Author Archives: Leslie

DEGAS, IMPRESSIONISM, & HATS: SF LEGION OF HONOR

For lovers of the French Impressionist painters and those interested in French, fashion, and women’s history, there is just one more week to see the extraordinary exhibition, Degas, Impressionism, and the Paris Millinery Trade, at San Francisco’s Legion of Honor Museum. The exhibition can be enjoyed for the exciting collection of paintings by Degas, Renoir, Morisot and others and also for the rich context of the paintings.

Edgar Degas, The Millinery Shop, 1879-1886, Art Institute of Chicago.

In late 19th century into the years just before World War I, a hat was a necessary part of one’s clothing. It clearly described one’s place in society. The more embellished with ribbons, plumes, and in some cases whole birds, the more one could be regarded as part of the idle rich. A straw boater was a necessity for men and women even if one never owned a boat. At the same time, a woman wearing a straw hat might also be a woman who wore bloomers and rode a bicycle. The craze for elaborate hats gave the millinery industry a huge economic boost at exactly the same time that the invention of the department store allowed middle class shoppers access to a vast variety of purchases. The independent millinery shops existed side by side with the department stores’ mass produced products and became more exclusive, catering to the desires of wealthier women competing for the finest, most up to date hats.

Edouard Manet, At the Milliner’s, 1881, Fine Arts Museums of San Francisco.

Although their customers might be very wealthy, the women who worked at a milliner’s shop were not. The head of the shop, called the premiere, could make a fair living, but she needed an array of workers who were skilled with a needle, knew about felting, and were desperate enough to work exceedingly long hours for next to nothing in pay. The hours could extend around the clock at the height of a “season.” Millinery workers were exposed to the dangers of mercury used in the felting process and arsenic used in taxidermy to keep from decay the birds or small animals on the hats. Twelve or fifteen hours of breathing such elements in an attic room without ventilation could cut short a milliner’s career if not also her life. This was a good setting for the spread of tuberculosis.

The reputations of millinery workers were compromised by the idea of female workers as prostitutes. Income was slight; additional resources might be accepted and surely were offered. The milliners often wore samples of their creations or were seen working in the shops either making the hats or selling them. For the middle or upper class shopper-onlooker, the woman was a commodity much like the hat. Manet’s painting above with a woman whose shoulder is bare may represent a customer trying on hats or a milliner revealing more about herself.

Edgar Degas, The Milliners, ca.1898, Saint Louis Art Museum

The Impressionists took a strong interest in the changing society around them and found inspiration in the emerging middle classes, contemporary sporting pastimes, and real occupations. All of this is examined in the paintings in this exhibition. Additionally, one may look at the pictures of the millinery shops and see, for example, Degas’ focus on color and design. The hats can be seen as pools of color making an all over design and the women working with the hat part of the design themselves just as they are both creators and tools of the millinery industry. The exhibition includes a fascinating array of hats of the era. Don’t miss a chance to see them: the hats have stories to tell. Not least of the stories is how at least 300 million birds were killed for their plumage in the year 1911 alone. Perhaps only the Great War, which changed fashion to less extravagant styles, slowed the massacres by imposing massacres of its own.

This exhibition was organized by the Fine Arts Museums of San Francisco and the Saint Louis Art Museum. Simon Kelly, Curator & Head of Modern and Contemporary Art at the Saint Louis Art Museum also organized the 2014 exhibition Impressionist France: Visions of Nation from LeGray to Monet. Read about it at www.livelyfoundation.org/wordpress/?p=486

The exhibition is open through Sunday, September 24. Tickets will be timed during the closing week. Hours: Tues.-Sunday, 9:30-5:15. see legionofhonor.org/visiting

ANN WOO: ARTIST, COMMUNITY LEADER

With great sadness, The Lively Foundation announces the passing of Ann Woo. Ms Woo was a participant and supporter of the International Dance Festival@Silicon Valley. She taught a week long (M2F©) workshop and a class on Full Day of Dance© in Classical Chinese Dance, IDF@SV 2015. In addition, she choreographed a premiere work for her dancers to perform in the 2015 Festival Concert. It is a shock to realize she has been taken from us.

It was a special delight to offer her teaching Classical Chinese dance to both adults and young dancers, age 12 and up. She was an exceptional person in so many ways. She was the Founder and Director of CPAA, Chinese Performing Arts of America. She earned a Master’s Degree in Electrical Engineering and was a successful business woman in Silicon Valley. She has an incredible 9 patents to her name. When she studied EE at UC, Berkeley, she was the only woman out of 120 students!

