Breathing

 

Breathing: a simple task. We all do it constantly, whether we think about it or not. This link and song, written by Benj Pasek and Justin Paul, epitomizes how breathing needs to be more than just a simple task. We all need to take time out of our busy, stressful life and remember to simply breathe. Anything you set your mind to you can achieve, as long as you breathe and have confidence in yourself. Don’t hold your breathe, constrict yourself and limit your possibilites. Breathe through life and let your breath carry your life. Life moves, Move with it.

-Sam Quinn, Contributing Writer 

Back from The Edge!

The senior dance team at Breakout Studios recently took a trip to Los Angeles to take classes at The Edge, a world-renowned dance studio.  I sat down with Todd Wilson, owner and director of Breakout Studios, and got the low-down on why the Edge trip was so important to them.

First off, because I think you have an interesting take on it, tell us about the senior dance company.

The company program used to be a for-profit youth dance company that would take dancers in the community, train them, and take them to competitions. It was based more on the competitions, whereas now it's more education and performance.  There's a positive side to competitions, of course, but it’s a machine that can become more about product than quality. This year we're only doing one competition and that's where the Edge trip came from.  The idea of the Edge trip was to do something more based on education and exposure than actually going to a convention.  That's sort the standard, that's how kids get out there, but you're one of 400 in a ballroom.  You don’t get individual attention. The Edge is an actual studio, so it’s quite different.

What makes The Edge special?

From my personal point of view, I was awarded a two week scholarship to go there when I was twelve, which was amazing for me. It was a big deal!  The Edge at that point in my mind was a mecca of dance where you have the best choreographers and teachers in the commercial industry all teaching in one place.  Now you have more options in L.A., but back when I was dancing, fifteen years ago, that was it.  So, I started taking classes there, and at 17 I got a full summer scholarship to train there called "Dance with the Force." “Dance with the Force” comes from their touring competition that they used to have.  They were based more on dance education versus the newer ones which are more "compete! compete! compete! ...and then we'll have a few classes."

So, would you say that that kind of program is more community-based?

There are still a few around that are more based in education. I'd say yes, it's more community driven if you look at it nationally, but there's really nothing like L.A. Dance Force.  That's where I got my foot in the door as far as the work that I ended up doing in Los Angeles.  So, I got that summer scholarship and I performed in their end of the year showcase, which is reserved for their year-round scholarship students.  They take approximately 20 students, train them all year, they get to work with the best in the industry, and at the end of the year they perform for producers and casting agents. So, we were treated like superstars, and only ten of us got to do that summer program.  Some of us are still working actively in the industry, producing major things.  That program, in particular, has spawned some really successful performers.

The team raised over $1,100 to help fund the trip!

It seems like their program is pretty open, like, if you have an interest in dance...you can take their classes.

It is really open.  I would say they aren't as beginner friendly as we are, not that we’re in the same market at all, but they definitely have programming for a wider range of people than most of the studios in L.A.  And that's why we were able to take these girls from Tucson to one of the best studios in the country and set them loose. They got ten class cards and they had no problems getting those babies knocked out.  

Were there any teachers, in particular, that you wanted them to study with?

Yeah, there were a few people that I trained pretty heavily with.  Bill, the owner, teaches technique classes, and he's been a mentor of mine for years.  It's neat to see your students take from your teacher.  Just thinking in my head, they might not know now, but they will realize later how amazing this moment is.  Bill has shaped the future of many of the best dancers of the world for the past 20 years.  I know how much of an affect he's had on me and my success, so that was important.  And another person, Adam Parson, who I actually worked for professionally when I lived in L.A.  All in all, it was a really nostalgic experience.  It was so weird to relive such a big part of my evolution and it brought me back to so many things. Watching choreographers, being in the studio, feeling the carpet, smelling the smells, riding the elevator...it brought me back to a time when I was more attuned to texture in everything, detail, and being "on".  It was really inspiring.

Having any sort of experience like that puts you in a place not just to create, but to receive the creativity of others.

Oh, totally. And with that said, we had a really successful weekend with our podcast production and we got to talk with Robert Schultz, which was incredible.

Tell us about Robert Schultz.

Robert is a working professional.  His successes of late are the big flash mobs you see on t.v.  He did the "Modern Family" one, he's done a lot of great work.  He's been all over the place as far as the commercial world.  So we got his take on dancing, choreography, direction, all sorts of things.  He brought it to the place we want our podcast  to be which is that it's relatable to everyone.  Movement is beyond just a professional career, movement can affect anyone.  So we're eager to get out there again for just a production weekend.  

And we’re eager to see who you rope into the podcast booth!

