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IN THE STREETS PRODUCTIONS
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Sigh...the covid-19 post

3/20/2020

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​I never enjoy the part of putting on an event that requires me to update my website, all social media, eventbrite pages, profile pictures etc.  It's the kind of thing that really sets off my personal anxiety gremlins. I always forget a platform or type the wrong date, and I hate it even when it's the public debut of something I care so deeply about.

This week I have the unfortunate task of doing all those annoying steps to tell you about things that are not happening, or happening very differently than planned. True Colors and WOW Cafe Theatre with Chicava HoneyChild have been rescheduled, and further changes could be made to those events. I'm postponing the Boston April 3&5 shows indefinitely. I don't feel confident in making big plans right now. 

I will be livestreaming rehearsal from my living room March 27 at 7:00 PM  and April 4 at 8:00 PM.   The production values will be minimal, but I've enjoyed watching live performances from other artists and I want to offer this to you!  If you want to support this project with a little cash, that's appreciated, but not required at all. You can buy a ticket at eventbrite or donate via our fiscal sponsor, Fractured Atlas.

I'm vacillating between being devastated that this years-long project is postponed, to being devastated for the world, to teaching myself to sew surgical masks.  I'm cooking, baking, sewing, working out and doing PT for hours everyday, and figuring out ways to stay connected with my students and community. I took a couple weeks off from rehearsing this piece, but I'll start back up again to prepare for the livestream!

Ultimately, you all give me so much hope for this show.  I've never had advance ticket sales this good, and each ticket sold is an affirmation that people want to see this work. I was so excited to share it with you all.  I feel so proud of all the details I've refined and how much it's improved since Hartford.

Today I should be at The True Colors Conference, an event that was so important to me so much as a young person growing up in Connecticut.  They offered community, purpose, lessons in how to organize and serve community with grace, integrity, and compassion. My heart goes out to all the youth and adults who were looking forward to it! I know when I was in high school missing the conference would have been heartbreaking.  (If you've seen the show, this is the conference the young me character talks about.) 

Stay safe and take good care of yourselves and each other! 
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Stone Butch Blues and what gets lost

9/17/2019

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I’ve been lining up social media posts about the books featured in “Ladies at a Gay Girls’ Bar, 1938-1969” and, not surprisingly, find that I have more to say about one in particular than will fit in a tweet, or even an instagram caption.  ​
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photo shows four books stacked on a red chair:
Photo shows a certificate awarding the author's
I have some feelings about Stone Butch Blues; about its impact on my tiny slice of the community I came out into, and ultimately about why a butch story dominated our conversations and images of ourselves.  The real issue, of course, isn’t with this one book, but with why and how it shaped my tiny slice of my queer generation. 
 
Stone Butch Blues is the only book on stage that I don’t directly quote from during the show. I mostly use it as a foil, asking “why are all the femmes in this book like Betty Crocker, Marilyn Monroe, and Florence Nightingale rolled into one?”
 
It’s not the most generous interpretation of the book, but I stand by it. More generously, let’s hear from NYTimes contributing opinion writer Kaitlyn Greenidge, who declared it “the best book for 2018.”
In the novel, Feinberg’s avatar, the protagonist, Jess, grows up in working-class Buffalo in the 1950s, at first identifying as a butch lesbian, then realizing she must transition to a closeted trans man as the political debates around feminism, political lesbianism and the very real pressure of finding a job intensify.
The story follows Jess’s attempts to organize while doing factory work; it explores upstate New York’s lesbian scene; and it shows the police and state violence she experiences.
Along the way, Jess tries to answer questions that I see and hear people around me grapple with today: How do you effectively organize across racial lines? How do you address the generational divides in your community? How do you fight sexism in your workplace, knowing you’re going to have to eat with your foes and band with them later for fair working conditions?
The quarter-century-old work does something that most political writing cannot do, something that speaks to our current moment. It reminds us of the psychological and emotional toll of oppression.

That “psychological and emotional toll” is surely a huge part of why we as queer youth connected to the book. As different as our experiences might have been from Jess’s, we latched on to that. 
 
In the show, I describe a friend loaning me a copy of a book “everyone we know is reading.”
 
This was around 1999 or 2000, 6 or 7 years after it was first published. “Everyone” refers to my cohort of LGBTQIA+ friends from around New England (and the internet) - GSA leaders, poets, theater kids; mostly rural and suburban, mostly white;  privileged or brave or stupid enough (maybe all three) to be out in some way, shape, or form.

We had, as I say in the show, a lot of words we used for ourselves. We had our identities and we had each other. We met in person for open mics, meetings, and dances, and stayed connected in between via long emails, letters, and zines. 
 
The LGBTQ young adult fiction boom was years away. It wasn’t easy to access queer books, or any other media representation, so anything we got our hands on had an outsized influence. 
 
On the occasion of Feinberg’s death in 2014, June Thomas wrote: 
Before the novel Stone Butch Blues appeared in 1993...butch and femme were usually treated as outmoded holdovers...Stone Butch Blues changed that by telling the story of an unapologetically political butch/passing/trans character and by blowing apart stereotypical ideas about role-based romantic relationships. The fierce, “finally, I’m not alone” way that some readers connected with the novel was striking. On the rare occasions when people have unironically handed me a book and declared that it changed, or perhaps even saved, their life, it has almost always been a dog-eared copy of Stone Butch Blues.

I’m not sure if the person who first handed me the book said that in so many words, but I know It’s hard to overstate the impact it had on my very specific community of young people and how we positioned ourselves in relationship to the book.
 
It’s a book that will make you depressed, make you cry, make you want to storm whatever real or metaphorical barricades you have in your life.  It has a visceral truth to it that stays with you.
 