Ms Woo turned her energies to advancing the understanding of Chinese culture through the arts, especially dance. She received many awards. she was the Co-Founder of the Asian Heritage Council, Chair of Arts & Culture for the Cupertino-Hsinchu Sister Cities Association, Executive Director of the Chinese Folk Dance Association in San Francisco. Her company has performed in major theaters in San Jose and San Francisco, and she has been profiled by SPARK on KQED-TV.

Ann Woo (2nd from left) with some of her students at IDF@SV, 2015. Usha Srinivasan, far right.

Chinese Classical Dance has a very special way of moving that makes the dancer seem to glide through the air, just above the floor. Ann determined that her IDF@SV students would learn that and the beautiful manipulations of props, enormously long silk scarves or fans, which is an integral part of the dances.

A personal note: I met Ann Woo through Usha Srinivasan, Founder & Director of Sangam Arts. Ann and I met and immediately hit it off. We shared personal and artistic values. Then, I learned that another friend, Leianne Lamb, had taken Chinese Folk Dance classes from Ann. So, although we saw each other far too seldom, there was a feeling of the net of community holding us together. When I saw her at her Center, she had beautiful roses from her garden on her desk. She loved her roses. She invited me to present my dance, Face to Face, a quartet, on her Gala Spring Festival. It was an honor to be part of this exceptional program which included music and dance of several different Chinese cultures. I admired her immensely hard work in establishing her Center and her dedication to expanding understanding through sharing culture. This is a very great loss.

URMILA VUDALI: A Work in Progress, Bharatanatyam Concert

Congratulations to Urmila Vudali for her remarkable performance, August 6, at the Cubberley Theater, Palo Alto. Her presentation of classical Bharatanatyam items was exquisite. Her footwork was especially admirable for clarity, quickness, and complete coordination with the orchestral and vocal accompaniment. Traditionally, the Bharatanatyam performer travels through specific types of dance in a prescribed order. The first half of Ms Vudali’s presentation followed that form beginning with the Pushpanjali, then the Varnam, and the Maiyya Mori. Pushpanjali offers flowers and asks the blessing of her lord, her guru and the audience. Her Pushpanjali ended with verses praising Saraswati, goddess of learning and music. The bright opening excited the onlooker to wonder if the artist’s first movements were so light and brilliant what more could come. The Varnam is the longest piece. This one included sketches of stories from epic tales of Indian liturgy and myth. It was challenging work for the dancer to represent both monsters and heroes while maintaining her own strength and grace. Devotion to Vishnu connects all the stories. The dancer needs to imagine herself in these characters in addition to enacting the movements that are supposed to represent the characters. Ms Vudali revealed she has that something extra that a classical dancer needs beyond technique. Draupadi is a princess in the Mahabharata. Her story is complex, but I have seen one particular drama represented in Bharatanatyam and Odissi dances. Draupadi is to be a prize bet on by her family’s enemies. The winner’s henchman is set to unwrap her sari. Draupadi pleads with him to stop and prays to Krishna, an avatar of Vishu, to rescue her. A miracle occurs: the man is able to unfurl the sari, but the folds of fabric will not stop piling up while Draupadi herself stays properly attired. While Ms Vudali performed, this audience member felt the terror and then the relief of Draupadi. What a triumph for a young artist to be able to transmit the heart of the story to the deeply engaged onlooker. It was no longer just a dance. Closing the first half, the Maiyya Mori, choreographed by Lavanya Ananth, is the popular story of Krishna as a child who has butter on his face but still tells his mother has not taken any butter. The interplay between the playful child and loving mother–both represented by Ms Vudali–was lighthearted and touching.

