world have the Flamenco dancing academies and recently UNESCO declared Flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
Men of Flamenco Pt 1- Israel Galvan
Having been a fan of Israel Galvan, via videos only and for some time, nothing had prepared me for the overwhelming experience of seeing him live.
Great seats at the more intimate Sydney Opera Housevenue, the Playhouse, put us right at his feet. The dust rose from the floor as Israel Galvan's lightning fast technique, cracked open the first percussive sounds made by this 'Flamenco Superstar' in Australia.
Israel mentions afterwards, “the wood is different in Australia, more slippery!” He is however, very happy to be here, calling Australia the opposite side of the world. The Playhouse floor had been built up with squares of, what looked to me like, particle board and during the show Israel called upon a tray of rosin, hidden behind his chair, at every opportunity. The boards were well miked so that you could hear every sound, the crunching rosin, every finger click, every body slap and when Israel dances there are literally hundreds of these every few minutes. His entire body is called upon to become a percussive instrument and to the delight of the audience this creates unique, yet subtle bursts of occasional flamenco humor that build upon each other throughout the entire show. For most of the show, I was mesmerized by his seriously talented performance, but during the two encores I was wiping tears of laughter from my face. If you are going to see the show, make sure you make a lot of noise at the end of "La Edad de Oro," you will not want to miss the encores. It’s worth travelling to Sydney just to see those final fun-filled minutes!!!
During this 75 minute performance, and when Israel is ON, you can’t take your eyes off him. When he dances there is so much going on, so much to watch and at times he appears to be relating to some invisible apparition, a presence in front of him that only he can see.
The guitarist and singer need a special mention here and although Israel's talent shines throughout. This show is a conversation between a flamenco guitarist, a singer, and a dancer. Alfred Lagos' guitar is brilliant, crisp and bright, he is so comfortable accompanying the cante of David Lagos, a singer with a great deal of presence and power. Israel explains later that… "they are brothers, two sides of the one face!" As he says this, he is flipping a palm from one side of his face to the other. If you find yourself wondering what this avant-garde show is about, it is important to remember that you are watching three mates talking together on stage in a unique language that is fluent to all of them!
Salsa from the beginning... Part 2 (read Part 1 below) March week 4 2012
The Next Level the 70's... BREAK BEATS eventually became the heart and soul of what we call hip hop today. BREAK BEATS is what AFRIKA BAMMBATTA used to describe to the young ROCK STEADY bboys as "THE CALL OF THE DRUM". Once the drums start playing, people that fell the spirit of these drums will gather. The BREAK BEAT was so powerful that it attracted people from all communities (mostly AFRICAN AMERICAN, PUERTO RICANS, ). And these people would gather in the jams to hear there favorite beats.
During the early 70's the original bboys were mostly if all African American. in the Bronx we had a mixture of both black and Latinos living in the same hood, but there were two subcultures going on at the same time. while the young African American kids were more into the James Brown sound, most Latinos were into salsa and hustle, and of course a style of dance known as UPROCKIN, which was made popular in Brooklyn new York. Latinos were also in allot of park jams that were going on during the early 7o's mainly because we shared the same hood as our cousins in the African American community. But during the mid 70's the young Latino youth started picking up on the culture more.
These crews were also mixed with both Latino and African American youth. And with these young Latinos came a new flava in the BBOY world. A more SALSA type of feel which was added on the already established BBOY style. Also More of the UPROCKING style was mixed with the BBOY style TOP ROCKING and while both styles of vertical dance have there own history and flava, there are similar steps used by BBOYS during this time period. And with both cousins communities battling each other as well as dancing along side each other, some of the most inovated moves started to appear.....
Salsa from the beginning... Part 1 March week 3 2012
Salsa is a partner dance form that corresponds to salsa music, however it is sometimes done solo too. The word is the same as the Spanish word salsa meaning sauce, or in this case flavour or style. Danced on music with a recurring eight-beat pattern, typically the music involves complicated percussion rhythms and is fast with around 180 beats per minute. Salsa music is a fusion of traditional African and Cuban and other Latin-American rhythms that traveled from the islands (Cuba and Puerto Rico) to New York during the migration, somewhere between the 1940s and the 1970s, depending on where one puts the boundary between "real" salsa and its predecessors.
