Center Stage Dance Dancers

The Chino Hills High School Dance Team performed in their first competition at Esperanza High School. The competition started off with the Freshmen Solos, from Natalie Garcia, