Aug 2-16

SFDI ONLINE

IMPROVISATION / CREATIVE PROCESS / SOMATICS / ACTION

For the past 26 years, the Seattle Festival of Dance Improvisation has been a yearly convening of leading movement improvisation practitioners. This year we can’t meet in person, but we have created a new online format that offers two weeks of intensives, drop-in workshops, discussions, and events with world-renowned faculty. Register for the whole festival, or mix and match to build your own schedule. SFDI 2020 provides the opportunity to learn and share research virtually while connecting and sharing practices of dance improvisation.

SFDI SCHEDULE

Click below for the schedule, class descriptions, and registration. 

SEE FULL SCHEDULE

2020 Intensives + Faculty

Fox Whitney + Morgan Thorson

MON + TUE + THU + FRI | AUG 3 + 4 + 6 + 7 | 10 AM – 12 PM PT

Fox Whitney + Morgan Thorson

Morning Magic (prismatic rebellions, kaleidoscopic interiority, psychedelic sunrise, the freedom to fail, rest and rebellion)

Come as you are. Bring your notebook. Sleeping is ok.

When dancing feels sleepy, weird or unfamiliar, we are enchanted by the possibility of sensing something opening, something unknown. We are curious to cultivate this state without containing or replicating it, while questioning our fears and assumptions. With solo touch-based exercises, images and poetic-word prompts, we will practice sensing interoception, or, feeling the inside of movement with the purpose of discovering habits and sensing the physical, lustrous imaginary of the unknown.

This morning practice is developed from these things: strengthening resiliency, investigation, resonance with your own approach, stillness and action, invitation, resistance, and sharing time together inside a process. They will emanate from a personal and imaginative journey of discovery, curiosity, action, as well as the reorientation of self-perception to the magic we make.

This class has a maximum enrollment of 30 participants

ABOUT THE ARTIST:

Fox Whitney (he/him) is the architect/choreographer behind Gender Tender, an interdisciplinary performance project based in Seattle that centers his queer and transgender point of view. He creates experiences that investigate the nature of queer relationships, trans histories, and the surreal nature of transformation and center his queer black mixed transgender point of view. Gender Tender engages a team of artists trained in Fox’s unique methods modeled on sports teams, cults, sitcoms, and riots. He has performed in work by Morgan Thorson, Gabrielle Civil, Vladimir Kremenović, Keyon Gaskin, and Malic Amalya. His most recent project MELTED RIOT, a queer meditation inspired by the Stonewall Riots of 1969 was presented by Velocity Dance Center on the 50th anniversary of the riots in 2019. Fox is a dancer and choreographer with a focus on improvisational, somatic, and contemporary choreographic methods. He is a certified yoga teacher and trained at the Yoga Center of Minneapolis.

Morgan Thorson is a femme, queer, dance artist, making things and teaching things that blow up, settle down, make no sense, or fall apart. She uses the pronoun she and is based in Minneapolis, where she runs MOVO space—an artist-centered, multi-use, incubation space—with artist Valerie Oliveiro. She is a certified Skinner Releasing Technique instructor/facilitator, and is currently making movement for Split Britches’s Last Gasp. She is a founding member of ORG, ongoing research group, and is currently researching viewership as creative participant.

EIKO OTAKE

MON + WED + FRI | AUG 3 + 5 + 7 | 5 – 7 PM PT

MON + WED | AUG 10 + 12 | 5 – 7 PM PT

FRI | AUG 14 | 5-6:30 PM  | this class is included in the intensive, but also open for drop-ins

THIS WORKSHOP IS FULL.

Register for the waitlist below. 

EIKO OTAKE

DELICIOUS MOVEMENT WORKSHOP

DESCRIPTION:

Eiko will teach her first virtual Delicious Movement Workshop. The workshop is emphatically non-competitive and is open to people of all ages and backgrounds.No previous dance experience necessary. The class will be taught by zoom and the participants will be asked to work on their own outside of the class hours.  The assignments will include a few readings, journal writing, and seeing videos. The class activities include movement exploration, discussion, and performing for a class.

Please refer to Delicious movement Manifesto http://eikoandkoma.org/index.php?p=ek&id=1911

This class has a maximum enrollment of 12 participants.

ABOUT THE ARTISTS:
Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement–based, interdisciplinary artist. After working for more than forty years as Eiko & Koma, she began performing her own solo project A Body in Places in 2014. 

After studying with Kazuo Ohno and Tatsumi Hijikata in Japan and Manja Chmiel in Germany, Eiko & Koma created 46 interdisciplinary performance works, two career exhibitions and numerous media works. Their durational performance living installations were commissioned by the Whitney Museum, the Walker Art Center, and MoMA. Their Retrospective Project (2009 to 2012) culminated in a comprehensive monograph, Time is Not Even, Space is Not Empty, published by the Walker Art Center. Eiko & Koma were honored with the first United States Artists Fellowship (2006) and Doris Duke Artist Awards (2012). They were the first collaborative pair to share a MacArthur Fellowship (1996) and the first Asian choreographers to receive the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006).

Eiko’s solo project began with a twelve-hour performance at the Philadelphia Amtrak station. Since then, Eiko has performed variations of A Body in Places at over forty sites. In 2016, Eiko was the subject of the 10th annual Danspace Platform, a month-long curated program that brought her a special Bessie citation, an Art Matters grant, and the Anonymous Was a Woman Award. In November, co-presented by Performa 2017 and Met Live Arts, Eiko occupied on each of the three Metropolitan Museum of Art sites while projecting a seven-hour video she created from William Johnston’s photographs of herself dancing in ruined Fukushima.

Since 2017, Eiko has explored various ways to maximize her encounters with collaborating artists of varied backgrounds and practices, manifesting in her new series of works, The Duet Project:Distance is Malleable, which was premiered at American Dance Festival in the summer of 2019. 

ROSY SIMAS

BIPOC ONLY INTENSIVE

Movement Practice

TUE + THU | AUG 4 + 6 + 11 + 13 | 3-4:15 PM PT

Discussion Practice

SAT | AUG 8 + 15 | 3-5 PM PT

THIS WORKSHOP IS FULL.

Register for the waitlist below. 

 

ROSY SIMAS

Rest + Refuge: Movement Practice

(This intensive is for Black, Indigenous, and People of Color individuals only)

Based on Rosy’s creative practice, this intensive is intended to create space for refuge and rest – for the body, the heart, the mind, and spirit. We will move, breathe, hear, see, and practice deep listening to ourselves and our environment.

There are two components of this intensive to give flexibility for participants who have scheduling constraints.

Movement sessions – happening live at the scheduled time. These sessions will be recorded and shared so that you can repeat a session or participate solos at another time more convenient for you.

Discussion sessions – to generate understanding and to be seen and heard. Discussion sessions are live and are mandatory for participation.

This class has a maximum enrollment of 30 participants.

This intensive will be presented via Zoom. You do not need to have your video on to participate. Rosy only asks that you be on time, mute yourself when you are not speaking, and take care of yourself during the movement and discussions.

Please participate in a space you can move in freely that is minimally 6×6. Please nourish yourself by having water and any nutrition you need nearby. Please wear comfortable clothing.

ABOUT THE ARTIST:

Rosy Simas is a transdisciplinary artist who historically has presented work as a choreographer. Simas is Haudenosaunee, enrolled Seneca, Heron Clan. She is based in Minneapolis, MN.

“The culture, history, and identity stored in my body is the underpinning of all my artwork. Creating is a spiritual act for me, rooted in nature, formed through my link to my ancestors and the land of which we are made.”

Simas’ projects merge decolonized physical movement with media, sound, and objects for stage and installation. She unites cultural concepts and images with scientific and philosophical theories to create work that is literal, abstract, and metaphoric. Her work weaves themes of personal and collective identity with family, matriarchy, sovereignty, equality, and healing. She creates dance work with a team of Native artists and artists of color, driven by movement-vocabularies developed through deep listening.

Simas is a recipient of a Dance/USA Fellowship, Joyce Award from The Joyce Foundation, McKnight Fellowship for Choreography, Guggenheim Creative Arts Fellowship, First People Fund Fellowship, and a Native Arts and Cultures Foundation Fellowship.

Her dance works include Weave, Skin(s) and We Wait In The Darkness which have toured Turtle Island and France with the support of NEFA National Dance Project, MAP Fund, and National Performance Network.

Her dance, film and sculpture work-in-progress she who lives on the road to war was on exhibit and being rehearsed live at the Weisman Art Museum in Minneapolis. Her print series Blood Lines is currently on exhibit at the Seneca Iroquois National Museum.

Simas recently co-edited the first Indigenous issue of the Movement Research Performance Journal, Sovereign Movements, issue 52/53.

http://www.rosysimas.com

2020 DROP-Ins

AVID

STAYING WITH

SUN+THU | AUG 9 + 13 | 10-11:45AM

CLASS DESCRIPTION:

How can we stay with in moments when it’s easier not to? How can we use our commitment to the practice of improvisation when there’s uncertainty, discomfort, and obstacles? How do we individually move through these states while staying connected to the larger ensemble/community? In this class we’ll explore solo, duet, and ensemble, witness and be witnessed, and use our now familiar spaces and objects to practice acts of staying with. We will incorporate elements from Contact Improvisation, Viewpoints, Ensemble Thinking, and tools from our long-standing practice.

ABOUT THE ARTIST:

AVID is a collective of experienced movement artists Scott Davis (he/him), Aiko Kinoshita (she/her), Rachael Lincoln (she/her), Aaron Swartzman (he/him), and Tamin Totzke (she/her). In 2015 we entered the studio with a mutual admiration for each other and a shared love of contact improvisation, dance and performance. These gatherings soon evolved into a committed practice; part creative process lab, part social blessing, and part performance research. Many years and performances later we continue to hone our ensemble choice-making while crystalizing our collective desire to loosen the distinction between the practice and performance of improvisation to enrich both.

https://www.avidmoves.com/

keyon gaskin

i was gone do that anyway cause that’s just how i am.

CLASS DESCRIPTION:

let’s MOVE, talk, laugh, eat, converse and be together. feeling through ways we can embrace the unknown, trust our intuition, and make from what’s in us and not the systems imposed upon us. sharing strategies on how to turn feelings, thoughts, ideas and theory into embodied practice. exploring how these practices can relieve the stress of making and sharing. keyon has some tricks up their sleeves to share but is also interested in the collective knowledge of the room and those that gather. this class is for those interested in performance and art making/theory/embodied practice, all bodies welcome.

ABOUT THE FORMAT:

This class will be hosted on Velocity’s VIMEO account. This class “goes live” on Aug 2, and participants can register and get the VIMEO link and password through Aug 16.

ABOUT THE ARTIST:
keyon gaskin prefers not to contextualize their art with their credentials.

John Gutierrez + Beth Graczyk

G^2: Chimera – Tools for imagination and physical expression

SAT | AUG 8 | 12:30 – 1PM

CLASS DESCRIPTION:

We will dive into physical practices that John and Beth have developed through their creative collaboration in performance. Aiming to find ways to generate empathetic experiences for self and other be it another human, an inanimate object, or a space, we will explore physical scores which allow us to open up our perception of where we end and another begins. We will focus on observation, and imaginative embodiment of qualities to generate new entities that comes from playful merging and meshing with another.

ABOUT THE ARTISTS:

G^2 (Gutierrez & Graczyk) have primarily independent performance histories, and met doing a series of projects with the feath3r theory from 2014-2016. They have launched G^2 as a collaborative platform for them to explore co-teaching, and co-generating performance work together. They aim to generate practices together that speak to ways in which their rigorous physical expressions can counter, challenge and blend with one another. In the more subtle and complex space of their bodies, John and Beth explore both identity and post-identity, where the individual labels that are afforded or placed on either of them, have the potential to become blurred with each other and the audience, even for a moment.

 

John Gutierrez is a multidisciplinary artist, creator, and performer originally from Washington Heights, a neighborhood in a densely populated small island known as Manhattan/New York City. Since finishing his BFA (in theater/drama) at NYU Tisch’s Experimental Theater Wing, John has ventured into various worlds of performance – working with directors and choreographers from around the world such as Big Dance Theater, Full Circle Souljahs, The Ridiculous Theater Company, Andrew Schneider, the feath3r theory, MOTUS of Italy, Ivica Buljan of Croatia, Jesse Phillips-Fein, Martha Tornay, Culture Hub NYC, and many more, performing in venues all over the East Coast and Europe such as BAM, The Kennedy Center, La Mama, Dixon Place, Danspace, Dance Place DC, BAX, and many more. John’s personal work combines theater, movement, and original music ranging from artistic expressions based in everything from hip hop to postmodern and has been presented at The Rubin Museum, Gibney, Theater for The New City, HERE Arts, TADA Theater to name a few. His work, typically collaborative based, often deals with current and historical interpersonal and systemic sociopolitical issues. John recently finished his training at the Terry Knickerbocker Studio which offers a two year acting conservatory in the Meisner technique/method. He is faculty at Peridance Contemporary Dance Center where he co-teaches improvisation with Beth Graczyk, from which has stemmed a new collaboration project known as G^2! Recent credits include performing internationally with Miguel Gutierrez, MOTUS, and Pilobolus. John is a proud member of the Great Jones Rep Company of La Mama and BAIRA / MVMNT PHLOSHPY. @jmg160

 

