Past Projects: Folk Feet Dance Workshops
Organize your own traditional dance workshop! Use BAC's Folk Feet Dance Workshops to create your own class or workshop series with Brooklyn’s traditional dance teachers.
Folk Feet Dance Workshops focus on teaching the movement repertoire of specific traditions. Each workshop also provides an overview of the dance's cultural setting, such as the costume, music and crafts that traditionally accompany it. Teachers are all former participants in Folk Feet: Celebrating Traditional Dance in Brooklyn and are experts in dances from immigrant-based traditions like Greek syrtos and Brazilian candomble to such homegrown Brooklyn forms as urban popping and b-boying.
Please contact teachers directly by clicking on 'contact info' that appears in each teacher's bio. When you learn a new dance step with a Folk Feet Dance Workshops teacher, you're supporting the individuals and communities that make Brooklyn a vibrant center of traditional dance forms.
Cliff Matias demonstrates Hoop Dance at Folk Feet Circle ‘Round Brooklyn 2006. Photo: Etienne Frossard
CLIFF MATIAS
NATIVE AMERICAN DANCE
Cliff Matias is the founder and director of Redhawk Native American Arts Council, a Brooklyn-based organization established in 1995 that promotes and presents Native American arts and culture. Each June, the Council hosts the largest pow-wow in the northeast at Brooklyn's Floyd Bennet Field. The teaching, practice and performance of Native American dances is a major activity at pow-wow. Among the dances forms performed, for which Matias is known, is the Hoop Dance, featuring several hoops that the dancer crawls through, throws, catches, and strings together to create shapes as the dance progresses. Matias has years of experience teaching a variety of Native American dances, song and other cultural traditions in school settings, arts festivals and within Native communities. His classes are suitable for students of all ages and skill levels and can include elements such as historical context, drum making, and a range of crafts and other cultural practices. Matias typically teaches and demonstrates to live music. Performances can also be incorporated.
Melinda Gonzalez improvises to Puerto Rican bomba rhythms Photo: Hazel Hankin
MELINDA GONZALEZ
PUERTO RICAN BOMBA
Melinda Gonzalez dances bomba, Puerto Rico's oldest native art form. An Afro-Puerto Rican dance, bomba involves improvised steps and a live drummer. But in bomba, it is the dancer, not the percussionist, whose movements dictate the rhythm. Melinda was born and raised in Brooklyn and has studied with master bomberos in New York and Puerto Rico. She regularly travels to the island of Boriquen to study the regional styles and rhythms practiced there. Melinda is working to reinvigorate Puerto Rican traditions across generations. In Brooklyn she recently co-founded a bomba youth group, offers classes in Williamsburg and directs the ensemble Los Bomberos de Brooklyn. Percussionist Jose "Dr. Drum" Ortiz, a master of the barril drum and a seasoned teacher and musician, can accompany Melinda's classes. Performances include members of Los Bomberos de Brooklyn.
Chrisafo Madimenos leads a workshop in traditional Greek circle dances Photo: Etienne Frossard
CHRISAFO MADIMENOS
GREEK LINE DANCE
Chrisafo Madimenos, an excellent teacher of Greek social dance, weaves lessons about the aesthetics and meaning of dances into her classes. The Brooklyn-raised Chrisafo spent summers in Greece with her family, where she learned village dance traditions. She has danced in a number of Hellenic ensembles and co-directed Orchesis Center for Dance and Movement, a Brooklyn-based dance school and troupe. She is also a speech-language pathologist and has taught dance to special needs children. Chrisafo teaches simple and complex Greek dances and wears examples of regional dress. She can adapt her classes to youth, families or seniors. Although Chrisafo teaches on her own, group performances can be arranged with advance notice.
Vongku Pak demonstrates traditional Korean drumming and dance at the BAC event Circle 'Round 2 in Fort Greene Park. Photo: Bernard Morisette
VONGKU PAK
KOREAN DANCE
Vongku Pak is a Korean-born and Brooklyn-based artist who specializes in Korean traditional folk arts, including poongmul, samulnor (drum and gong ensemble), and mask dance. He has studied with Human National Treasure, Hyungsoon Kim, and Utdari poongmul master Kibock Kim. Mr. Pak has been featured at numerous venues in New York, Europe, the Dominican Republic, and Korea, including Carnegie Hall, and the Lincoln Center Out of Doors Festival. In addition to his work in traditional art forms, Pak holds a BA in theater from Brooklyn College and uses his Western drama training to enhance the Korean traditions that he performs and teaches. Mr. Pak has ample teaching experience. He has taught at several non-profit organizations, public and private schools, and colleges in New York. His dynamic classes focus on combining dance and movement with drumming and drama. His classes can accommodate either children or adults and may feature solo performance.