It was a little bit tough at first for me to go back because I hadn't seen a lot of these people in a while.  I go back for work, but I have a really different window into the entertainment world.  A lot of the work I’ve done is through Canyon Ranch, so I have a direct access to the individuals who make the decisions on major entertainment moves, products, and fashion for ten years.  I haven’t really had to be in that world.  I’ve been able to skip a few steps, which is great, but I really haven’t had the exposure that I would have had if I was working in L.A. and had an agent...to my peers at least.  So it’s like you have to re-tell your story, and I was nervous about that.  For me, a large portion of my success are these girls we brought on this trip.  For others, it’s what is this job, who are you booking, who are you dancing for, who are you directing for,  what can you give me, so I was worried about putting myself into the meeting place of all that at The Edge because there’s that constant flow of people in the industry...but it was fine!

Our own Michael Montoya working on the podcast.

So you put yourself in that space to deal with it and you didn’t happen!

Oh, I was armored up.  Not only was it fine, but it was great to see everyone and neat to see how many people were already tuned into Breakout and were following already.  I didn’t have to explain much.  Beyond that, we have so much up our sleeves that we haven’t shown yet. It was a fantastic weekend.  I’m itching to get back.

When are you going back?

We have so much going on, so it’s hard to get past the day of Breakout versus the week or month, but we’re thinking April.  I actually received a text from a person we interacted with and they’re already lining people up for podcasts.  And we didn’t even ask them to!  They’re as excited about it as we are.  I would love to even set something up at the studio and make it more interactive where we can just pull people in and ask them questions.

That sounds amazing! I know I probably speak for everyone when I say I’m excited to see what Breakout has in store for us in the future.

--Jolie Roberson

BreakOut at Moda Provocateur

BreakOut Studios dancers once again will be featured entertainment at the Moda Provocateur hair & fashion show benefiting SAAF (Southern Arizona Aids Foundation). 


Moda Provocateur is directed by our very own Todd Wilson. 


More info about this amazing event...

When local salons get together with local boutiques and models for a celebration of style, fashion, and compassion…Watch Out!The 9^th Annual Möda Provŏcateūr, presented by the Udall Law Firm,is an event celebrating the best of Tucson style while raising funds forthe programs and services of the Southern Arizona AIDS Foundation (SAAF).

The Tucson Convention Center Grand Ballroom, Möda’s new home, will be a perfect place to showcase salons including: Avalon for Hair, Skin & Nails; Ahead of Style; Aveda Institute of Tucson; J. Scordato; Mia Bella; and Style 7.

The evening will include performances from BreakOut Studios as well as winning fashions from “Project Möda”, an annual design contest that seeks out the best designers in Tucson and tasks them with creating edgy, avant-garde designs to be featured at the event. Judges included: Kendra Joe, President of the University of Arizona Black Retail Action Group (BRAG); Kristina Amaya, a local retailer; and Paula Taylor, former owner of Pour Moi Boutique and one of this year’s Cele Peterson Award winners.

The Cele Peterson Award will be presented to Paula Taylor and Erin Burke, both former owners of Pour Moi Boutique, for their ongoing contributions to the local fashion community.

The theme of the event this year is “Stand By Me” and pays tribute tothe caregivers who dedicate so much of their life to helping those living with HIV/AIDS.

Don’t miss out on this year’s incredible, over-the-top event. We’ll see you there!

General Information

Date:   Sunday March 4, 2012

Time:  4:30pm- VIP Dinner; 5:40pm- General Admission

NEW Location: Tucson Convention Center Grand Ballroom

Tickets: $125/$135 Runway Seat; $100/$110 VIP Seat; $75/$85 Cocktail Table seat; $30/$35 General Admission

Tickets Available: At participating salons, online, or by calling theSouthern Arizona AIDS Foundation (SAAF) at (520) 628-SAAF (7223)

Rehearsal video for Moda...

Nick Florez & movement.

Nick Florez is one of the most amazingly wonderful men in showbiz. He has had huge success working as a dancer, choreographer and now director. I wanted to get his insight into movement. What movement means to someone who has such a larger than life career? Big thanks to my friend for taking the time to write this blog entry! - Todd

From Nick...

Movement has always been a necessary part of my life...like breathing or eating.  Movement, at my very core, is an external expression of all that I think, dream, and imagine.  I remember being a young child, and how I was always happiest when dancing.  Even in car rides, or at school, I would dance a complete piece of choreography with my fingers, and still get similar satisfaction.  And now as an adult, movement is vital to connect with my creative consciousness.  I'm always amazed with the high frequency bliss that results from even a few minutes of moving about.  Of course, being an artist, if the movement does not feel right, it can also put you in the worst of moods.  What i've learned in my experiences so far as a student, professional dancer, and choreographer, is to really trust in the movement that is created by one's self.  That is truly a part of being in flow.  That is also a huge part of experiencing the gift of movement that is uniquely yours. 


Nick's bio:
Nick Florez has choreographed and artistic directed world tours and performances for Katy Perry, Ricky Martin, Britney Spears, Ke$ha, Selena Gomez, Keyshia Cole, Laura Bell Bundy, the Spice Girls, and Celine Dion.