Beth Graczyk is a Brooklyn-based dance artist and scientist. She brings a decade of teaching nationally and internationally, working with populations spanning from non-dancers to advanced professionals. She recently began teaching movement practices to artists with developmental and cognitive disabilities through Interact Theater in Minneapolis and is commissioned to make a new dance work with their LGBTQIA artists in 2019. She has a collaborative partnership with John Gutierrez (G^2), in which they co-teach improvisation and create performance works together. In addition, Beth partners with BAIRA in Detroit as a teaching and creative collaborator, is a resident artist for NYC-based Pioneers Go East Collective, and is on Faculty at Peridance Contemporary Dance Center. Graczyk has performed throughout the United States and internationally in Japan, Ecuador, France and India for the past 17 years. Concurrently, she has contributed to 10 science publications in the field of cancer research. Graczyk travels annually to India to work as an educator and choreographer with Kerala-based artists Sen Jansen and Arunima Gupta. She co-directed the performance company Salt Horse in Seattle with Corrie Befort and Angelina Baldoz from 2008-2016. After moving to NYC five years ago, Graczyk launched a solo project called Desire Motor. In NYC, her solo works have been presented by Gibney, La MaMa, Judson Church, Jack, Triskelion, CPR, Movement Research, Oye Group, Kraine Theater, and through Pioneers Goes East Collective. As a performer, Graczyk has most recently danced for Raja Kelly, Sara Shelton Mann, Amy Chavasse, and Jen Salk/Chase Angier.

John Gutierrez + Beth Graczyk

G^2: Physical Theater & Crafting Moments

MON | AUG 10 | 12:30 – 1PM

CLASS DESCRIPTION:

In this class we will write, sing, move, and use our creativity to share and construct performance-based in structured improvisation. We will draw from what is always there (the present moment) and what we find (our history) to generate and explore material stemming from the most expansive source of information we have access to, our individual selves. We will utilize the energy generated to find unusual, yet natural portals into an infinite range of possibilities within our imagination. The culmination of our learning together will allow us to craft real-time choreography malleable to each student’s unique vision.

ABOUT THE ARTISTS:

G^2 (Gutierrez & Graczyk) have primarily independent performance histories, and met doing a series of projects with the feath3r theory from 2014-2016. They have launched G^2 as a collaborative platform for them to explore co-teaching, and co-generating performance work together. They aim to generate practices together that speak to ways in which their rigorous physical expressions can counter, challenge and blend with one another. In the more subtle and complex space of their bodies, John and Beth explore both identity and post-identity, where the individual labels that are afforded or placed on either of them, have the potential to become blurred with each other and the audience, even for a moment.

 

John Gutierrez is a multidisciplinary artist, creator, and performer originally from Washington Heights, a neighborhood in a densely populated small island known as Manhattan/New York City. Since finishing his BFA (in theater/drama) at NYU Tisch’s Experimental Theater Wing, John has ventured into various worlds of performance – working with directors and choreographers from around the world such as Big Dance Theater, Full Circle Souljahs, The Ridiculous Theater Company, Andrew Schneider, the feath3r theory, MOTUS of Italy, Ivica Buljan of Croatia, Jesse Phillips-Fein, Martha Tornay, Culture Hub NYC, and many more, performing in venues all over the East Coast and Europe such as BAM, The Kennedy Center, La Mama, Dixon Place, Danspace, Dance Place DC, BAX, and many more. John’s personal work combines theater, movement, and original music ranging from artistic expressions based in everything from hip hop to postmodern and has been presented at The Rubin Museum, Gibney, Theater for The New City, HERE Arts, TADA Theater to name a few. His work, typically collaborative based, often deals with current and historical interpersonal and systemic sociopolitical issues. John recently finished his training at the Terry Knickerbocker Studio which offers a two year acting conservatory in the Meisner technique/method. He is faculty at Peridance Contemporary Dance Center where he co-teaches improvisation with Beth Graczyk, from which has stemmed a new collaboration project known as G^2! Recent credits include performing internationally with Miguel Gutierrez, MOTUS, and Pilobolus. John is a proud member of the Great Jones Rep Company of La Mama and BAIRA / MVMNT PHLOSHPY. @jmg160

 

Beth Graczyk is a Brooklyn-based dance artist and scientist. She brings a decade of teaching nationally and internationally, working with populations spanning from non-dancers to advanced professionals. She recently began teaching movement practices to artists with developmental and cognitive disabilities through Interact Theater in Minneapolis and is commissioned to make a new dance work with their LGBTQIA artists in 2019. She has a collaborative partnership with John Gutierrez (G^2), in which they co-teach improvisation and create performance works together. In addition, Beth partners with BAIRA in Detroit as a teaching and creative collaborator, is a resident artist for NYC-based Pioneers Go East Collective, and is on Faculty at Peridance Contemporary Dance Center. Graczyk has performed throughout the United States and internationally in Japan, Ecuador, France and India for the past 17 years. Concurrently, she has contributed to 10 science publications in the field of cancer research. Graczyk travels annually to India to work as an educator and choreographer with Kerala-based artists Sen Jansen and Arunima Gupta. She co-directed the performance company Salt Horse in Seattle with Corrie Befort and Angelina Baldoz from 2008-2016. After moving to NYC five years ago, Graczyk launched a solo project called Desire Motor. In NYC, her solo works have been presented by Gibney, La MaMa, Judson Church, Jack, Triskelion, CPR, Movement Research, Oye Group, Kraine Theater, and through Pioneers Goes East Collective. As a performer, Graczyk has most recently danced for Raja Kelly, Sara Shelton Mann, Amy Chavasse, and Jen Salk/Chase Angier.

Allie Hankins

TRANSCENDENTAEROBICOURAGE

WED | AUG 12 | 12:30-1PM

CLASS DESCRIPTION:

TRANSCENDENTAEROBICOURAGE is an ALL LEVELS movement/embodiment event facilitated by Allie Hankins/ A combination of step aerobics, somatic practices, and sweaty dance party, we will breathe, vocalize, bounce, sweat, push, rest, DANCE, and work individually, as partners, and as a group in actions that help us access the pleasure of effort. For this virtual experience, we will tap into telepathy, scents-making, and written words to orient ourselves inside our shared moment. A curated playlist buoys us through our fatigue and steers us to an empowering transcendent climax.

ABOUT THE ARTIST:
Allie Hankins (she/her) is a Portland-based dancer and performance maker. Her current collaborators include Physical Education (Lu Yim, keyon gaskin, and Taka Yamamoto), Linda Austin, and Rachael Dichter (SF). Most recently, Hankins has danced for Milka Djordjevich (LA), and Morgan Thorson (Minneapolis). She has been an Artist in Residence at Headlands Center for the Arts, the Djerassi Resident Artist Program, the Robert Rauschenberg Residency, Caldera, the Wassaic Project, and Ucross. She's currently reading Zany, Cute, Interesting by Sianne Ngai, Calamities by Renee Gladman, and all the Ali Smith she can get her hands on. She loves book recommendations.

alliehankins.com

Jessica Jobaris

This Hurts, This Delights: Deviance as Device

TUE | AUG 11 | 10-11:30AM

CLASS DESCRIPTION:

Brackish improvisations and rituals engender our despicable/love-able selves. Desire, deviance, humor will pump the ego up and down, inviting resilience and suppleness in our performing bodies. We will make a “safe-enough” container to access fear and indulgence. We will fascinate ourselves and each other, provoking deep care for our Aliveness.