Following in the footsteps of Stone Butch Blues, we yearned to fight, to matter, to be in community like the characters in the book did. We centered and idolized queer masculinity. 
 
With all due love and respect for Stone Butch Blues, for Leslie Feinberg and hir work, hir femme characters are tropes, selflessly nurturing young butches and cooking vegetables in butter just the way their butches like them. I don’t want to give my teenage self too much credit, but I think she may have recognized how cloying those characters are, even as she also wanted to be them. (Especially in the sex scenes, which are not erotica-level explicit but made my virgin self swoon with desire.) 
 
I was captivated by the genuine sexual and emotional exchange between butches and femmes, how by healing each others’ pain of gender dissonance and truly seeing each other we can inhabit our authentic selves more deeply.  I longed for that kind of connection with someone. I also longed to see myself reflected the way my friends saw themselves in Stone Butch Blues: a strong character, written from autobiographical experience, living a whole and flawed and authentic life. That was missing in my little queer youth community - the possibility of seeing my gender as valid, as queer, as real. 

My criticism isn’t really with the book. The word is right there in the title - the hero in Stone Butch Blues is the butch, and the hero’s journey is one of self acceptance, struggle for justice, and of gender identity and gender transition. 

 
My real issue is why this was the book - why was my group of peers so fixated on a white butch protagonist, why didn’t we also freak out about Zami: A New Spelling of My Name by Audre Lorde, or My Dangerous Desires by Amber Hollibaugh or A Restricted Country by Joan Nestle or Trash by Dorothy Allison or The Gilda Stories  by Jewelle Gomez?
 
Racism, misogyny, class, homophobia is the primary answer. In their various intersections, they all color what stories we tell and how we amplify what speaks to us. I want to also ask what did we lose by not having a femme story, or a QPOC story, to imagine ourself in? What could we have gained by having dynamic, complicated, flawed, resilient POC and femme characters in the stories our community most treasures?
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If you haven’t read Stone Butch Blues, you have no excuse - go read it, absolutely. It’s available for free as a PDF on hir website. And then go read a book by and about femmes. 
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The Best Way to Describe A Femme...

6/12/2019

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...with citations.

This piece came about as a sort of side product of my solo show, “Ladies At A Gay Girl’s Bar, 1938-1969.” The solo show is all about the feels - or, as it says in my grant applications, about exploring the emotional landscape of femmes in mid-century working class lesbian communities. Parts of this piece do show up in the solo show. But I had an aha moment about the eternal question "are femmes really gay" that didn't quite fit. Hence, my “TED Talk.”  Below is the piece as I performed it, with links to further info for all you nerds out there.

Books and stories give us windows of possibility as queer people. “We Walk Alone Through Lesbos’ Lonely Groves” by Ann Aldrich came out in 1955.  

Ann Aldrich is one of the many pen names of Marijane Meaker, one of the first lesbian pulp writers and a lesbian herself.  
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This book had a tremendous effect on how lesbians saw themselves and their communities. If you didn’t fall in love with the girl across the hall or stumble into a gay bar, this book could be a guide to figuring out who you were, who your people were, and what you could do about it.

I want to share what this book has to say about femmes.  

“The best way to describe a femme is to say that she seems always to be on the verge of something. A butch is an expensive dependent, and the fem often talks about the break she is on the verge of getting, which will provide her and her lover with those luxuries for which they dare to hope. 

The fem is on the verge of femininity - she too is a caricature - this time a caricature of womanliness. Her perfume is a little too heavy, her hats are a little too zany, her makeup is overdone, her walk exaggerated, her speech affected. Her effort to be a feminine being is too concentrated.

Fems try hard to look, act and be ladies, but they never quite succeed. While she is attracted to the girl who can look more mannish than any other, she is repelled by men. “

It reflects the narrator's prejudices.  Against butches, femmes, sex workers. By today’s standards, the whole thing feels self-loathing.  A white woman, she writes about people of color as others, if at all. 

A huge part of her disdain for femmes and butches is based on their working class roots, their embracing of their queerness, their refusal to assimilate while upper class lesbians carried out discreet affairs.
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Excessive. Overdone, zany. 
Trying to be a lady, but categorically unable to succeed because in 1955, you can only be a lady if you are, at bare minimum, not repelled by men. 

Excessive. Overdone. Zany. 
That’s what we like about femme, isn’t it? 

We love femmes here, today at Oberon. We love the entire spectrum of amazing, incredible things that femme can mean now, and the narrower, also amazing, incredible, roles that femmes played in lesbian communities in the past. 

But not every day is the Femme Show. Sometimes we’re told we don’t belong. I've been trying to figure out why. Trying to figure out what happened before and after Ann Aldrich that got us to where we are. There are many answers, and some very specific ones can be found in books that gave lesbians images of themselves.
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While we’re talking about books, we can go back to 1928 and The Well of Loneliness - the tale of a butch or “invert” who sacrifices her own happiness so the feminine woman she loves can find happiness with a man.
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But the trope of a predatory, masculine lesbian in love with a “normal” feminine woman shows up in American media as early as 1892, when the murder of Freda Ward by her masculine fiancee Alice Mitchell captivated  America - If they had true crime podcasts in the 1800s this would have been a hit. (There’s a great book about it by Alexis Coe )

So, I come out in 1998, a crunchy hippie girly girl, I start looking for dykes, looking for role models, and I find them in pretty expected places - the athletics department, folk concerts, coffee shops. Then I try to read every gay book in the state library system.  And the more i read, the more confused I am about femme, about where my femininity fits, if it’s something I can hold on to or if it needs to be cast aside. 

By now, the idea that a lesbian is a masculine person who falls in love with straight women is generations old. The idea that femmes don’t belong here.*

No wonder the political activists and Xena Warrior Princess fanatics who were my lesbian role models told me I wore dresses too much. 

No wonder i felt so alone, so unseen, in my queer community in the 2000s.
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No wonder, as i started to learn about queer history, especially the mid 20th century working class butches and femmes who are the forgotten vanguard of lesbian visibility, I also read that the femmes weren’t really considered gay. According to butches AND femmes at the time, femmes weren’t trustworthy, weren’t committed to the life.  If it was easier to marry a man, they went off and married a man. 

But when they walked down the street with a butch, there was no mistaking who they were and why they were together. The femme is an essential piece of the equation.

Yes, some did marry men. 

But I refuse to believe that all of them did. I refuse to be parted from the rich history of butch-femme resistance.

When we think about our pre-stonewall forebears, I want us to remember that there were femmes showing up every night, every weekend, to bars and house parties, because they loved women - because their desire for women, for butch women, was stronger than homophobia, stronger than patriarchy.

And what could be gayer than that? 

*I’m indebted to Marie Cartier’s Baby, You Are My Religion for noting how widespread and fundamental the trope of the straight femme became in the popular imagination. ​
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Photos from Femfinte: The Femme Show 2019

6/12/2019

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By the lovely C-S Photography 
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Meet the 2019 Femme Show Cast

3/10/2019

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Femfinite: The Femme Show 2019 will sell out for sure, so get tickets today!
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Alicia Greene (emcee) is a plus size model, educator, performing artist and activist.  She is an alumna of Kansas State University, Brown University, the Improv Asylum and the American Academy of Dramatic Arts-NYC.  Past performances and emcee events include: The Chicago Improv Festival, Montreal Fringe Festival, Company One, Big Moves dance troupe, Boston Dyke March, comedy clubs and open mics.  Alicia has slayed on the runway for Boston Curvy Fashion Week, Rebdolls, Smart Glamour and Curvy Magazine's NYFW Curvy Night Out to name a few. Ms. Greene is also a sought after speaker who frequently facilitates social justice education initiatives at conferences and workshops across the country. Instagram Twitter
Amber Aliyah Williams (aka SublimeLuv) is a black lesbian womanist who always speaks her truth and believes "the personal is political." She is a Boston born and bred spoken word artist. She was educated in private and public local school systems and became an activist through words at an early age due to her contrasting experiences in those institutions. She is a member of 'Team Be Spoken' showcasing their 'If you can Feel it you can Speak it' Open Mic at the Milky Way every second Thursday of each month. Through her art and future endeavors, she aims to empower women of color to impact positive global change. Facebook Twitter Instagram
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Amy Raina is a designer on staff at The Telling Room, a literary arts education organization in Maine. Raina is a teacher by trade, but also a writer, artist, yogi, and tarot enthusiast cheering on The Femme Show since it's debut in 2007 in JP!  Raina lives in Portland, Maine with her 2 children, 1 chihuahua, 2 cats, 6 chickens, and handsome partner in crime. Check out her website for Tarot readings, consulting, and coaching. Instagram www.amyraina.com
Anaís Azul is a  Peruvian-born, California-grown, Boston-based first generation immigrant (she/they) composer and collaborator. She writes music that is in conversation with jazz harmony, classical melodies, and Latin American singer songwriter traditions. Their songs are bilingual (Spanish and English) and about mental health, queerness, facing the harsh reality in the world we live in and finding inner peace in spite of the chaos. anaisazul.com​ Facebook Instagram
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Benji Bombay is the PC Police of Burlesque, Boogie Knight of Sirlesque, and puncher of Nazis is here to shimmy their way to justice and liberation for all people! You may have seen him teach queer theory, burlesque history, and dance technique to aspiring performers, or seen him take first place at Dale's All Male Yardsale, and So You Think You're A Lady or a Gent. Instagram
Chicava HoneyChild is the creator of Sacred Burlesque,  a live (and soon to be online) class that blends sultry burlesque movements with yoni exercises, kundalini yoga and energy healing. She is the proprietress of New York City's Brown Girls Burlesque and lead teacher of The Broad Squad Institute. As an artist in residence at Joe's Pub at the Public Theater she produces a live blues & jazz burlesque revue called The Dirty Honey Shake. Chicava is currently working on a black burlesque and pinup documentary project, which can be found at  www.blackbombshells.net.  Twitter  Facebook
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DJ Lady Spindrift (Friday night DJ) started her musical career at the age of 16. Known as Boston's Queer Turntablist, DJ Lady Spindrift always keeps the dancefloor moving. Her budding career began with hosting her own hip hop radio show at WNHU 88.7FM, the in-house radio station of her Alma-mater: University of New Haven. Upon returning to Boston in 2010, Lady Spindrift made frequent appearances spinning at many of the Boston Area's major venues, including The Middle East, ZuZu, Machine, Club Cafe, The Good Life, Wonder Bar, and House of Blues. Twitter and Instagram Facebook
Femme Brulée is an award-winning performer who has been seen across the country diving into cakes, launching rockets, and shaking her burger buns. She is a co-producer and creator of Alterna-TEASE and Sparkletown Productions. When not on stage, smashing the patriarchy with her glittery resistance tees at her company, Sparkletown Studios. femme-brulee.com  sparkletownstudios.com Twitter Instagram Facebook
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Maggie Cee (founder and artistic director) is an artist, activist, dancer, writer, and educator committed to community and social change. Maggie is co-producer of “Dancing Queerly,” a dance festival for the LGBTQ community. In 2018 she received an aMASSiT choreography fellowship from the Dance Complex, was a Creator-in-Residence at Earthdance, and received a New England Dance Fund Grant. Maggie is the 2011 recipient of the History Project’s Lavender Rhino Award for an emerging LGBT history maker. She was featured in the Advocate magazine’s 2006 “Future Gay Rights Leaders.”  Twitter  Instagram
Pampi believes in and work towards the application of the arts as a vehicle for social justice. They create interactive educational art pieces that are accessible and grounded in rigorous cultural research and interpretation while  f*cking up colonialist iconography (Hindu white internalized and otherwise) with power paws and a bear a** #itsajumbleoutthere #showgxlaf Instagram Twitter Facebook
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Rachel Kahn is a Boston-based writer and performer.  Her work has been heard at the Apocalypse Lounge, the Ear Inn Poetry Series, ImprovBoston's Queer Qomedy, The New York Writers' Coalition 'Writing Aloud' series, and The Buttcracker, among others. As part of The Femme Show-- and the cape-wearing half of SPPSSM, alongside Maggie Cee-- she has performed at MondoHomo, PortFringe, the 2012 Femme Conference, the HOT Festival at Dixon Place in New York City, and offered etiquette advice to readers of The Toast.  Rachel believes strongly in the importance of talking about messy, ridiculous, things and has a deep affinity for small dogs wearing sweaters.  ​
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Dancing Queerly Community Guidelines