Nick has choreographed for television including Britney Spears VMATribute, 2011MDA Telethon opening, Disney's "Shake It Up", Season 9 ofAmerican Idol, Bravo's "Step It Up & Dance", the Grammy's, the American Music Awards, the ACMA’s, the MTV Awards, the EMA'S, and the UK's X-Factor.

Nick has choreographed and co-created a dance workout campaign for Adidas 2012 and commercials for Coke featuring Cee Lo Green and Janelle Monae,Adidas featuring Katy Perry, and Fanta featuring the Fantanas.  He has also choreographed industrials for Sexyhair, Levi's, Macy's Passport, and Swarovski.

As a dancer, Nick has performed on numerous world tours forJanet Jacksonand Britney Spears and danced with other artists including Will Smith, Jordan Knight, Blink 182, Lil Kim, Queen Latiffah, Jewel, Paulina Rubio, the Pussycat Dolls, andMadonna on major award shows and music videos.

Nick co-starred with Beyonce in Spike Lee's "Hip Hopera" for Pepsi, and danced with Britney Spears in her Pepsi campaign which is re-airing as part of the US X-Factor launch.

Nick has appeared in the films Rent, Bring It On Again, David Lachapelle'sH&M short, as well as appearances on “Saturday Night Live,” “The Oprah Winfrey Show,” “The Ellen Degeneres Show,” “The View,” and “Late Night with Jay Leno.” 

Nick is currently choreographing "Surf", a musical based on the music of The Beach Boys, which will open at Planet Hollywood Hotel in Las Vegas.

Life Moves...Move with it™ a BreakOut Studios™ Production

A short vid of dancer choreographer Katie Miller teaching and choreographing for BreakOut Studios. The audio you hear in this vid has been taking from the interview with Katie on the Life Moves podcast. Watch the vid below and listen to the podcast at www.lifemovedpodcast.com

a Blogpost by Sam Quinn

Question to Sam... How does balance serve you in your life as a college dance major?

Balance: the main focus of a dancer. Whether literal or figurative, that one simple word can relate to multiple aspects of a dancers life. The life of a college dancer is one that is not always the easiest or most laid back. When applying to colleges my senior year of high school, my peers were constantly saying, “Dude, you’re so lucky you can just dance for your major. That’s so easy! I wish I could.” Oh, little do they know what it truly entails. Academics, dance related academics, rehearsals, shows, injuries, etc. The life of a college dancer is not your typical day at the beach. Lets take a look into my weekly schedule, shall we? Good.

Monday/Wednesday/Friday: Ballet 400 9:00am-10:20am

                                          Modern 400 11am – 12:20pm

                                          Jazz 300 12:30pm – 1:50pm

                                          Careers in Dance 2:00pm – 3:15pm

                                          Various Rehearsals 3:30pm – 8:00pm

Tuesday/Thursday: Academic 1: 8:00am-9:15am

                                          Starbucks break: about 9:30am -10:30am

                                          (depending on how fast I walk)

                                          Dreadful Science Academic: 11:00am – 12:15pm

                                          Facebook, Eat my feelings, and more Facebook: 12:30-3:15pm

                                          Choreography class: 330pm-5:20pm

                                          Collapse in bed: 530pm – forever

                                          Gym if I’m feeling ambitious (this is always a long shot)

This is just a rough sketch of a typical day in a dance major’s life here at the University of Arizona. Again, the key word is balance. Without it we would fall apart, struggle to make it through the rigorous days, or even injure ourselves.  Balancing technique classes and general education academics is quite the task in itself. Dancers are used to juggling multiple things going on in their life and having to find time/energy in their life to fulfill all their duties and complete all their work on time. One-way to survive all of this: Coffee and lots of it. I swear by it. Without balance, we would become overwhelmed and weighed down with pressure and stress.

Yes, everyone thinks that being a dance major is all fun and games but it has been one of the most stressful times of my life. As graduation stands merely just a year ahead of me, the question comes to mind: What are you going to post graduation? How can a dance degree help you? Has my time here at the University been worth it? Balancing all these through running through my head for the past 2 years has been tiring and thought provoking. Do I want to go to Los Angeles or New York City? Sign with a Talent Agency or just cross my fingers as I dive into the brutal world of auditioning? The stressful life of a dancer comes along with harsh realities and having to fend for yourself on the artistic food chain of life. Rejection is, and always will be, a dancers best friend. Again, it’s all about balance.

 

Sitting here writing this entry, I have had a different outlook on my life as a dancer. I have been blessed with amazing opportunities to work with brilliant choreographers from the dance industry. I have made ever-lasting friendships and relationships, as corny as it sounds. I have learned so much about myself living across the country, seeing as I’m originally from Massachusetts, and have learned so much about the real world and success. Was my time spent as a dance major here at the University of Arizona worth? You betcha it was. And it was all thanks to balance.

BreakOut Vids

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