Yasser Darwish performs Egyptian tanoura Photo: Dixie Sheridan
YASSER DARWISH
EGYPTIAN FOLK DANCES
Yasser Darwish, a performer and teacher of Egyptian and Middle Eastern dance traditions, was born in Alexandria, Egypt. He became a member of the Alexandria Folk Dance Group and later joined the National Folk Dance Company in Cairo. He is a popular performer of Egyptian Tannoura a captivating secular Sufi spinning dance -- and genres like the Arabian Horse Dance, which is performed at festivals, theatrical performances and weddings. Yasser's teaching repertoire includes Saidi stick dance from Upper Egypt, Nubian dance from the southern border region, and Debkah line dancing from the Middle East. His high-energy classes are well suited for young participants and to other dancers, but can be tailored to a range of audiences. Yasser is an excellent solo performer; a traditional accompaniment of nay (Arab flute) and tabla (percussion) can be arranged.
Rita Silva dances a Brazilian orixá invocation Photo: Etinne Frossard
RITA SILVA
BRAZILIAN orixá MOVEMENTS
Rita Silva was born in Salvador, Bahia, in Northeastern Brazil, and brought up amid Afro-Brazilian traditions. An accomplished dancer and musician, Rita has performed with dance companies throughout Brazil and the world for more than 25 years. She teaches workshops to the general public and, since 1994, has also taught traditional Brazilian dance in the public school system. Her classes introduce participants to the principles of Afro-Brazilian movement and dances associated with the gods of candomblé, the Afro-Brazilian religious tradition rooted in the West African Yoruba belief system. Dances for deities like Yansá and Oxum embody natural elements like wind, water and light. Rita works with a range of audiences; she engages youngsters with drums and samba and works with seniors through calm, meditative movements. Performances can be arranged that feature live music and a variety of Brazilian dances, including samba and capoeira.
Alberto Gonzalez and El Conjunto Nuevo Milenio in a performance of traditional Panamanian congo Photo: Dixie Sheridan
ALBERTO GONZALEZ
PANAMANIAN DANCES
Alberto Gonzalez is director of the Brooklyn-based Panamanian dance ensemble Conjunto Nuevo Milenio. Born in Colón, Panama, he started dancing at age five and later joined the Panamanian Ballet Folklorico. Currently, Alberto teaches Panamanian folk dance at the Holy Cross School in Brooklyn. His classes reflect the cultural and regional diversity of Panama, and may include dances such as congo, an Afro-Panamanian dance practiced in coastal areas, punto, a couple's dance rooted in the Spanish colonial heritage of the central province, and tamborito, a popular social dance. Alberto prides himself on his retention and knowledge of traditional Panamanian dress, which are little known outside of that country. Presentation of costume traditions such as the elaborate pollera de lujo, a meticulously hand-embroidered dress, traditional gold jewelry, and elaborate hair adornments can be included in workshops and are especially suitable for limited-movement and senior audiences. Conjunto Nuevo Milenio also participates in Arts in Education assemblies and programs and is available for performances with traditional Panamanian musical accompaniment.
Darrah Carr and company members in Folk Feet’s 2007 showcase
DARRAH CARR
IRISH DANCE
Darrah Carr, artistic director of Darrah Carr Dance, has choreographed for and performed with Broadway productions and dance companies at home and abroad. She learned traditional Irish dance in her native Ohio and now teaches Irish and contemporary modern dance at her studio, ModERIN, in Williamsburg. Darrah has extensive experience in Arts in Education. Students in her Irish dance classes learn about Irish society and history and related art forms like costumes and music. Live music that incorporates spoon playing, accordions and drums can accompany her classes. Performances can be coordinated with Darrah and members of her professional company, as well as with her junior company, DCWee, featuring performers aged 8 to 14.
Don Coy calls the Al-e-Mo Squares. Photo: Jeff Berman
DON COY
AMERICAN SQUARE DANCE
Don Coy, who made his way to Brooklyn from his native Louisville, Kentucky, in 1990, has trained as a square dancer caller since 1974. Don is also an expert square dance teacher, and country guitar player; his wife, Dot, also a teacher of American square dance, specializes in line dancing. Don's classes are popular in senior homes, youth programs and at festivals. He incorporates calling and song to suit the agility and energy of his audiences. He and Dot teach at Kingsborough College in Brooklyn and participate in local and nationwide square dance conventions. Don and Dot's participatory workshops can include a performance with four other couples to form a complete square.