6/16/2018

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Dancing Queerly seeks to bring LGBTQ community members of all ages and experiences together through dance. In order to further this mission, we respectfully ask everyone who attends or participates  to read and abide by these guidelines.

The Basics
  • Dancing Queerly audience members, participants, teachers and artists are expected to be respectful and welcoming to everyone, regardless of race, creed, nationality, disability status, sexual orientation, sex, gender or gender expression.
  • All participants should behave in a manner that does not make other participants feel unsafe or threatened.
  • Participants are expected to be responsible for their own behavior.
 Addressing Unsafe Behavior
  • If someone's behavior is making you feel uncomfortable or unsafe, please ask them to stop or remove yourself from the situation.
  • If the behavior or offensive language continues, please communicate this to a festival organizer (noted on their name tags) either in-person, or over email (dancingqueerlyboston@gmail.com)
  • Participants who are unable or unwilling to respect these guidelines will be asked to leave.
Important Details
  • Ask before engaging in physical contact. Some dancers are used to touching others or being touched in specific ways without giving or asking for consent each time. At Dancing Queerly, do not assume that everyone in a dance space has consented to touch. If contact is part of a dance form, teachers will include a clear system for communicating consent and non-consent.
  • Be respectful of everyone’s identity, including self-identification, names, and pronouns. Do not assume someone’s pronoun based on their name or presentation. If it is relevant to the conversation (ie. you want to call someone by their name) and you are unsure of how to refer to someone, ask.  If you are flexible about what pronouns you use for yourself, it is perfectly fine to say that. Please respect that for others, specific pronouns may be important, and hearing someone be dismissive of pronouns in general can be hurtful.
  • Any discussion about bodies  should be relevant, non-gendered, and non-judgemental. Body shaming (including discussions of gender presentation, body hair, clothing choices, and body shape) is not welcome in the space.
  • Step Up, Step Back. Participants should be aware of how much space and time they may be taking up. If you notice that you have been speaking a lot during a group discussion, allow yourself to “step back” and let others “step up” to the mic. Step Up/Step Back is also a great way to encourage new or shy participants to make themselves heard.
  • Workshop participants may be asked to sign a photo and/or video waiver so we can make a fabulous highlight reel of the festival - if you would prefer not to be recorded, you do not need to sign, and will be asked to wear a special name tag so our photographers and videographers know and can avoid filming or taking pictures of you.

Addition guidelines for Dance Curious, our LGBTQ only workshop, are here. 

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Meet your Dance-Curious Instructors

6/13/2018

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Meet your Dance-Curious Teachers!
Dance-Curious is 4 mini workshops in 2 hours, just for the LGBTQ+ community! 
Lessons will be geared towards beginners, but will also be fun for those with experience! We have an awesome line up of genres and teachers for you!

Feel free to stay afterwards for a free, fun social!
Please read full participant guidelines here for answers to all your questions! 
Register here!
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Carlos Silva (Salsa) is currently a Rumba y Timbal dancer, instructor and choreographer; since 2009 his dancing career took place in Bogota, Colombia thus allowing him to joined Esfera Latina Dance Company, one of the most important academies in the country. He has experienced and trained ballet and jazz as part of his training process. He has trained for almost nine years and participated in many salsa competitions including Festival Mundial de Salsa Cali 2011 & 2012, Colombia Salsa Festival, World Latin Dance Cup Pro Cabaret 2014, Summit Salsa Fest CT 2016 and 2017 and some other local competitions.

Jennifer Crowell-Kuhnberg (Contemporary) is the Executive Director of OnStage Dance Company, a choreographer, performer and dance instructor. In addition to creating work for OnStage, Jen choreographed the evening-length productions: Selichot (Temple Shalom, Newton, 2017), What Is Love? (Green Street Studios, Cambridge, 2015) and Heartbeat: A Modern Dance Rock Concert (OBERON, Cambridge, 2013-14), the music video, Bad for recording artist Jamie Lynn Hart, and had work featured in the Southern Vermont Dance Festival, Dance For World Community, NACHMO Boston & NYC, Third Life Choreographer Series and OnStage | Repertory productions. Jennifer is on staff at Cheryl Sullivan's School of Dance and Dance Place.