The program was titled A Work in Progress. It suggests the artist is still striving toward perfection with the guidance of her guru and the support of her loving family. It also tells us about this exciting time in Urmila Vudali’s life as, at fourteen years old, she is becoming herself. We are all works in progress in that respect. An artist selects and must have the training to be able to select. We all make choices that shape our lives every day. Congratulations to Sangam Arts and its President, Usha Srinivasan, for producing another program which honors an ancient tradition in the arts while also introducing the audience to the art of another culture. Ms Vudali’s guru, Navia Natarajan, is a greatly respected artist and teacher who divides her time between India and the Bay Area. She choreographed the Pushpanjali and Varnam as well as the dance, Baya’at Al-Ward (The Flower Seller), a charming piece set to an Arabic song about a girl selling flowers. It was accompanied by Lee Dynes, Oud, and Hannah Doughri, vocalist. In another cross cultural exploration, Ms Vudali was joined in two duets by Akhil Srinivasan Joondeph. Odissi is another classical dance form of India with movement styles different than Bharatanatyam. Odissi’s shapes are softer; the dancer’s body has a difficult posture to maintain following three sideways curves. It was very interesting to see the sharper, more percussive Bharatanatyam next to the Odissi which was so well represented by Mr. Srinivasan Joondeph. Having a duet of a male and female dancer gave dimension to the representations in Srita Kamala, the first duet, for example, of Vishu and his consort Lakshmi. The original choreography was by the great Odissi master, Guru Kelucharan Mohapatra. It was adapted as a duet by Niharika Mohanty, who is a premier disciple of Guru Kelucharan. The dancer appears as Vishnu fighting a giant snake and as Rama killing Ravana, a demon. Their second duet was the Thillana, the traditional closing dance. The dance celebrates lord Padmanabha, music and dance. Its Bharatanayam choreography was by Lavanya Ananth, and the Odissi by Niharika Mohanty. It was a pleasing visual harmony.

Mridangam

The dances were accompanied by musicians from India: Srikanth Gopalakrishnan (vocal), B.P. Haribabu (mridangam), Kiran Athreya (violin), Mohan Raj Jayaraman (flute). Navia Natarajan played the nattuvangam and introduced each dance. The presence of the fine orchestra elevated our experience of the dancing.

What a thrill to watch a young artist bringing her fresh energy to classical dance. Just as when you look at a young person you may see resemblances to her parents in her appearance, gestures, the way she speaks, to look at an emerging artist one may see the guru who brought her to this point, but also the guru’s own teachers and the teachers of the teachers’ teachers. As the dancer moves you will see her, the single artist, but the movement will let loose the shimmering, nearly transparent, dancing selves who are there in her present movements. When she makes one step, the Earth will move a little with the force of so many generations of artists stepping in her step and through her. It is the DNA of Dance itself.

Classical Indian dance contains the life of a whole and diverse culture. It is the wisdom of guru Navia Natarajan to set the Bharatanatyam dance with Odissi, another dance tradition, and to another culture’s music. We all can learn from each other’s stories. We may even see our shared humanity in our universal, human longing to hear one more story before we go to bed.

Photo of Urmila Vudali by Prabhakar Subrahmanyam, courtesy of Sangam Arts

For a Hedgehog Highlights article on the August 27, 2014 concert MOTHER & CHILD, with Urmila Vudali and Usha Srinivasan please see http://www.livelyfoundation.org/wordpress/?s=usha+srinivasan

Dance! Shine! Have a Great Time!

So many wonderful events in I’DF@SV 2017. You don’t want to miss it, and we don’t want to miss you. Come to the Full Day of Dance©, enjoy Tap, Contemporary, Pilates, Line Dances, and Mexican Folclorico classes. The flyer with all the Full Day details is right there at the top of this paragraph. You will enjoy every minute. It’s your time to try something new. Absolutely devoted to ballet? Try Elisabeth Kindler-Abali’s contemporary class. Lissi was trained in Germany in both ballet and contemporary techniques. It is extremely rare now for a ballet company not to have contemporary works in its repertory. You will learn more about your body, find your center, acquire expressive ways to move. Ready for something rhythmic and colorful? We’ve got it! Tap, Lines, Folclorico. Click on the flyers to see them full size.

Pilates mat class will get you ready for all the other classes. You will find your strength without any strain. Your mind will lead your muscles. You breathe more deeply, stand taller, you will feel GREAT.

“Put the Heart Back in Your Art!©” That’s been my slogan for a long time.

When you come to Full Day of Dance©, be sure to stick around for the FREE COFFEE TASTING, 1;30-2:30 p.m. It’s sponsored by DON FRANCISCO COFFEE. Take time to get to know the other participants and talk with the artist/teachers. We’ll pour Organic coffees by Don Francisco. Relax and then rev up for the afternoon classes: Line Dances with Etta Walton and Mexican Folclorico with Arturo Magaña. I’m excited just writing about them!

Perhaps you are a devotee of Bharatanatyam, a serious, classical dance form of India. Remember that laughter is part of the sacred stories behind the dances. Try the Physical Comedy workshop. You will discover new ways to move and find humor inside & out. Walk into walls! Fall down funny! Slap and be slapped! So much to learn and enjoy with Megan Ivey, professional clown trained by Ringling Bros.