Euston James and troupe member demonstrate limbo Photo: Jeff Berman
EUSTON JAMES
TRINIDADIAN LIMBO AND CALYPSO
Euston James, a native of Trinidad, has lived in Brooklyn since 1972. In the U.S. he has participated in West Indian carnival traditions as a dancer of calypso and limbo and as a fire-eater. His specialty is limbo, made popular in the United States during the 1960s but traditionally performed at wakes in Trinidad. A much sought-after teacher of children's programs, Euston's workshops are also equally enjoyable for seniors. His upbeat classes present dance steps in a cultural context and include dance steps, Caribbean song and call-and-response, which culminates in a participatory limbo dance. Euston and a co-teacher lead classes and may invite drummers for live music; all performances are highly participatory and workshop centered.
Kaina Quenga demonstrates Hawaiian seated hula while audience members participate; Photo: Etienne Frossard
KAINA QUENGA
POLYNESIAN DANCES
Kaina Quenga grew up in Hilo, HawaiI, where she studied and performed hula 'dance' in Hawaiian. She moved to Brooklyn in 2001, where she performs and also teaches Hawaiian cultural traditions and Tahitian dance. Kaina offers open classes in Brooklyn and Manhattan and is known as "Miss Aloha" by her preschool students in the Bronx. In addition to dance, her students learn about Hawaiian musical implements, like the "uli uli" gourd feather rattle, and Hawaiian chants. She is particularly adept at teaching young children and seniors, because her classes can be choreographed to focus on the upper body for seated participants with movement limitations. Kaina emphasizes audience participation; group performances can also be arranged.
Ivan Dominquez breaks down traditional merengue steps in a workshop Photo: Nicole Macotsis
LEONARDO IVAN DOMINGUEZ
DOMINICAN MERENGUE AND FOLK DANCE
Leonardo Ivan Dominguez has been working for more than 35 years as an educator of Dominican folk traditions. Born on the outskirts of Santo Domingo, Dominican Republic, Ivan was learning to drum by age five. Later he co-founded Santo Domingo's folkloric dance ensemble at La Universidad Autónoma. In 1996 he became director of Conjunto Folklorico, a Dominican folk arts youth program at the Alianza Dominicana in Washington Heights. He teaches Dominican dance and music traditions from a repertoire of more than 50 dances of Afro-Dominican and colonial Spanish heritage - including merengue and bachata - to Dominican youth in New York City. Classes can be taught in English or Spanish, incorporate cultural and historical learning and may include material-arts traditions like making costumes and carnival masks. Classes are co-taught by Conjunto's Assistant Director, Dario Hernandez, and may be accompanied by live music. Conjunto Folklorico is also available for performance.
Sherley St. Fort performs Haitian social dances zouk and compas before inviting the audience on stage. Photo: Dixie Sheridan
Sherley St. Fort
Haitian dance
Sherley St. Fort grew up in Brooklyn, home to New York's largest Haitian community, where she danced Hatian social dances like compas, traditional folkloric forms and popular Caribbean dances like zouk. She is co-director of the Brooklyn-based Troupe Zetwal, which is Haitian Creole for 'stars.' In addition to performing and teaching dance for a Brooklyn after-school program, Sherley is working to establish a nonprofit organization to reinvigorate Haitian dance through youth development and community-based programs. Her classes are suitable for young and adult audiences. Live drumming can also be provided. La Troupe Zetwal is available for performances.
Nadia Dieudonné performs Haitian Kontre Dans with Feet of Rhythm. Photo: Etienne Frossard
Nadia Dieudonné
Haitian folklore
Nadia Dieudonné has a lifetime of experience in traditional Haitian dance. By the age of 12 years she was performing with the well known Haitian folk singer and activist Myriam Dorismé. Today, after more than 15 years of dancing, Nadia is regarded as one of the best Banda dancer's outside of Haiti. She regularly returns to the island where she attends various Lakous (rural communities that preserve and practice Vodou), deepening her skills and understanding of the traditional practice. In 1994, Nadia founded Feet of Rhythm Afro-Haitian Dance Company, which was created to preserve and promote the rich cultural traditions of Haiti. Feet of Rhythm has been featured at several venues within the US and abroad. Since 1995, through her creation of the Feet of Rhythm Kids Cultural Program & Dance Company, Nadia has taught Haitian music and dance in public schools, community based organizations, and daycare centers. Nadia has also conducted adult master classes at several prestigious institutions, including New York University, Lincoln Center, and the Katherine Dunham Dance Institute. She is currently pursuing a graduate degree in Dance Education at NYU. Classes focus on the folkloric repertoire of Haitian dance, and choreographed elements and movements of traditional dances, and live drumming is often used. Her dance ensemble is also available for performances.