Jo Troll (Irish)is a trans choreographer and art-maker with a Graduate Diploma in Dance Studies from Trinity Laban Conservatoire of Music and Dance. They have recently presented work as part of a residency at OnStage Dance Company and the Dance Complex's aMaSSiT mentoring and choreography lab. Over the years, they have created work for amateur queer dance performance and as one of the first DUCKiE upstarts at the Royal Vauxhall Tavern in London. Originally an Irish dancer, Jo explores the intersection between different forms of percussive and contemporary dance. They engage with challenging questions of tradition and identity in dance spaces in order to find an unapologetically queer, honest, and accessible means to present their work.

Maggie Cee (ballet) is founder and director of “The Femme Show”, a variety show featuring dance, spoken word, performance art, and drag exploring queer femininity. “The Femme Show” has been a staple of LGBTQ entertainment in Boston since 2007. Maggie has presented “Ballet is For Everyone” at LGBTQ youth conferences and the 2012 Femme Conference and received a Boston Pride Foundation grant for a series of Queer Ballet classes in 2015. 
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Dance-Curious FAQ and Guidelines

6/12/2018

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Dance-Curious workshops are FUN, so we want to ensure that the space is safe and comfortable. Participants are expected to be respectful to everyone, regardless of race, creed, nationality, disability, age, sexual orientation, sex, gender, or gender expression.

Please read these guidelines before attending. They include practical information as well as ways you can help keep the space safe and comfortable for everyone (including yourself).  

How much does it cost? How do I sign up?
  • Register here if you can pay the full price of $20. If you need a little discount, you can also choose "student/BDA member" when you register and save $2 (no one will ask you for a student ID, it's totally ok!) If that price is a barrier to you, email dancingqueerlyboston@gmail.com for a half price or pay-what-you-can option. 
Who is it for?
  • Dance-Curious is for self-identified queer and/or LGBTQ+ folks in an inclusive interpretation of the word. We ask that allies support us by stepping back and giving us this deeply-needed space. Please join us for other workshops and for the performances June 22-23. 
  • There is no reason to question or police another person’s identity. If someone is in the space, then they are self-identified queer and/or LGBTQ+.
  • Dance-Curious workshops are all-level workshops. Never danced before? Welcome! Danced since you were two? Join in! Some dance experience? Woohoo! Keep in mind that an all-level class may go faster or slower than you are used to in order to accommodate folks, so come prepared for a challenge, whatever your level.
  • Be respectful of everyone’s identity, including self-identification, names, and pronouns. Do not assume someone’s pronoun based on their name or presentation. If it is relevant to the conversation (ie. you want to call someone by their name) and you are unsure of how to refer to someone, ask.
What do I wear?
  • Clothing: There is no dress code. You will be moving, stretching, and maybe even sweating, so choose clothes that you feel comfortable wearing for dance activities. Be conscious that organizers may ask you to secure or remove clothing and hair that trails or hangs far off your body (for example, we may request that someone pins up a long, heavy braid) as it is dangerous to you and others.  
  • Footwear: You may find it easiest to dance in socks, bare feet or soft dance shoes (ballet or jazz shoes)  for contemporary and ballet. Sneakers are best for Irish because there's lots of jumping, but bare feet are ok too. Clean street shoes or sneakers are preferred for salsa. No flip flops or other shoes that are likely to slide off, please!

What will we do?
  • We will have a 10 minute check in followed by 4 25 minute mini-lessons in ballet, contemporary, Irish and salsa. Read more about teachers here.
  • When you arrive at the Dance Complex, you will check at the front desk. They will direct you to sign in and come downstairs to Studio 7. If stairs are a problem for you, let us know (dancingqueerlyboston@gmail.com) in advance and we can let you in on the ground floor.
  • There is step-free access to the dance studio and there are two gender-neutral bathrooms in the studio. There is an additional accessible gender-neutral bathroom on the second floor, accessed via stairs and/or char lift.
  • Bring your things into the space with you. That’s the best way to keep them safe. You can leave them to the side, keeping pathways and the dance space clear, so that the space remains as accessible and safe as possible.
  • If you need to change clothes, you can do so in the bathrooms or in the gendered locker rooms located on the first and second floors.
What else should I know? How do we create safer space?
Dance and bodies:
  • Dance-Curious is non-competitive. Everybody has something to bring to the space (and seriously? No one can master four different dance styles in two hours). Dancers trained in formal dance environments may particularly struggle with this. We can’t change a mindset that’s been ingrained in us for years, but try to be aware of your behavior to minimize passing that mindset on to others.
  • Avoid all othering based on ability. Pointing out someone’s inflexibility or weakness or jokingly calling someone with more flexibility or strength a  “show off” is harmful. Everyone should feel comfortable working in their body.
  • Any discussion about body configuration should be relevant, non-gendered, and non-judgemental. Body shaming (including discussions of gender presentation, body hair, clothing choices, and body shape) is not welcome in the space.
  • While you may personally choose to dance to lose weight, please refrain from discussing weight loss and dieting, as it is a sensitive subject for many people, especially in dance where weight is particularly controlled and judged.

Caring for ourselves and others
  • Dance workshops can be vigorous! And two hours is a long time! While teachers will do their best to provide variations of exercises to accommodate everyone, only you know your needs. We encourage dancers to take responsibility for their physical and emotional wellbeing in adapting movement and to take themselves out of and into activities as needed. Chairs are available in the space for sitting out and/or adapting movement. Teachers will not pressure students sitting out into participating. We ask that participants do not pressure other participants into dancing, even in a friendly, joking, or familiar manner.
  • If you are physically unwell with something that might be contagious please consider others as well as your own self care. Dance-Curious is one time only so we know you don’t want to miss it, but we also want to ensure the space is safe for folks with poor immune systems. Plus, dancing when you’re sick is no fun.
  • Please respect personal boundaries and ask before touching anyone.  If contact is part of a dance form, teachers will include a clear system for communicating consent and non-consent. While dance includes forms of nonverbal consent and you are welcome to “ask” through the use of eye contact and body language, please respect a communicated (verbal or physical) “no”. You can say “no” during an exercise at any time if someone is too close or misinterprets your nonverbal communication.
  • Dance-Curious is a two-hour long dance workshop and social. It is not an appropriate event for flirting, public displays of affection, or alcohol. These are things you can do at another time (maybe even after!), but would derail the focus of the event and make the space unsafe for many people.