LAUGH AND THE WORLD LAUGHS WITH YOU

International Dance Festival@Silicon Valley offers you time to do what you love and also try something new. SEE YOU THERE!!! Questions? Call The Lively Foundation at 650/969-4110. Pictures: top, Flyer with details of Full Day of Dance©; Don Francisco gourmet coffees logo; flyer with details of the Physical Comedy workshop.

SF Symphony: Tchaikowsky & Shostakovich Ignite the Night

Two days after the performance of Tchaikowsky’s Symphony #5, the tunes come back to my mind. Right now, it’s the gorgeous waltz from the third movement. I cannot put it out of my mind and really do not want it to go. Last night, it was the “Fate theme” that opens the symphony with an ominous, foot dragging rhythm. The late music writer, MIchael Steinberg called this the “Fate theme” because of an observation written by Tchaikowsky in his notebook as he began to compose this majestic work: ” Intr{oduction}. Complete resignation before Fate, or, which is the same, before the inscrut{able} predestination of Providence.”

Conductor Manfred Honeck led the San Francisco Symphony in a brilliant performance of Tchaikowsky’s 5th Symphony and Shostakovich’s Suite on Verses of Michelangelo Buonarroti, May 26, 2017.

Fate reappears to interrupt harshly the enchantment of the second movement. It wafts onto the dance floor to frighten the couples mesmerized by their waltz. In the end, after what may be violent struggles, Fate steps in and literally stops the music. Heart beats are suspended, breaths are held; the music begins again louder and faster, reaches its heroic climax, but is it a win by knock out for Fate? Or did the human step over the laws of gravity and predestination to become himself? I do not know. Troubled by that powerful yet ambiguous ending, late in the night I remembered Herman Hesse’s comment: “Your fate loves you.” Perhaps Tchaikowsky was wrestling with his angel. The SF Symphony audience rose to its feet, cheering each performer, the whole ensemble, and Maestro Honeck. Tchaikowsky knows how to make an orchestra expand its sound, express its melody with delicacy and verve, and give his listeners music that will possess them.

In the summer of 1974, Shostakovich received a book of poems written by Michelangelo. it was a gift from Shostakovich’s great friend, Leo Arnshtam. It was a year before the composer’s death. His health was ruined by cancer. He had had heart attacks eight years and three years earlier. He had had polio. He had been hounded through life by Stalin and his henchmen. At night, he would stand outside smoking so that when They came to take him away, They would not awaken his family. He kept composing, although he kept hidden some work which he knew would be controversial. Fortunately, the Soviet climate for culture was improving; unfortunately, it was happening late in the life of Dmitri Dmitrievcich, surely one of Russia’s most gifted composers and faithful sons.

Shostakovich composed Suite on Verses of Michelangelo Buonarroti that summer. First, it was written for bass voice and piano. Then, he orchestrated it. The result opens the heart and mind of the listener. This was the SF Symphony’s first performance of the work. Baritone Matthias Goerne performed with them. He sang with sensitivity and understanding of the text and the music. His voice can be raspy or gentle; able to embrace the music when it is subtle or soaring. It was a performance which this listener will long remember. Maestro Honeck conducted with attention to each section of the songs and music. He is an active participant in the Symphony’s excellent music making.

Shostakovich selected eleven poems by Michelangelo. They express a variety of subjects which are part of Shostakovich’s life story as well as many life stories, especially of artists. They are: Truth, Morning, Love, Separation, Anger, Dante, To the Exile, Creativity, Night, Death, Immortality. The music also follows the arc of a life, beginning with an Adagio for Truth, then two Allegrettos for Morning and Love. Michelangelo was a Florentine. The great Florentine poet Dante had been exiled from the city two hundred years before Michelangelo remembered him in verse. Shostakovich knew what happens when the powerful confront an artist. There is economy in the music. Neither agony nor joy is overstated. Music does not muffle the voice or shunt it aside. The final verses lead to a surprise. Night, an Andante, and Death, an Adagio, take over Creativity‘s flowering energy. Immortality, the final verse, is rendered by Shostakovich as an Allegretto, a spritely vision dancing on a hilltop. Its simplicity and bright purity change everything.

Curiously, Shostakovich drew the melody of Immortality from something he had written when nine years old. Nothing was lost.

Pictures, from top: Tchaikowsky, Manfred Honeck, Shostakovich, Michelangelo Buornarroti

International Dance Festival@Silicon Valley: Events, Schedules, Prices for IDF@SV

This poster/flyer has all the events, schedules, and fees for the Great IDF@SV 2017! Click on it to see it BIG. See you there!