ABOUT THE ARTIST:
Jessica Jobaris (she/her) has been creating dance mayhem and theater spells under the moniker General Magic.  She believes that art is inherently therapeutic, mostly autobiographical, and has the potential to unf**k ourselves. As a researcher of the Unseen, she invites what we don’t understand into her performances and workshops. She has lived & worked abroad, in EU, Canada and NYC, but has been calling Seattle home, accidentally, since the 1900’s.

https://jessicajobaris.com/

Neve Mazique-Bianco

Performance Art Ain't Just High Ideas, It's Lowly Bodies too.

FRI | AUG 14 | 12:30 – 2PM

CLASS DESCRIPTION:

We’ll use improvise, explore, deepen, define, and compose movement-based performance art inspired by our bodies themselves. What does your body look like? How does your body feel? How does your body move? How do you feel about what your body looks like and how your body feels and how your body moves? Even the edgiest, weirdest, or most political performance art isn’t engaging and honest if it ain’t heart-powered, body grounded. So let’s make some juicy stuff.

 

ARTIST STATEMENT:

I am a multidisciplinary access-centered choreographer
because I believe how we relate to our bodies and each others’ bodies
determines how we treat space, the earth, and the possibilities of our future.
I believe that our bodies are a mixed medium.
Dance is the perfect venue to show what they can do.

That is why the dance I make is more than dance,
or rather, I believe in what dance is.
Dance is as expansive and life-giving and diverse
as the bodies it’s made with.
Dance is as mixed-genre and discipline as the stories it needs to tell.

Dance deserves more than to have its complexity erased.

ABOUT THE ARTIST:

NEVE (they/he) is a Disabled multigender femme fop mixed-race IndigenousBlack Choreographer/Dancer, Composer/Singer, Writer/Actor, Painter/Model, Hoodoo Voodoo Magician and Performance Artist based in Unceded Coast Salish Territories. Levar Burton Lover. Great Great Grandchild of the Author of The Velveteen Rabbit. Selected participant in the Intiman Theatre Emerging Artist program 2018 and 2020, cast in THE RACE 2020. 2020/21 Pina Bausch Fellow for Dance and Choreography. Anarchist, Abolitionist, AntiCapitalist. Unitarian Universalist. Vodouisant. Cofounder of Access-Centered Movement, #newmoonmovienight, Mouthwater, and the Lover of Low Creatures Club. #myBlacktransdisabledlifematters
Follow him and support them on:
Instagram, Twitter, Twitch, Patreon, Facebook, Youtube
@nevebebad

MOONYEKA

Aswang Movement Incantations

THU | AUG 13 | 12:30-1PM

CLASS DESCRIPTION:

In the spirit of Aswang, we will be accessing our connection to pleasure, power, and allure as a way to develop improvisational movement/dance as incantation for the purpose of manifestation and resilience. May we indulge in connective, deep power work to bring the healing work our wishes and dreams deserve.

ABOUT THE ARTIST:

pronouns: my name/goddexx/they/them/she/her

Moonyeka is a sick/disabled Filipinx femme movement based storyteller + pleasure practitioner who utilizes art creation, teaching, and organizing to realize a world that  honors her communities’ stories in a way that is healing, celebratory, and generative. Amongst many projects and collaboration Moonyeka continues to facilitate LIL BROWN GIRLS CLUB (a movement based mentorship program for young g*rls of color),  organized (e)merge: a movement-based healing intensive for dance communities and beyond in September 2019; moves + creates work with Dani Tirrell and The Congregation, and is working on LOOB** — a multi-disciplinary  biomythography/memoir as part of their 2020 Northwest Film Forum x Velocity Dance Center Dance Film Residency. 

https://www.moonyeka.com/

Eiko Otake

Delicious Movement Workshops

FRI | AUG 14 | 5 – 6:15PM

CLASS DESCRIPTION:

Delicious Movement Workshops are designed for all people who love to move or who want to love to move with delicious feelings. You don’t have to be a dancer to enjoy the experience. The workshops are emphatically noncompetitive and appropriate to all levels of training and ability. Eiko hopes each participant will develop lifelong pleasure in dancing any time, anywhere available to them, whether professionally or in their living room.

The exercises employ images, body articulation, floor work, and largely slow movement. However, the aim of the workshop is not to teach these. Rather, the participants, through their personal digestion of the material and of the improvisation and nonchalant partnership, which supports it. All are encouraged to acquire personal taste and flexible discipline to suit their own moving body. For many participants, seeing movement intimately and being seen moving are a transformative experience, which brings a new appreciation of how “time is not even and space is not empty.”

ABOUT THE ARTISTS:

Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement–based, interdisciplinary artist. After working for more than forty years as Eiko & Koma, she began performing her own solo project A Body in Places in 2014. 

After studying with Kazuo Ohno and Tatsumi Hijikata in Japan and Manja Chmiel in Germany, Eiko & Koma created 46 interdisciplinary performance works, two career exhibitions and numerous media works. Their durational performance living installations were commissioned by the Whitney Museum, the Walker Art Center, and MoMA. Their Retrospective Project (2009 to 2012) culminated in a comprehensive monograph, Time is Not Even, Space is Not Empty, published by the Walker Art Center. Eiko & Koma were honored with the first United States Artists Fellowship (2006) and Doris Duke Artist Awards (2012). They were the first collaborative pair to share a MacArthur Fellowship (1996) and the first Asian choreographers to receive the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006).

Eiko’s solo project began with a twelve-hour performance at the Philadelphia Amtrak station. Since then, Eiko has performed variations of A Body in Places at over forty sites. In 2016, Eiko was the subject of the 10th annual Danspace Platform, a month-long curated program that brought her a special Bessie citation, an Art Matters grant, and the Anonymous Was a Woman Award. In November, co-presented by Performa 2017 and Met Live Arts, Eiko occupied on each of the three Metropolitan Museum of Art sites while projecting a seven-hour video she created from William Johnston’s photographs of herself dancing in ruined Fukushima.