The outside world and photography:
  • What happens in the dance studio stays in the dance studio! While you are welcome to share your new dance skills and discuss ideas that come up during the workshops and social, please be careful about sharing any identifying or personal information (for example, someone’s name, or a story they told) about your fellow participants.
  • Organizers will be taking photos during the workshops. No images will be taken of people who opt-out. We will share photos with participants for final consent before sharing on social media and our website.
  • We ask folks who want take their own pictures to ensure that they have consent from every person in their photos (even if they appear accidentally in the mirror!) Be clear about where the photo will go (facebook, instagram, email to a mutual friend?). Please do not pressure anyone into being in a photograph or letting a photo be posted on social media.

We know that everyone is here with the best of intentions, but even the best of intentions can lead to mistakes.. If someone’s behavior makes you feel unsafe or uncomfortable, please ask them to stop and/or remove yourself from the situation. If their behavior continues, please inform one of the organizers so that we can ensure your safety and find a resolution.

We’re super excited to dance with you!

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Dancing Queerly Workshops and other events

5/18/2018

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If cost is a barrier for you, contact us dancingqueerlyboston@gmail.com for a discount or a pay-what-you-can option.
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Saturday, June 2, 2:00-4:00 PM
Gender Free Ballroom Dance Workshop with Eddie Alba and J. Michael Winward
Register here!

This workshop will be taught by 2015 U.S. Same-Sex American Smooth and Showdance Champions Eddie Alba and J Michael Winward. In competition, Eddie and Michael alternated between the leader and follower roles: a hallmark of same-sex ballroom dancing. They teach leading and following from a gender-neutral perspective--in this workshop, using Tango and Cha-cha as the base. No prior experience or partner is necessary to attend. Those with experience dancing either the leader or follower role are welcome to come learn the opposite. Either ballroom shoes or comfortable, clean-soled dress shoes are encouraged. We look forward to dancing with you!

This workshop is in Studio 7 on the ground floor of the Dance Complex, with step-free access. Modifications to suit participant's physical needs and abilities will be offered.
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Sunday, June 10, 2:00-4:00 PM
Sassy Hip Hop Workshop with Christian Suharlim
Register here!
Learn a sassy, diva-esque dance routine with Sassy Hip-Hop instructor, Chris Suharlim. The class will begin with a short warm-up followed by a detailed breakdown of the choreography and will end with a class group performance. All proceeds will be donated to non-profits working in LGBTQ health and advocacy. 
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Sunday, June 10, 5:00-6:30 PM
Rainbow Cocktails in Honor of Dance Now Boston and Dancing Queerly

Join us as we honor Dance Now Boston and Dancing Queerly for an evening of mixing and mingling in The Dance Complex’s Studio 7 cabaret space! Among the rainbow-clad cafe tables you’ll find pop-up performances, hors d’oeuvres, and a spread of beverages to excite your palate. (Not to mention good company!) Tickets here.
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Saturday,  June 16, 2:00-4:00 PM
Dying Swan Workshop with Les Ballet Trockadero
Register here!
Join the world’s foremost all-male comic ballet company to learn their signature solo, the Dying Swan - with the opportunity to put your own spin on this humorous classic!  Participants will be given a short warmup and will then be taught the Dying Swan. This workshop is great for for dancers and non-dancers alike of all ages. 

This workshop is in Studio 1 of The Dance Complex. There is a stair lift to the second floor. 
Modifications to suit participant's physical needs and abilities will be offered. 

Wednesday June 20 6:00-8:00 PM 
Dance Curious
Register here! 
An evening for (self-identified) queer dancers and non-dancers of all ages and experiences to come together through dance. Dance-curious is an evening for LGBTQ dancers and non-dancers to explore various styles of dance in a series of short workshops, including ballet, ballroom, Irish dance, and improvisation followed by a social.
Dance studios can be fraught in terms of gender and sexual orientation, so this is a queer-friendly, LGBTQ-only* space for members of the LGBTQ community to connect through dance in a way that would not be possible in a mainstream dance class.
This workshop is in Studio 7 on the ground floor of the Dance Complex, with step-free access. Modifications to suit participant's physical needs and abilities will be offered. 
*Allies, we love you! Please support this opportunity for LGBTQ folks to have a safe space to dance by spreading the word and ensuring that it remains a self-identified LGBTQ-only space. We hope to see you performances on June 22nd and 23rd!
**What happens in the dance studio stays in the dance studio! We are working to ensure that anyone who chooses to attend will not be outed. If fear of being outed is a barrier to attend these workshops, please contact us and we will work with you to ensure your safety and comfort. Photography will take place during the workshop with clear, easy opt-out possibilities. ​
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Saturday June 23 1:30-3:30
Evolving the Feminine/QUEERing Performance Workshop with April Sellers  
Register here! ​
Gender and sexuality are increasingly critical lenses through which to view the world. Both
women’s studies and queer studies incorporate a fundamental view of gender as neither stable
nor absolute. In this workshop The April Sellers Dance Collective will guide participants through observation and movement inquiry answering the questions: What is queer performance? What elements of queer performance have made their way onto the main stage of contemporary performance? How has the presentation of gender and sexuality on stage transformed through time in reflection to our society's changing values?​
Saturday, June 23, 4:00-5:30 PM
Dancing Queerly Discussion
FREE - Register Here!