Choreography Competition: NEW Deadline

The International Dance Festival@Silicon Valley announces a new deadline to receive submissions. Send your dvd or youtube so that it is received in Mountain View no later than May 27 (changed from May 20 due to change in travel plans of 2 judges). Send your dvd to The Lively Foundation, Attn. Leslie Friedman, 550 Mountain View Ave/Mountain View, CA 94041. If you send your work by youtube, please remember to send us an additional email to let us know you are sending something. Otherwise, we might think it is spam. Email address: livelyfoundation@sbcglobal.net Mail your $25 entry fee to the Mountain View address above. ALL kinds of dance, traditional and contemporary, are welcome.

Arturo Magaña will perform on the Festival Concert, July 1st, 3 p.m. Mountain View Masonic Center, 890 Church St., Mountain View

Include your name, street address, email address, name of dance, names & number of dancers, length of dance, name of music or other sound accompaniment. Let us know if the work has been performed before, where, and when. Let us know if you plan to perform it again in Summer, 2017, in the Bay Area. Choreographers (actors, jugglers, mimes, writers–any artist for whom movement is a central element in the work) must be adults (over 18). For more questions, please contact The Lively Foundation at livelyfoundation@sbcglobal.net AWARDS: 1st place winner performs on the Festival Concert, July 1, 3 p.m. with the acclaimed artists of the Festival. 2nd & 3rd place winners perform on the Showcase Performance which features new work created in IDF@SV’s Choreo-cubator©. Both performances are ticketed and open to the public. Honoraria for winners.

REGISTER NOW: International Dance Festival@Silicon Valley

IT’S TIME! Early Bird deadline is May 20. If you register on or before May 20, you will save from 10%-20% on class fees. HERE’S HOW TO REGISTER WHETHER YOU ARE ABLE TO BE AN EARLY BIRD or REGISTER LATER. Send a check made out to The Lively Foundation to The Lively Foundation, 550 Mountain View Avenue, Mountain View, CA 94041-1941 Attention: Leslie Friedman

Enclose a note listing the classes/workshops/performances for which you are paying. Include your name, street address, email address, best phone number. If you have questions for which you have not found answers in the posts on this blog, contact Lively at livelyfoundation@sbcglobal.net All events take place at the Mountain View Masonic Center, 890 Church Street, Mountain View, CA 94041. Concert tickets and entrance to workshops/classes will be available at the door as available.

Schedule and prices for all the IDF@SV 2017 classes & events:

CHOREO-CUBATOR@ meets 6:00-7:30 p.m. June 20, 22, 23, 27, 29, 30. Showcase Performance for works created by participants is June 30, 6:30 p.m. Fee: $90 Early Bird; $108 after 5/20

FULL DAY OF DANCE© June 24. Classes run from 10 a.m. to 5 p.m. Doors open at 9:30. Class schedule: 10 a.m. Tap (Audreyanne Delgado-Covarrubias), 11:15 a.m. Contemporary (Elisabeth Kindler-Abali); 12:30 p.m. Pilates mat (Amity Johnson); 2:45-3:45 Electric Line Dances (Etta Walton); 4:00-5:00 p.m. Mexican Folklorico (Arturo Magaña) Price per class reduces with each added class. EARLY BIRD: Single class$20, 2 classes $36, 3 classes $48, 4 classes $56, 5 classes $60. REGULAR PRICE: Single $25, 2 classes $40, 3 classes $54, 4 classes $64, 5 classes $70.

Arturo Magaña Audreyanne Delgado-Covarrubias

FREE COFFEE TASTING EVENT June 24, 1:30-2:30 p.m. Thanks to Don Francisco’s Coffee which is providing its fine coffee for this special event. Great time to meet other dancers, relax, and enjoy great coffee.

PHYSICAL COMEDY WORKSHOP meets 2:00-4:00 p.m. June 25. Workshop is led by Ringling Bros. trained professional clown, Megan Ivey. Fall down! Walk into walls! Have a great time. Fee: $30, bring a pal, Boy Scout, complete stranger and the second person pays $15. Great discount for you both.

Megan Ivey

CONTEMPORARY DANCE, Technique & Repertory taught by Elisabeth Kindler-Abali, visiting artist from Berlin, Germany, will teach her dynamic technique and excerpts from her choreography. Classes meet 11 a.m. – 1 p.m. June 26, 27, & 30. Don’t miss the opportunity to work with this international artist. She returns to Berlin soon after the Festival Concert. Fees: $75 Early Bird/$85 after May 20.