Since 2017, Eiko has explored various ways to maximize her encounters with collaborating artists of varied backgrounds and practices, manifesting in her new series of works, The Duet Project: Distance is Malleable, which was premiered at American Dance Festival in the summer of 2019. 

eikootake.org

Rosy Simas

Rest + Refuge: Movement Practice (BIPOC only)

SUN | AUG 9 | 3 – 4:30PM

(This intensive is for Black, Indigenous, and People of Color individuals only)

CLASS DESCRIPTION:

Based on Rosy’s creative practice, this class is intended to create space for refuge and rest – for the body, the heart, the mind, and spirit. We will move, breathe, hear, see, and practice deep listening to ourselves and our environment.

ABOUT THE ARTIST:

Rosy Simas is a transdisciplinary artist who historically has presented work as a choreographer. Simas is Haudenosaunee, enrolled Seneca, Heron Clan. She is based in Minneapolis, MN.

“The culture, history, and identity stored in my body is the underpinning of all my artwork. Creating is a spiritual act for me, rooted in nature, formed through my link to my ancestors and the land of which we are made.”

Simas’ projects merge decolonized physical movement with media, sound, and objects for stage and installation. She unites cultural concepts and images with scientific and philosophical theories to create work that is literal, abstract, and metaphoric. Her work weaves themes of personal and collective identity with family, matriarchy, sovereignty, equality, and healing. She creates dance work with a team of Native artists and artists of color, driven by movement-vocabularies developed through deep listening.

Simas is a recipient of a Dance/USA Fellowship, Joyce Award from The Joyce Foundation, McKnight Fellowship for Choreography, Guggenheim Creative Arts Fellowship, First People Fund Fellowship, and a Native Arts and Cultures Foundation Fellowship.

Her dance works include Weave, Skin(s) and We Wait In The Darkness which have toured Turtle Island and France with the support of NEFA National Dance Project, MAP Fund, and National Performance Network.

Her dance, film and sculpture work-in-progress she who lives on the road to war was on exhibit and being rehearsed live at the Weisman Art Museum in Minneapolis. Her print series Blood Lines is currently on exhibit at the Seneca Iroquois National Museum.

Simas recently co-edited the first Indigenous issue of the Movement Research Performance Journal, Sovereign Movements, issue 52/53.

http://www.rosysimas.com

Hayley Shannon

Dance Healing: Alchemizing Wounds Into Power

SAT | AUG 15 | 12:30-2PM

CLASS DESCRIPTION:

Fear is frozen power. We often create holding patterns around our wounds that kept our past self safe, restricting our present self from receiving vital life force energy. By creating brave spaces to enter into these parts of ourselves we allow transformation under the spell of being seen.

ABOUT THE ARTIST:
Hayley Shannon (she/her) is a Seattle based artist creating ritual dance experiences to enliven the body, space & witness as agents for transformation. In 2016 she founded Dance Healing to support the collective remembrance of our ability to alchemize wounds into power through embodied & expressive arts. She was a dancer with The Three Yells and has performed in works by Anna Halprin, Jessica Jobaris/General Magic, Cameo Lethem & Jasmmine Ramgotra/Jase Creations. She teaches dance for youth to elder with non-profits including Path With Art, Creative Dance Center & Young Women Empowered and festivals, conferences & shelters abroad. Hayley studied dance/movement therapy with Dr. Danielle Fraenkel in Corfu, Greece and is a Level 2 student at Tamalpa Institute for somatic expressive arts therapy under Daria & Anna Halprin.

hayleyshannon.com

Crispin Spaeth

Curious Vertebrates: Integrative Alexander Technique Dance Lab

SUN | AUG 9 | 12:30-1PM

CLASS DESCRIPTION:

“It’s kind of like secret information that’s available to anyone.” – a student

Turn up curiosity! Integrative Alexander Technique is a process that champions the head-spine relationship and its impact on all of your systems. This session will start with an introduction to Integrative Alexander Technique and then move right into improvisational experiments. We will put freedom right into practice, helping you make clearer, faster choices about your thinking, movement, and communication while you improvise.  All levels of experience welcome and encouraged!

ABOUT THE ARTIST:

Crispin Spaeth (she/her) is a Seattle-based teacher of Integrative Alexander Technique, a whole-self learning process that can help you move, think, and communicate in ways that match your unique self, allowing you to bring more of you to your creative practice. A long time member of the Seattle Dance Community (Crispin Spaeth Dance Group, 1992 – 2007), Crispin has turned her attention to the teaching IAT, with strong interests in the use of IAT in creative process and in workplace settings. She is a member of Alexander Technique International and a founding member of Integrative Alexander Technique Circle.

https://www.crispinspaeth.com/about-crispin

Morgan Thorson

Stillness, action, image, record.

SUN | AUG 9 | 10-11:30AM

CLASS DESCRIPTION:

What is happening inside a stillness? How does it inform your perception of time and energy? What is felt? What is seen, and unseen? How do you recollect your experience? Working with images you create, micro-movements, and sensing inside your body, we will experiment with a rhizomatic approach to slow-grow, root, and disintegrate material. We will talk, witness, and move. We will also create a system of shorthand notation so that we have a record of our time together that does not rely on digital data. Bring a notebook and a pen.

ABOUT THE ARTIST

Morgan Thorson is a femme, queer, dance artist, making things and teaching things that blow up, settle down, make no sense, or fall apart. She uses the pronoun she and is based in Minneapolis, where she runs MOVO space—an artist-centered, multi-use, incubation space—with artist Valerie Oliveiro. She is a certified Skinner Releasing Technique instructor/facilitator, and is currently making movement for Split Britches’s Last Gasp. She is a founding member of ORG, ongoing research group, and is currently researching viewership as creative participant.

Fox Whitney

Rest/Riot

SAT | AUG 8 | 10-11:30AM

CLASS DESCRIPTION:

Come ready to move to the music that played on the jukebox during the Stonewall Riots of 1969.  Engage in psychedelic movement research and scores for improvisation informed by resting/rioting, whispering/screaming, and the history of protest in the United States. Practices focus on the breath, private and public space and our queer and transgender (d)ancestors.

ABOUT THE ARTIST:
Fox Whitney (he/him)  is the choreographer for Gender Tender, an interdisciplinary performance project based in Seattle that centers his queer and transgender point of view. He creates experiences that investigate the nature of queer relationships, trans histories and the surreal nature of transformation. Gender Tender engages a team of artists trained in Fox’s unique methods modeled on sports teams, cults, sitcoms and riots. He has performed in work by Morgan Thorson, Gabrielle Civil, Vladimir Kremenović, Keyon Gaskin and Malic Amalya. His most recent project MELTED RIOT, a queer meditation inspired by the Stonewall Riots of 1969 was presented by Velocity on the 50th anniversary of the riots in 2019.