Join Dancing Queerly choreographers and moderator Kareem Khubchandani for a discussion of queer dance and what it means to dance queerly now. Enjoy refreshments while hearing from choreographers, asking questions, and broadening dialogue about dance.
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Dancing Queerly Teachers and Artists

5/10/2018

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See full schedule here!
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Alexander Davis (choreographer, performer) is a Boston based perform, choreographer, fiber artist. He is graduate of Keene State College where he received a BA in English: Writing, and a BA in Theatre and Dance: Choreography and Performance.  Alex has worked, performed and presented with organizations across Boston including Ryan Landry's Gold Dust Orphans, Boston Lyric Opera, Boston Children's Chorus, World Music/CRASHarts and Improv Asylum/Laugh Boston. Alex is currently a company member with Urbanity Dance, where he is also the director of the their Summer Choreographer Intensive Program. As a choreographer and fiber artist Alex has received grant and residency support from The Studios at Mass MoCA, The Boston Foundation, Urbanity Dance, and The Theatre Offensive. Alex and collaborator Joy Davis (The Davis Sisters) were recently awarded a 2018 Schoenberg (Boston) Fellowship Residency at The Yard to develop and perform a new work in September. Alex is a passionate arts administrator, a published memoirist, a college professor, an exhibited visual artist, a sexual consent educator, and an okay comedian. www.alexanderdavis.dance @AlexanderDavisDance

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Angelina Benitez  (choreographer, performer) recently graduated from Salem State University  with a B.A in Modern/Contemporary Dance and Spanish World, Language, and Culture. At Salem State University she studied under Meghan McLyman, Betsy Miller, and James Morrow. Her performance experience includes ensemble work opening for BoSoma’s The Dinner Table: Vignettes of Betrayal, performing in Salem State University’s Dance Ensemble’s concerts, and Repertory Dance Theatre’s semi-annual concerts. When she isn’t performing or choreographing, she enjoys teaching. She has taught summer dance camps at a local YMCA, assisted at Enchanted Dance Academy, and taught as a guest artist at InSync Center of the Arts. Though she enjoys these aspects of dance she most looks forward to pursuing a career in Dance Administration.

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April Sellers (teacher, choreographer, performer) is an independent choreographer, dancer and performance curator who for 18 years has created over 60 original works. She is the Founder and Artistic Director of the April Sellers Dance Collective which is renowned for its complex expressions of gender and identity in highly crafted performances. Her most recent and transgressive performance, Animal Corridor prompted the award “Artist of the Year” by City Pages in 2017. Other awards include the Minnesota State Arts Board Artist Initiative Grants (2015, 2002), the McKnight Fellowship for Choreography (2011) and the Sage Award (2006). Over the past decade, Sellers has been invited to participate in a number of residencies like the Djerassi Resident Artists Program (Santa Cruz, California) and the Maggie Allessee National Center for Choreography (Tallahassee, Florida). Sellers holds an MFA in Dance from the University of Wisconsin, Milwaukee.

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Chris Suharlim (teacher, choreographer, performer) is a researcher at the Harvard T.H. Chan School of Public Health who has been dancing to upbeat pop and k-pop songs since 2006. He is a faculty teaching artist at the Dance Complex in Central Square, where his fem style diva-esque Sassy Hip-Hop class received “Boston’s Best” award by Improper Bostonian in 2017. His mission is to provide dance classes that are inclusive (of individuals of all dance levels and socio-economic backgrounds), fun (not about mastering choreography, but about letting loose), and charitable (his class proceeds are non-deductible donations for his public health foundation). His mission and work is recently covered by Emerson College on a body-positive documentary, ‘Overtures’. In addition, performing as Miss Diagnosis, his Sassy Hiphop team won the the first place at the Race for the Tiara charity competition, contributed to over $7,000 fundraising for Aids Action.

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Dante Brown (choreographer, performer) began his dance training at Wesleyan University, which led him to The Ohio State University to receive his MFA in Choreography. As a performer, Dante has worked with artists such as Esther Baker-Tarpaga, Christal Brown, David Dorfman, Kendra Portier, Nicole Stanton, Noa Zuk and at the Dance Exchange. Since its founding in 2010, Warehouse Dance has shown work at Bates Dance Festival (ME), Boston Contemporary Dance Festival and Dance Complex (MA), Columbus Dance Theater and Wexner Center for the Arts (OH), Dance Gallery Festival (NY & TX), Dixon Place, GAP Green Building, LaMaMa Moves Festival, Movement Research at Judson Church, Triskelion Arts and The Wild Project (all NYC), Sam Houston State University (TX), and YourMove Dance Festival (NJ). Dante has had the opportunity to teach a range of classes at Broadway Dance Center, Dancewave, East Village Dance Project, and Gibney Dance Center (all in NYC), and The Ohio State University. He has held collegiate positions as an Adjunct Professor at CUNY Westchester Community College, Lecturer in Dance at Bates College, and a Visiting Assistant Professor at Wesleyan University. Most recently, he was awarded the Schwartz Center for Performing Artists Fellowship at Emory University. He is currently a Visiting Assistant Professor at Amherst College.

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Eddie Alba (teacher) began his ballroom dancing career over 20 years ago. As a professional competitor in the American Smooth division from 1995 to 2006, he was a Rising Star Champion.  As a Pro-Am competitor, Eddie continues to compete in all styles of partner dance with his many students, and has won multiple Top Teacher Awards. Eddie is the owner of Century Dancesport, Orange County’s premier ballroom dance studio. Eddie is an active member of the North American Same-Sex Partner Dance Association (NASSPDA).  He is the reigning Male International Standard World Champion in the A Division, having received the title in 2014. Previously, he was the 2008 North American Male Latin Champion.  Eddie has been a judge at multiple NASPDA events, including April Follies, Dancing in the River City, and Boston Open Dancesport.  Eddie is a current member of the NAASPDA Board of Directors.