There is debate as to whether Salsa originated in Cuba or Puerto Rico. Then again, it is a debate, and there is the possibility that it could have originated in both places or only one. Salsa is one of the main dances in Puerto Rico and is known world-wide. The dance steps currently being danced to salsa music come from the Cuban son, but were influenced by many other Cuban dances such as Mambo, Chá, Guaracha, Changuí, Lukumí, Palo Montel, Rumba, Yambú, Abakuá, Comparsa and some times even Mozambique.
It also integrates swing dances. There are no strict rules of how salsa should be danced, although one can distinguish a number of styles. According to testimonials from musicologists and historians of music, the name salsa was gradually accepted among dancers throughout various decades.
The very first time the word appeared on the radio was a composition by Ignacio Piñeiro, dedicated to an old African man who sold butifarras (a sausage-like product) in Central Road in Matanzas. It is a song titled Échale salsita, wherein the major refrain and chorus goes "Salsaaaaa! échale salsita, échale salsita." During the early 1950s, commentator and DJ "bigote" Escalona announced danceables with the title: "the following rhythm contains Salsa." Finally, the Spanish-speaking population of the New York area baptized Celia Cruz as the "Queen of Salsa."
Martha Graham March week 2 2012
There was a certain feeling of hope and expression that came with my introduction to modern dance as an 8 year old. After falling in love with classical ballet and the music and the romantic stories of Giselle and Swan Lake, for so many years, this was a much deeper emotive way of story-telling. We were lucky to learn off teachers that recognised this new style that was coming through known as Martha Graham Modern dance.
She is universally understood to be the twentieth century’s most important dancer, and the mother of modern dance. She took from cultures such as Indonesian and African dance and was the first choreographer to regularly employ both Asian- and African-American Dancers.
Her contributions to the art of stage design and dance production are countless, receiving the Presidential Medal of Freedom and the French Legion of Honor. In quoting our present Modern teacher and Martha's ex-student Paul Saliba, "You won't see this around much anymore, this artform is dying. I'm here to keep it alive".
Madi does Martha - Peter Lindbergh Harper's Bazaar 1994
Martha Graham’s impact on dance was staggering and often compared to that of Picasso’s on painting. Her contributions transformed the art form, revitalizing and expanding dance around the world. In her search to express herself freely and honestly, she created the Martha Graham Dance Company, one of the oldest dance troupes in America. As a teacher, Graham trained and inspired generations of fine dancers and choreographers. Her pupils included such greats as Alvin Ailey, Twyla Tharp, Paul Taylor, Merce Cunningham, and countless other performers, actors, and dancers.
She collaborated with some of the foremost artists of her time including the composer Aaron Copland and the sculptor Isamu Noguchi.Throughout Graham’s career she would return again and again, telling the stories of the struggles and triumphs of both great and ordinary women. Despite her age, she continued to dance throughout the 60s and it was not until 1969 that Graham announced her retirement from the stage.
For Graham, however, life away from dance was impossible. Though no longer able to perform she continued to teach and choreograph until her death in 1991. It is nearly impossible to track the influence of Martha Graham. Everyone from Woody Allen to Bette Davis cites her as a major influence. She is universally understood to be the twentieth century’s most important dancer, and the mother of modern dance. She performed at the White House for Franklin Roosevelt, and received the Presidential Medal of Freedom and the French Legion of Honor.
She was the first choreographer to regularly employ both Asian- and African-American Dancers. Her contributions to the art of stage design and dance production are countless. Martha Graham’s continued experimentation and her constant attention to human emotion, frailty, and perseverance, is one of the greatest individual achievements in American cultural history.
Thank God It's Friday - March week 2 2012
Xanadu - Olivia Newton-John
Olivia Newton-John has been named among a group of seven National Living Treasures and when I came across this song I realised how much of an Idol she was for me growing up as a little girl. Xanadu- The Dancing was way ahead of its time with Boogaloo Break dancers and Poppers and of course the amazing Gene Kelly.
Absolutely everything is in there, A Dancer's delight: Rollerskaters to Solid Gold dancers, Breakers to Gene Kelly, Salsa and even tight rope walkers. On Friday when you're feeling a bit up-tight have a listen, let your hair down and step back in time...Agghhh!
Thank God It's Friday - March week 1 2012
DON'T BE CRUEL- BOBBY BROWN
Music video by Bobby Brown performing Don't Be Cruel. (C) 1988 Geffen Records Until I started re-watching these videos, ( after Whitney's passing) I had totally forgotten how much fun Bobby was and the big part his songs, fashion, and dance style played in my high school life and growing up years...