Takahiro Yamamoto

Properties of Visibility - Audio

On-demand Audio Class

CLASS DESCRIPTION:

This three-part practice is my invitation to meditate on how our sense of vision will affect the way we acknowledge ourselves, the others, and the world around us. As a choreographer, I have been investigating the idea of visibility and vision in order to explore the shifting dynamics between viewers and performers and among performers themselves. This self-guided audio practice, I chose to narrow its focus to internal-self and the inanimate objects around us without deliberate experimentation with strangers nor overt social solicitation. Using three interrelated yet distinctive topics, this practice will offer multiple avenues to reflect your own agency to reflect, shift, and recalibrate our viewpoints to our world.

I welcome you to dial each phone number and listen to each session via headphones outside: at a park, on a sidewalk, at your own backyard, or what have you. Choose a location as you consider these following tasks that I will propose.

* Closing your eyes
* Stop and contemplating on ideas and questions
* Being still
* Occasionally walking around the space
* Intentionally looking at objects
* Looking up the sky
* Shifting the eye focus

Part 1. LOOKING
Part 2. DISAPPEARANCE OF SELF
Part 3. SOCIAL VISIBILITY

ABOUT THE FORMAT: 

This class is a series of three audio recordings that will be accessible in two ways: (1) listening via a link on the VDC website, (2) listening via phone calls, through numbers generated by Bullhorn.fm. This class “goes live” on Aug 2, and participants register and get the link to access the links and phone numbers through Aug 16.

ABOUT THE ARTIST:
Takahiro Yamamoto is an artist and choreographer based in Portland. He has produced original performances and visual artworks nationally and internationally. He is a graduate from Pacific Northwest College of Art in MFA in Visual Studies. He co-directs a performance company madhause with Ben Evans, and a part of Portland-based support group Physical Education with Allie Hankins, keyon gaskin, and Lu Yim. 

http://takahiroyamamoto.com/

Lu Yim

dance for the dead (a night practice)

FRI | AUG 14 | 9 – 10:30PM

CLASS DESCRIPTION:

we are going to dance for the dead. this is a space to dance in the name of healing wherever you may be in your process of ancestral work. we will begin with a writing prompt and talk through how we are to engage and manage our immediate physical surroundings with that of the virtual, and within non-linear time. we will have moments to share with one another throughout the party. it will be a party, with moments of introspection and connection, please byob and dress ceremoniously. 

Lu suggests that you prepare your space before by setting up an altar*. This may include setting intentions and boundaries, saying prayers and blessings, and making decisions for your physical space and your virtual space. Lu suggests using your intuition to guide you in how you prepare if you do not have a foundation of doing this work to begin with. 

*You will not have to perform any sort of spiritual knowledge or expertise to the group or share your altar space with us, unless you want to. Feel free to contact Lu beforehand with any questions.

ABOUT THE ARTIST:
Portland-based performance artist and choreographer Lu Yim​ creates work from her interests in body politics, language, and the mechanics of memory. Yim’s investigation is culled from a combination of experimental art, poetry, and somatic dance practices. Yim’s creative process, founded in writing and improvisation, leads to metaphors and ideas performed as actions. Past collaborators include Enrico D. Wey, Jin Camou, Jesse Mejía, and Physical Education (Takahiro Yamamoto, Allie Hankins, and keyon gaskin). Yim’s work has been supported by PICA’s Creative Exchange Lab, Performance Works NorthWest (Portland), and Pieter Performance Space (Los Angeles).

www.lu-yim.com

FREE EVENTS

These events are free for anyone to join, and facilitated by SFDI 2020 Faculty. For online events, register through the Zoom link in the description to get the event link. Email summer@velocitydancecenter.org for more information. 

OPENING CIRCLE

SUN | AUG 2 | 2-3PM | ZOOM

Join us in gathering together to meet your new SFDI community of teaching artists and peers. Take this opportunity to connect, ask questions, and address concerns. We look forward to seeing you!

HAPPY HOUR

with Physical Education

Click on the time and date below to register:

AUG 4 | 5 PM | Zoom

Make a drink and kick off SFDI with Physical Education. We’ll have a moment to see each other and say hello, and make a toast to the first week of classes and workshops. PE will also get us acquainted with our ongoing chat forum, available to us 24-7. We’ll set some intentions for that space and for the festival as well. Come raise a glass with PE.

READING GROUP

with Physical Education

Click on the time and date below to register:

AUG 13 | 5:30 PM | Zoom

Find the reading materials here.

Physical Education initially began as a critically engaged reading group between Allie, keyon, Lu, and Taka. They imbibed and ate lots of snacks together as they developed a deepening and elevating camaraderie. For SFDI they bring you the same, except you have to bring your own snacks. At a PE Reading Group, all styles of participation are valid (speak, listen, observe), and you need not have read the proposed reading list to attend. Our suggested readings are meant to serve as a jumping off point—tangents, associations, critiques, rabbit holes, etc. are welcome. 

ONLINE FORUM

with Physical Education

THE UNDERSCORE

facilitated by Ronja Ver

Click on the time and date below to register:

Talk-through – AUG 15 | 5:30 PM | Zoom

The Underscore – AUG 16 | 12:30 PM | Zoom

The Underscore is a long-form dance improvisation structure developed by Nancy Stark Smith. It has been evolving since 1990 and is practiced all over the globe.

The Underscore is a vehicle for incorporating Contact Improvisation into a broader arena of improvisational dance practice; for developing greater ease dancing in spherical space—alone and with others; and for integrating kinesthetic and compositional concerns while improvising. It allows for a full spectrum of energetic and physical expressions, embodying a range of forms and changing states. Its practice is familiar yet unpredictable.

To participate in an Underscore, one should have some experience of Contact Improvisation and attend a talk-through of the Underscore, which often takes about an hour. The Underscore is not led with verbal cues; the idea is that people “know” it already and are coming together to share the practice. Participants come on time and stay for the duration of the event.

 

ABOUT THE ARTIST:
Ronja Ver is a dancer, dance maker, teacher and parent, living and working in Oakland, CA. A perpetual student of performance as a way of participating in community and a tool for social change, they are deeply inspired by physical, social and mass movement, and its capacity to create meaningful impact on a personal and global scale. Ver is a graduate of Moving On Center and holds an MFA in dance from Hollins University. They are featured spinning underwater in Steve Paxton’s DVD Material For The Spine.

About my approach:
The Underscore is a living document. Its author, Nancy Stark Smith, kept researching and interrogating the work until her passing this spring, contemplating changes and incorporating new ideas. I don’t see the score as a monument to be preserved, but a structure ripe with potential for improvising dance: to be lived in, practiced, questioned, evolved, pushed against, listened to and re-languaged when necessary. In its core is a deep, playful curiosity about the endless possibilities of what can happen when we come together to dance, listening to our intelligent bodies, the space, and each other.

We will include some history of the score, as well as some adaptations and proposals which Nancy was excited about in this past year of research.

BIPOC Jam Space

facilitated by Moonyeka and the Kiki House of Arcadia

Click on the time and date below to register:

THU | AUG 13 | 7 PM | Zoom

Open to Black, Indigenous, and People of Color individuals only.