Elisabeth Kindler-Abali

PERFORMANCES: Showcase Performance, 6:30 p.m., June 30, tix: $10 This performance features ALL new work, improvisations, experiments. Includes select performances from winners of the Choreography Competition.

FESTIVAL CONCERT, 3 p.m. July 1, tix general admission $20; srs. over 65 and children 10 and younger $12. Sponsor tickets $30 gives you reserved best seats and tax deductible donation. Program will include PREMIERE performances by Audreyanne Covarrubias, Elisabeth Kindler-Abali, Megan Ivey, Arturo Magaña & Ensamble Folclorico Colibri, Etta Walton leading her amazing Line Dances, plus a performance of the winner of the Choreography Competition.

Etta Walton

For more details, watch this livelyblog and facebook/the lively foundation or facebook/international dance festival silicon valley

Mexican Folklorico Dance Joins in Full Day of Dance©!!!

Wonderful news for Full Day of Dance!© Arturo Magaña will teach Mexican Folklorico dance on Full Day of Dance©, June 24. He and his group will perform on the Festival Concert, July 1. Arturo is the Artistic Director of the Ensamble Folclorico Colibri. He also is the Dance teacher at Lincoln High School, San Jose. He is truly a master of the Folklorico dance. It is a great opportunity to watch him and his outstanding group AND to experience the Folklorico dance in his open master class.

Arturo Magana

More details: FULL DAY OF DANCE© June 24, classes run from 10 a.m. to 5 p.m. with short breaks between classes. All are mixed levels and enjoyed by advanced or beginning dancers. This is a tribute to the excellence of our artist/teachers. All classes last one hour. EARLY BIRD discount available up to May 20. Price per class reduces with each added class. Early Bird: single class/$20; all five classes/$60. You may take any number of classes. Please remember to register! Send your check to The Lively Foundation/ 550 Mountain View Avenue/ Mountain View, CA 94041 Include the check made out to The Lively Foundation, your name, which classes you plan to take, your email address, and your US mail street address. Full Day of Dance© classes include Tap Dance, Pilates mat, Line Dances, Contemporary Dance, Mexican Folklorico.

FESTIVAL CONCERT is July1, 3 p.m. The program includes premiere work by all of the artist/teachers. This is an EXTRAORDINARY opportunity to see these fabulous artists on one program and to see what new work they have created. Tickets: $20 general/$12 over 65 and 10 years old & younger. Patron ticket: $30 (includes tax deductible charitable donation). Discounts available for groups. Tickets include complimentary refreshments.

All events/classes at the Mountain View Masonic Center, 890 Church Street, Mountain View, CA, 94041. For more information, contact livelyfoundation@sbcglobal.net

As in previous seasons, IDF@SV brings you the BEST artists who are also GREAT teachers.

Back to back, open Master Classes; each is one hour long; all are mixed levels.

10 a.m. to 5 p.m. There is a short time out between classes.

FREE coffee tasting & treats during the mid-day break.

Tap—taught by Audreyanne Delgado-Covarrubias, a great tapper & great tap teacher

Pilates mat–taught by Amity Johnson, she looks like TinkerBell but your abs will know you were there with her

Contemporary—taught by Elisabeth Kindler-Abali, visiting artist from Berlin, Germany, dynamic, thrilling technique and repertory

Electric Line Dances—Etta Walton, adorable, so much fun–I always do this one

Mexican Folklorico—first time we’ve offered it, taught by Arturo Magana, Artistic Director of Grupo Folklorico Colibri, this will be amazing and beautiful.

(Please note: order of classes may change; check this blog to be sure of class times)

PRICE PER CLASS reduces with each added class. Early Bird (paid on or before May 20) fees:

single class $20, 2 classes for $36, 3 for $48, 4 for $56, all 6 for $60

After May 20 it’s $25 single/$70 for all 5

To pay, please send a check made out to The Lively Foundation to The Lively Foundation/550 Mountain View Avenue/Mountain View, CA 94041-1941

Attn: Leslie Friedman

MOST FUN AND BEST DEAL: TAKE THEM ALL!

for information, please contact livelyfoundation@sbcglobal.net

The first Full Day of Dance© was presented at the first International Dance Festival@Silicon Valley. We had instant proof that it was a great idea: so many large companies have copied it!

Accept no substitutes! Come on June 24 and remember that dancing can make you happy all over.