BadYard Sound System and Basslines Sat 3rd March 2011
BadYard Sound System and Basslines Sat 3rd March 2011
This Saturday Night, tear up the dancefloor with the BadYard Sound System and Basslines playing Dancehall and Reggae at The Gladstone Hotel - 115 Regent St Chippendale. 10pm til late.
Hip Hop Ya Don't Stop!
Hip Hop Ya Don't Stop!
To all the hip hop teachers.
Its not a 1 2 3 4 5 6 7 8 a 1 2 3 4 5 6 7 8.
Its a street dance - Which started on the street! Not in music clips or Estedfords. Be best to remember that - Check out this gem!
Badonkadonk is back SAT FEBRUARY 25, 2011
=..feat....DANCE STUDIO 101 DANCERS!!
GOODGOD Small Club, 55 Liverpool St. Chinatown.
GAPPY RANKS (UK)
The UK's #1 Reggae and Dancehall artist! FRIDAY FEBRUARY 17, 2011
GOODGOD Small Club, 55 Liverpool St. Chinatown.
*Special offer $15 for Dance Studio 101 guestlist- Hit us up if you wanna come along this Fri!
Thank God It's Friday - Feb week 3 2012
Solid Gold is an American television series which aired from 1980 to 1988.
The main premise of Solid Gold consisted of the "Solid Gold Dancers" doing elaborate, often risque dance routines to the top ten hits of the week. With their flashy costumes and oh so eighties poofy hair, the "Solid Gold Dancers" would become a worldwide sensation.
Thank God It's Friday - Feb week 2 2012
"The Glamorous Life" was originally intended to be recorded by the short-lived replacement act for Vanity 6, girl group Apollonia 6. Prince allegedly had several tracks lined up for the trio to record for their 1984 debut album (and by some accounts, their follow up album as well) but abandoned the idea when he learned that lead singer Apollonia Kotero had no desire to stay in the group beyond her contractual obligations as designed for her movie role in Purple Rain.
Prince decided to give the song to Sheila E. who was fresh off her duet on Prince's "Erotic City". "The Glamorous Life" would be recorded by Sheila and go on to launch her solo career.
Sienna NYE "Le Moulin Rouge" , Establishment
Dance Studio 101 Dancers and choreography were the stars of the night as the main show for Sienna NYE "Le Moulin Rouge" , Establishment Sydney.
Jason Beitel at 101
We hosted Jason Beitel Kylie Minogue's head dancer for the last 4 tours at the studio over the summer break for his Sydney workshop- 10/01/12. A gorgeous dancer/choreographer and such a lovely guy.....
check out some of his class - here.
Ludwig Dance Co at 101
We were happy to host Emma and Cass from Ludwig Dance Co (Perth) here on holidays in Bondi over the summer. They will be representing at Stuttgart, 16th International Solo-Dance-Theatre Festival in Berlin.
BodySong, a new work created by Emma and performed by Cass, has been chosen along with 17 other solo works from around the world. The Solo-Dance–Theatre Festival celebrates and showcases equally choreographers and solo artists, they are extremely excited to be involved in this prestigious event and we wish them all the best.
NEW CLASS JFH (Jazz Fink Hip Hop) with Cory Thursdays 8pm-9.30pm - bring your heels...!
Cory has performed all over Australia and Internationally with Kylie Minogue, Alexis Jordon ,Olivia Newton-John, Ke$ha, Kelly Rowland, Prinnie, Rogue Traders, Napoleon Perdis, George Michael, Tina Arena,Cassie Davis, Zoe Badwi, Lilly Allen, Guy Sebastion, Paulini, Marcia Hines, Natalie Bassingthwaite and Amanda Lapore.
He has recently just finished The Next Step Tour 2010 and has travelled internationally with The House Of GaGa.
Doppleganger Dames- the 2nd daming.
Check out this event Doppleganger Dames- the 2nd daming. Featuring the best of Sydney's Burlesque performers including our very own Maya D' Jour as Josephine Baker - 19th February at The Standard.
There will be appearances from Madonna, Rhonda Burchmore, Kylie Minogue, Julia Roberts, Marilyn, Liza and even Charlie Chaplin, at Sydney's newest performance venue The Standard, 383 Bourke St Surry Hills.
Happy New Year!
Happy New year! We hope you had a good break and your body, mind and soul are well rested!!
We are back with classes and have some great new things happening at the studio! (check the workshop page here).
We've got a new timetable for 2012 as well as new teachers so please come along and check them out.
So watch this space, or click here if you would like us to inform you of the dates.
We're looking forward to a big exciting year and can't wait to see you all soon at 101.