ABOUT THE ARTISTS:

The Kiki House of Arcadia is a community of BIPOC artists, spiritual healers, and organizers. We honor our queer ancestors and each other by being present for each others spiritual and emotional development … and by slaying the runway in our free time. Our house believes in collective liberation and the freedom to be your full self, no matter what.

 

SH*T GOLD OUTDOORS

Open Mic Performance in Public

SUN | AUG 9 | 2PM

Submission deadline – AUG 2

Register here! 

Every summer, we do something a little different than our usual SH*T GOLD with longer-form performances. But this year has been quite a different year! We are experimenting with a new downsized form in an outdoor location to keep ourselves as safe as we can while enjoying live performance and the energy of sharing a collective space.

Like at any SH*T GOLD, your performance may be in any live medium and in any stage of development. We encourage raw works-in-progress, presented in the spirit of experimentation and risk. Dive into SH*T GOLD as a resource for your creative process.

You might take the time to:
* Show a 5-minute work. Show a 7-minute work. Present that epic 10-minute thing you’ve been working on.
* Build an installation for 8 minutes, lead the audience through it for 2 minutes, then tear down & load out.
* Stage a 5-minute scene and follow it with an 5-minute Q&A or work-shopping session.
* Start a community discussion about performance.
* Slip 10 one-minute performances throughout the other performances.
* Your use of time is your prerogative and limited only by your imagination. Please do no harm, and leave the space better than you found it.

Please note that since we will be outside, this is a low-tech to no-tech showcase. If you have technical aspects you would like to incorporate, please contact gold@velocitydancecenter.org to work out the details.

Join the SH*T GOLD Facebook group to stay up-to-date on the happenings:
https://www.facebook.com/groups/761461727229565

REGISTER HERE!

 

Contemplative Dance Practice (in-person)

with Sheri Cohen and Christian Swenson

FRI | AUG 7 | 8AM with Sheri Cohen

THU | AUG 13 | 8AM with Christian Swenson

Contemplative Dance Practice (CDP) is a participatory movement and meditation practice that explores embodied awareness.
Created in the 1970’s by
 Barbara Dilley (Grand Union, Naropa University), Contemplative Dance Practice is now practiced internationally.

This simple three-part form creates the perfect environment for us to be with what is present in our bodies and in the space, and to express ourselves through movement on a ground of safety.

Where:

Washington Park Playfield, 1017 Lake Washington Blvd E, Seattle, WA 98112

Contact:

Sheri Cohen: shericohenmovement@gmail.com

Christian Swenson: humanjazz@comcast.net

How:

Socially distant, intimately sharing

The Form

Listen for verbal calls or bell-ringing from facilitator to guide you through the three-part practice:
Before 8am, create socially distant circle, ringing the space, leaving openings for latecomers

Part 1:

8:00-8:30, Meditation—being here now

Part 2:

8:30-9:00 Personal Awareness Practice—also called personal warm up, or time attending to self
At the end of personal awareness, re-form the circle

Part 3:

9:00-9:30 Open space—time to sense ourselves in relation to others, sometimes moving and 
sometimes witnessing the movers, always noticing meanings manifest out of nothing and dissolve away again; any expression is possible (movement, sound, language, etc.); leave the witness role at the edge of the circle to move/sound/act as many times or whenever you like, for as long as you like, for any reason

ABOUT THE ARTISTS:

Christian Swenson is a performing artist and teacher who offers a variety of creative services and participatory events including; concerts, workshops, school shows, jams, lecture/demonstrations and private parties.
His work in the theater is concerned with the autonomous actor, the natural world, and the dynamic interplay between the self and the Other. Since 1980 he has been creating and performing solo works for body and voice, our original instruments. The work is unique in its cross-cultural synthesis of theater, dance and music and its willingness to unbridle the imagination. He creates shows where freedom is more important than conflict, and within which continual transformations can take place.

Sheri Cohen’s Biography:

I have been a hungry student of the movement arts for over 30 years. I began my professional career as a dancer, choreographer, and dance teacher. (For more on that, please go to SheriCohenDance.com.) In 1990 I stumbled into my first Feldenkrais® Awareness Through Movement® class, and I was changed forever. I completed my professional training in Feldenkrais Method® in Strasbourg, France, 2000, with trainers Elizabeth Beringer and Dr. Lawrence Goldfarb.

I am an Assistant Trainer of the Feldenkrais Method, which allows me the privilege of teaching aspiring practitioners in certified training programs. I am a certified member of the Feldenkrais Guild®, and I have conducted classes, workshops, and individual sessions in the Seattle area since 1998, where my students are musicians, dancers, moms, meditators, runners, typists, bus riders, children, and all versions of human being.
Despite being a longtime yoga skeptic, I eventually could not suppress my curiosity about the rising tide of yoga offerings in the ‘90’s. I found Denise Benitez at Seattle Yoga Arts, and was won over by Denise’s approach. To learn more, I became Denise’s teaching assistant, and from there began teaching my own classes. I love connecting with my yoga students through breath, awareness and movement. My background in dance, Feldenkrais, and Anusara yoga informs my yoga teaching. The buoyant community of students who attend them weekly at Lotus Yoga inspire them. I am a registered yoga teacher, RYT-200.
For twenty years I choreographed and taught contemporary dance, with a special interest in movement improvisation. My current dance practice (and, thus, my teaching) includes Contemplative Dance Practice (from Barbara Dilley) and Tuning (from Lisa Nelson), among other influences.
I am inspired and supported by my husband, David Knott, music therapist, improviser and all-around creative soul, and by our amazing daughter.

Tuning Practices

with Karen Nelson

Click on the time and date below to register:

MON | AUG 10 | 10AM | Zoom

WED | AUG 12 | 10AM | Zoom

SAT | AUG 15 | 10AM | Zoom

Tuning Practices are an intriguing way to investigate fundamental elements of performance, movement behavior, and communication, altogether. Originated by Lisa Nelson, the explorations illuminate how we compose perception through action; in other words, we learn how what we see is inextricably linked to how we see, through our multi-sensorial layers of observation. In “tuning,” we practice together, using both movement and verbal calls. Through these, we communicate our desires, our imagination, and our memory, in a shared image space. And with this material, we compose live art, together.

ABOUT THE ARTIST:

Karen Nelson has danced, toured, taught and performed since 1977, collaborating with many leading artists in the field of dance improvisation. Karen’s decades long work with Steve Paxton and his system Material for the Spine, Contact Improvisation, and Lisa Nelson’s Tuning Scores forged a tremendous influence on her improvisation practice. Throughout the 1990’s she danced with Image Lab, a group of choreographer/improvisors including Scott Smith, K.J. Holmes, and Lisa Nelson, committed to exploring Tuning Scores as a tool for making dances in performance. Karen co-founded Breitenbush Jam, DanceAbility and Diverse Dance Research Retreat, and worked for 8 years in early 2000’s as a caretaker of a Buddhist meditation retreat facility. She trains in and teaches Embodied Life ™, based on teachings of Russell Delman, combining Feldenkrais-influenced movement, zen-influenced meditation and embodied listening or “Focusing.”