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Jennifer Crowell-Kuhnberg (teacher) is the Executive Director of OnStage Dance Company, a choreographer, performer and dance instructor. In addition to creating work for OnStage, Jen choreographed the evening-length productions: Selichot (Temple Shalom, Newton, 2017), What Is Love? (Green Street Studios, Cambridge, 2015) and Heartbeat: A Modern Dance Rock Concert (OBERON, Cambridge, 2013-14), the music video Bad for recording artist Jamie Lynn Hart, and had work featured in the Southern Vermont Dance Festival, Dance For World Community, NACHMO Boston & NYC, Third Life Choreographer Series and OnStage | Repertory productions. Jennifer is on staff at Cheryl Sullivan's School of Dance and Dance Place.

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Jo Troll (teacher, choreographer, performer, consultant) is a trans choreographer and art-maker, has a Graduate Diploma in Dance Studies from Trinity Laban Conservatoire of Music and Dance. They have recently presented work as part of a residency at OnStage Dance Company and the Dance Complex's aMaSSiT mentoring and choreography lab. Over the years, they have created work for amateur queer dance performance and as one of the first DUCKiE upstarts at the Royal Vauxhall Tavern in London. Originally an Irish dancer, Jo explores the intersection between different forms of percussive and contemporary dance. They engage with challenging questions of tradition and identity in dance spaces in order to find an unapologetically queer, honest, and accessible means to present their work.

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J. Michael Winward (co-producer, teacher, choreographer, performer)  is an independent dance artist based in Boston. With influences in American-style ballroom, ballet, contemporary and somatic dance practices, his work places a strong focus on building connection: connection to one’s body, one’s self, one’s audience, connection between dance partners, connection within and across communities. As Artist Liaison at The Dance Complex, Michael facilitates artist-produced and in-house performances, working to ensure that productions run smoothly from conception to execution. As dancer and company manager for Peter DiMuro/Public Displays of Motion (PDM), Michael works to advance the PDM mission of cultivating dance/arts literacy, advocacy and engagement. During his career as a competitive ballroom dancer, Michael advocated for the inclusion of same-sex partnership in mainstream competition. Through his program Steps in Time, he brings social ballroom dancing to senior and elder care facilities throughout Greater Boston.  ​

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Kareem Khubchandani  (moderator) is the Mellon Bridge Assistant Professor in the Dept. of Drama & Dance and the Program in Women’s, Gender, and Sexuality Studies at Tufts University teaching at the intersection of performance studies and queer studies. Heis also a performance artist, working in drag, storytelling, body art, theater, and digital media.  He has performed at the Austin International Drag Festival, Queens Musuem, Jack Theater, and Bronx Academy of Arts and Dance.
Instagram: @kareempuff + @lawhorevagistan Twitter: @kareempuff

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Les Ballets Trockadero de Monte Carlo (teacher) was founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and in drag. Les Ballets Trockadero first performed in the late-late shows in Off-Off Broadway lofts. The TROCKS, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success. Les Ballets Trockadero de Monte Carlo is a company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents, and underlying incongruities of serious dance. ​

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Maggie Cee (co-producer, teacher, choreographer, performer) is founder and director of“The Femme Show”, a variety show featuring dance, spoken word, performance art, and drag exploring queer femininity. “The Femme Show” has been a staple of LGBTQ entertainment in Boston since 2007. Maggie is the 2011 recipient of the History Project’s Lavender Rhino Award for an emerging LGBT history maker.  Her work as a performer and as a producer engages with the LGBT/queer community and allies to expose bias, misogyny, and power dynamics within the community and in society at large.

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Nick M. Daniels (choreographer, performer) was born and raised in Pittsburgh and holds a Bachelor of Arts in Dance from Slippery Rock University. Nick is  founding Artistic Director of the DANA (Dancers Against Normal Actions) Movement  Ensemble. The Ensemble has received many awards and favorable reviews from across the country.  Appearances and accolades include the Three Rivers Arts Festival, the Carnegie Museum, the Pittsburgh Dance Council, Freshworks resident for The Kelly Strayhorn Theater, New Moves Festival 2016, The My People Queer Showcase,  Google Pittsburgh, the Mattress Factory's Urban Garden Party, CREATE award nomination, recipient of the Advancing Black Artist /Three Rivers Support Grant, Main Stage performance at the 2017 EQT Pride Festival, and the Scranton Fringe festival.

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Rebecca Lang  (choreographer, performer) ​is a Senior at Salem State University studying Social Work and Dance. She previously trained at In Sync Center of the Arts in Quincy, MA. She is currently studying dance under Meghan McLyman and Betsy Miller. As an artist, she approaches her work with an experimental mindset and is always looking for ways to collaborate. Her performance experience includes opening for BoSoma’s The Dinner Table: Vignettes of Betrayal, Salem Dance Ensembles and Repertory Dance Theatre’s semi-annual concerts, American College Dance Associations adjudicated concert and performing as a member of Kaleidoscope Dance Company. Rebecca teaches contemporary, ballet, tap, and jazz at In Sync Center of the Arts. For the past four years, Rebecca has choreographed for Salem Dance Ensemble, Repertory Dance Theatre, and Insync Center of the Arts. She would like to combine the aspects of empowerment utilized in Social Work practice with her love of dance teaching, performing, and choreographing. Rebecca combines her two areas of study by fostering expressive atmospheres that respect diversity of experiences and capabilities. She believes that dance should be available to all bodies and communities.

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