“…But those unheard are sweeter”

Heard melodies are sweet,

but those unheard are sweeter.”

~John Keats

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Recently, I saw this quote from Ode to a Grecian Urn tattooed on a girl’s back shoulder.  I am glad there was a huge treble clef attached to it, which drew my attention to the words.

So many memories of English Literature class, and falling in love with Romantic poets were brought back to me in that moment. And Professor Lee Johnson, my favorite professor, who instilled such a passion for poetry and words in me, even though I was actually in sciences at that time.

Those words meant something in particular to me at that time, according to what was going on in my life then. I wasn’t dancing, and I definitely wasn’t singing when I first read those poets and Keats’ ode.  But I understood and got a taste of those “unheard melodies” in the form of pauses and breaths in the middle of certain sentences or poetry lines.  Writing and reading took on this whole other sensation for me because of this.   So did fine art, as I would notice not just the strokes and colours on the canvases I painted or drew on, but also the negative space within those creations.  I could see the beauty of the “unheard” melodies in the artwork I studied in art history classes as well. To me, they were the spots that the artist chose to purposely leave blank.   The blank spaces often said as much, if not more, than the ones full of swirling brushstrokes.

It’s amazing how now, the words take on another layer because of these newer passions of mine, especially dance.

Because it is the breaths and pauses in dancing and singing that I live for the most in these disciplines.  Very often, we concentrate on the hits, the strong beats, the parts in the music where your feet want to step the loudest or strongest.  But when someone breathes with me at the beginning of a dance, or when suddenly, there is a pause in the music, and we stop together to take in that moment, that’s what makes the hits and sharper, quicker movements so memorable.

It’s also what gives me goosebumps- those “unheard” melodies in between the musical notes, in between the dips and spins and waves.  I can name particular dancers over the course of my dancing experience who have made me feel those moments, those pauses, between the pulses and traveling sequences.  It is the leaders who have stopped me in my tracks to be so present in those moments, to experience the sweetness of what is not heard but felt so deeply, that remain in my memory forever.  Although those moments can never be replicated again exactly as they were, that is also what is beautiful about them.  They linger within us, long after they happen, because of their magic to bring us into that very instance.

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It’s like nothing else exists in those moments except for that feeling. And that is the part of dance that makes me crave more of it.  These captured moments of ‘stillness’ that we often don’t take the time for in our daily lives, these instances of total surrender to our senses- the feel of our partner’s hands or arms around us, the touch of our feet pushing through the floor, or the floor pushing back up into us to ground us and keep the motion flowing, or the deep breaths taken at the same time as the pause in the music.

It is this that draws me to the dance floor again and again, no matter how tired I might feel beforehand, no matter how many other life issues are on my mind.  Dance takes me out of this and into the moment.  It feels like something otherworldly, orchestrated not by us but by something divine. Or to remind us of our connection to Spirit and the Divine. We just have to be open to it, to allow ourselves to listen and believe in the “unheard” melodies that capture our hearts and let our souls soar. It is the pauses and the breaths in the dances that enliven me and convince me that we are connected to something so much greater than ourselves. We just have to let that connection flow to and from us.

Dance allows us to hear the unheard, to experience something out of this world while still remaining in it.

Dance is divine.

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Faith, Freedom and Truth- Interview With Andra Carmina

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Which styles of dance are you into?  Do you have a favorite?

​I started dancing in 2009 after taking some salsa and bachata lessons at McGill. My dancing journey eventually followed me to Toronto, where I got introduced to zouk, and from there on, no other dance has had my heart quite like zouk does. I’ve dabbled into other dances like bellyDancing, kizomba, and dancehall.  While they do bring out certain parts of me, zouk allows me to express myself in ways I almost can’t explain. Continue reading

Following Your Heart- An Interview with Madan Kumar

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Where do you live and what styles of dance do you dance?

I live in Mumbai and I dance Salsa, Bachata & Kizomba

What got you into dance?

Dancing was my hobby since childhood, but I never knew I would end up as a full time dancer, teacher and performer.

I remember being asked why, if I’m Indian, I dance Latin dances instead of Indian dance. I I love Indian dance, but it just wasn’t what I gravitated to. And I thought it was a bit of an ignorant question at the time. Haha. But now, here I am, asking you the same question (laughs). Since you are in India and Indian, what made you choose Latin dances instead of Indian dances?  Continue reading

Interview With Sia Kaskas- Revolutionizing Aging

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I really admire you for your strength and agility as a kickboxer, but also for being in a field that traditionally might have been thought more ‘suitable’ for men.  

Did you find it hard to work your way up in kickboxing, especially as a female, in terms of having support and being taken seriously?

Staying at Champions Martial Arts Academy for all the years that I did- from being a novice student to becoming an instructor and employee- had its challenges. I would say it made it easier having female role models around me- such as Master Ingrid Katzberg and Sensei Anita Katzberg. These two sisters own and run the school (along with Master Farid Dordar). Their strength was so inspiring and motivating for me and thousands of other female students in the city.

Yes. I remember them being highly regarded throughout the school and community. 

Yes, and Master Ingrid and Master Farid welcomed all genders to train and compete. I never felt any judgement from either one of them. The only challenges I encountered were from a minority of younger males who felt uncomfortable around me. I competed early on in my training years in eight tournaments and in five ring-fights and I was always the oldest female among the fight team. So that was tough in terms of judgment. And I later faced another challenge when I began instructing. Once again, some males found it difficult to be instructed by a female. This led me to train harder and to show them I am not as limited as they think. Of course now, after fifteen years of instructing, one builds a reputation and I have not had any issues with this in a long time.