 

Contemplative Dance Practice (online)

with Karen Nelson

Click on the time and date below to register:

TUE | AUG 4 | 8AM | Zoom

WED | AUG 5 | 8AM | Zoom

Contemplative Dance Practice (CDP) is a participatory movement and meditation practice that explores embodied awareness.
Created in the 1970’s by
 Barbara Dilley (Grand Union, Naropa University), Contemplative Dance Practice is now practiced internationally.

ABOUT THE ARTIST:

Karen Nelson has danced, toured, taught and performed since 1977, collaborating with many leading artists in the field of dance improvisation. Karen’s decades long work with Steve Paxton and his system Material for the Spine, Contact Improvisation, and Lisa Nelson’s Tuning Scores forged a tremendous influence on her improvisation practice. Throughout the 1990’s she danced with Image Lab, a group of choreographer/improvisors including Scott Smith, K.J. Holmes, and Lisa Nelson, committed to exploring Tuning Scores as a tool for making dances in performance. Karen co-founded Breitenbush Jam, DanceAbility and Diverse Dance Research Retreat, and worked for 8 years in early 2000’s as a caretaker of a Buddhist meditation retreat facility. She trains in and teaches Embodied Life ™, based on teachings of Russell Delman, combining Feldenkrais-influenced movement, zen-influenced meditation and embodied listening or “Focusing.”

Contemplative Dance Practice (online)

with Fox Whitney

Click on the time and date below to register:

FRI | AUG 14 | 10AM | Zoom

Contemplative Dance Practice (CDP) is a participatory movement and meditation practice that explores embodied awareness.
Created in the 1970’s by
 Barbara Dilley (Grand Union, Naropa University), Contemplative Dance Practice is now practiced internationally.

Fox Whitney (he/him) is the architect/choreographer behind Gender Tender, an interdisciplinary performance project based in Seattle that centers his queer and transgender point of view. He creates experiences that investigate the nature of queer relationships, trans histories, and the surreal nature of transformation and center his queer black mixed transgender point of view. Gender Tender engages a team of artists trained in Fox’s unique methods modeled on sports teams, cults, sitcoms, and riots. He has performed in work by Morgan Thorson, Gabrielle Civil, Vladimir Kremenović, Keyon Gaskin, and Malic Amalya. His most recent project MELTED RIOT, a queer meditation inspired by the Stonewall Riots of 1969 was presented by Velocity Dance Center on the 50th anniversary of the riots in 2019. Fox is a dancer and choreographer with a focus on improvisational, somatic, and contemporary choreographic methods. He is a certified yoga teacher and trained at the Yoga Center of Minneapolis.

CLOSING CIRCLE

Click on the time and date below to register:

SUN | AUG 16 | 5:30PM | Zoom

Join us for this closing night and take the opportunity to gather, reflect, give feedback, share highlights, and connect in isolation.

PRICING & REGISTRATION

FULL FESTIVAL

$300

INTENSIVES

Eiko Otake / $250

Rosy Simas / FREE

Rosy Simas’s class is open to Black, Indigenous, and People of Color participants only.

Morgan Thorson + Fox Whitney / $150

DROP-INS

$18 / Single Class

$60 / 4-class pass

$112 / 8-class pass

 

WORK/STUDY OPPORTUNITY

Velocity’s Summer Work/Study program provides the opportunity for participants to receive a 50% discounted attendance for one or both Strictly Seattle and Seattle Festival of Dance Improvisation in exchange for admin tasks. Work/Study participants work about five hours per week during the festival(s). This year, due to COVID-19 all Work/Study will duties will be remote tasks, such as monitoring sound and video. Apply today!

BIPOC TUITION WAIVER

Velocity Dance Center is offering tuition-free places in the 2020 Summer Festivals to BIPOC dancers. We know this does not fix the problem of white supremacy in the performing arts world. It is one small step we are taking at this time toward rebalancing the power structures at our festivals.

To request, e-mail summer@velocitydancecenter.org

FAQ

When is SFDI?

In order to adapt to participant and teacher needs from the new online format, we are running SFDI as a two week festival this year: Aug 2 – 16.

WHAT DO I DO IF I'VE NEVER ATTENDED AN ONLINE CLASS BEFORE?

Strictly Seattle is hosted online this year, and all places will be conducted via Zoom. This means you can access it from anywhere in the US and abroad.

On or before June 29, intensive participants will be invited to create a MindBody account that we will link to their digital schedule and zoom link details.

HERE are general technical guidelines for taking classes online at Velocity.

If you have never used Zoom before, you can find an inventory of video tutorials here.

If you have any additional questions, you can e-mail operations@velocitydancecenter.org

DOES VELOCITY PROVIDE FINANCIAL AID, SCHOLARSHIPS, OR WORK/STUDY?

We’re offering two programs to help make the festival more accessible:

  • We are offering 100% tuition-waivers for the 2020 Summer Festivals to BIPOC dancers. To request, e-mail summer@velocitydancecenter.org
  • the work/study program is open to everyone, and participants receive a 50% discount to the festival. Information about the work/study program can be found here!

How many people will be in my intensives/drop-ins?

While this can vary widely across SFDI events, we cap all intensives at 30 people.

For individual drop-in capacity, refer to the class description. If a maximum limit isn’t stated, we will not deny anyone access. We expect to have 10-20 participants in each class.

Eiko Otake’s class is the only exception and is capped at 12 participants.

What is Velocity's refund policy for SFDI?

PLEASE READ THIS IMPORTANT INFORMATION:

Admission and class placement occurs on a first-come, first-serve basis. Classes and intensives fill quickly and enrollment is limited!

All fees paid, less a $100 cancellation fee, can be refunded only if written notice of cancellation is received on or before June 28. Tuition is non-refundable after this date for any reason including illness or injury.

For any further questions, please contact Operations Manager Shirley Wong at operations@velocitydancecenter.org.

OTHER QUESTIONS?

Contact summer@velocitydancecenter.org

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Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. SFDI WAS NOURISHING AND TRANSFORMATIVE STRICTLY SEATTLE JUMP STARTED MY DANCE CAREER AND ALLOWED ME TO MAKE THE CONNECTIONS I NEEDED. MY RESEARCH CENTER MY DANCE UTOPIA MY MOMENT TO HYDRATE IN THE KNOWLEDGE OF WORLD-CLASS TEACHERS.Enlightening. Supportive. Creative. PURE MAGIC. 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