Tamara Chernyakhovska leads a group in Ukranian folk dance at a Vechornytsi.
TAMARA CHERNYAKHOVSKA
UKRANIAN FOLK DANCE
Tamara Chernyakhovska is a Brooklyn-based Ukrainian choreographer, teacher, and dancer. For fifteen years she was a principal dancer with the G. G. Veriovka Ukrainian National Dance Company of Kyiv, and prior to this performed with the State Folk Ensemble of Ukraine. Tamara devoted herself to the study of Ukrainian village dance forms by traveling every year to remote villages throughout Ukraine to learn dances first-hand. Presently Tamara is the primary dance instructor for the ongoing Vechornytsi (Ukrainian village dance party) programs offered by the Ukrainian Community Cultural Initiative at New York's Center for Traditional Music and Dance (http://www.ctmd.org). Tamara has been teaching Ukrainian folk dance, as well as ballet, jazz, and modern dance, to children and adults in for more than thirty years. Ukrainian social dances taught include the men's pleskan, the children's arkan, the hop-and-kick polka, the shivering polka, the circular hutsulka, and many other regional forms. Her classes also introduce the cultural background of Ukrainian dance traditions and other folk practices associated with Vechornyti. She frequently works with live musical accompaniment, and performances with Tamara's dance ensemble, Holubka, can by arranged.
Deborah Strauss leads a group in traditional Yiddish dance.
DEBORAH STRAUSS
YIDDISH DANCE
Deborah Strauss (violin, accordion, vocals, dance) is one of the finest of the contemporary klezmer instrumentalists and a well-known Yiddish dance instructor. She frequently appears as a featured dance instructor through the Center for Traditional Music and Dance's groundbreaking Yiddish Dance Project and has taught dance at festivals and workshops worldwide. Deborah also appears as an instrumentalist on numerous recordings and was a long-time member of the Klezmer Conservatory Band and the Chicago Klezmer Ensemble. She is currently performing internationally as part of the Strauss/Warschauer Duo and is a much-loved teacher of Yiddish music and dance to students of all ages. She studied violin at Rutgers University and ethnomusicology at the University of Chicago.
Tiny Love gets kids in a b-boy stance Photo: Kay Turner
TINY LOVE (RAZVAN GOREA)
BREAKING AND ELECTRIC BOOGIE
Tiny Love (Razvan Gorea) and Guests Tiny Love is well-versed in several urban dance styles including waving, b-boying and uprock. He specializes in Electric Boogie, which features Popping, a technique developed in the 1970s that is still featured in today's hip-hop videos. Tiny grew up in Romania and learned b-boying and other hip-hop styles from imported videotapes. In 1990, after the fall of the Iron Curtain, Tiny came to New York City, where he honed his skills with Brooklyn dancers. Tiny teaches Popping classes in public schools and to the public. He is a captivating solo performer. Other Brooklyn dance masters are available to join workshops or performances that incorporate urban traditions from Brooklyn and across the nation, and may include Ralph "King Uprock" Casanova (Brooklyn uprock), Break Easy (b-boying), and Shockalock (locking).
Photo: Dixie Sheridan
SHOCK-A-LOCK
LOCKING AND STREET DANCE
Brooklyn-born and raised, Kevin (Shock-a-lock) Porter is an original locker who was instrumental in sparking the locking dance in New York City in the 70s. Locking is a style of isolated movement innovated by Don Campbell and popularized on TV show Soul Train. Along with b-boying and popping, it is one of the traditional elements of urban street dance and today’s hip hop. Shock-a-Lock is founder of the performance group, Lockism: The World’s First Mimelockers. He continues to hold his own at the forefront of the urban dance scene, staying true to the tradition while presenting highly innovative material with a crew of remarkable dancers. Shock-a-lock is an expert dancer and teacher. His classes can be geared to professional b-boys and b-girls, introduce basic moves to new audiences in a fun, accessible way, or bring seniors back to the early 70s with moves to original funk hits from Soul-Train era. Shock can also invite co-teachers of other urban dance traditions like uprock or breaking. Group performances can also be arranged with his company Lockism.