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World Dance- by Ryan Morrissette

“My goal is

just to make

the whole world

dance”

~ Ryan Morisette

 

 

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Strength in Diversity- Interview with Gabriel El Huracán- Part 2

In Part 1 of this interview- “Why Tango?” Gabriel El Huracán  discusses what it was about Tango that drew him into the dance so deeply.   I have begun this second half of the interview with some of the words Gabriel left us off with at the end of Part 1. They just seemed so fitting to the theme of Part 2 of this interview:  celebrating the beauty of differences, the strength of diversity.

Gabriel:   In tango, you’ll have a kid who is twenty years old who is still in college or university and he’s beginning his life. And in the same room, you will have this older tanguero who might be eighty years old, dancing right next to him.

And you might meet a lawyer and a plumber and a stay at home mom all in the same room doing the same dance, sharing the same passion. You have people from all social classes in the same space. You have people from all ages, and people of all different cultures connecting through this common passion.

Tango allows me to make these unlikely encounters that I never would have made in my daily life otherwise. Continue reading

Why Tango?- Interview with Gabriel El Huracan- Part 1

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I am really impressed at how quickly it seems you have picked up tango and to such a high level. Do you feel that there is something about your life before tango which contributed to this?

For as long as I can remember, I was always more of a physical person.  I was into basketball and into movement in general.  I think if you’re an active person and just more physical in your life in general, you’re used to telling your body to move in certain ways.  You’re used to isolating certain parts of your body and just having more body awareness.  And this is really important, especially in tango.  So perhaps that gave me an ‘advantage’ in terms of learning tango quicker.

And you used to be a bartender before, right?  I think bartending is an art in itself.  A bartender friend of mine even described her job as a dance on some nights.  Do you see any parallels between your life as a bartender and the way you teach or dance now?

I never thought about it before, but probably the social skills I developed while being a bartender helped me with my teaching in some ways.   I mean, I was already used to expressing myself around many people, through bartending.  I was already dealing with so many different types of personalities on a daily basis and in a very busy environment. And I was used to keeping people entertained with humor and stories, and learning how to read what people wanted. It also got me into the habit of navigating around a room full of people. Continue reading

La Época Interview- Part 2

Part 2- Josué Joseph- On Family, Freedom and Inspiration

(Click here to read La Época Interview Part 1- Josué Joseph- On Faith, Music and Talent)

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In Part 1 of this interview, you talked about growing up with the influence of your father- the great bassist Alfonso Panamá. You mentioned how he was always practising and surrounding you with music, making it just a part of your everyday life.   But did you ever go through that stage of NOT wanting to be a musician BECAUSE your father was one?  Often, kids try to purposely get away from doing what their parents did.  Did you ever go through that or was it always just something that you wanted to do?

I feel like I’m in that movie Slumdog Millionaire, because every answer that I give you comes from a story (laughs).  So here’s another one:

When I was growing up, my parents did not force any of us to study music.  But when I was four years old, we moved to a new house. And in this new house, there was a piano already there.  So music just came to us.  Taking piano lessons was just normal. My brother did it, my other brother did it, and it passed down to me. It became something that I thought was just something you do.

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La Época Interview- Part 1

Josué JosephOn Faith, Music and Talent

Dance Me Free is all about the power of Dance- and the Arts – to move, inspire and heal. What an honour it is to feature an individual who understands and embodies this concept through a variety of artistic disciplines. Josué Joseph is an award- winning musician, composer, film producer, dancer and international instructor. He is an all around inspiration.  It has been a pleasure to get to know more about what drives this artist, and I am thrilled to be able to share his insights and passion for the arts in this in-depth, two-part interview.

Thank you, Josué, for your openness and authenticity. I am grateful to have met you and I know you will continue to inspire people wherever you go.  

(Click here to view the full Interview Introduction)

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Why the name La Época?

The idea came to me immediately after the death of Tito Puente.  I was talking to my father- Alfonso Panamá –who is a legendary bassist of the Palladium. After talking to him, and to Johnny Pacheco, Celia Cruz, Cachao (another famous bassist), and to some other well-known musicians and dancers, I noticed that no one else had created a film which put all of these legends together,  to document their legacies.  And my concept was different from other films that were done about the Palladium.  I didn’t want my film to be about the Palladium.  I wanted it to be about “the time” of the Palladium, and to allow people to see the musicians that supported the major orchestras.  For example, Tito Puente and Celia Cruz were in other films about the Palladium.  But Tito Puente and Celia Cruz were individuals, they weren’t an entire orchestra.  So who were the musicians who made these individuals?  That’s what I wanted to focus on.

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Intro to Interview with Josué Joseph, La Época- Of the Time,… But Also Transcending Time

IMG_8595-2No hay que llorar; el tiempo pasará, tú verás.

(There’s no reason to cry; the time will pass, you’ll see.)

Podrás abrasarme de nuevo, tú veras.

(You’ll be able to hug me again, you’ll see.)

Que no hay que llorar! Que conmigo estarás de nuevo!

(That there’s no reason to cry! That you’ll be with me, again!)

Que podrás adorarme de nuevo! Yo se que no me olvidarás!

(That you’ll be able to adore me, again! I know that you won’t forget me!)

Each of these lines is written in aqua blue across my bathroom, hallway and closet mirrors. The words are the lyrics to the song Verás, which I was introduced to in a live performance at the 1st Vancouver Mini Congress this fall. I don’t remember ever making it to the early parts of any dance congresses before. I usually like to save my energy for hanging out with friends and then social dancing later. Yet, something that weekend compelled me to skip out on a good friend’s pre-party and show up early for a film being shown at the congress instead.

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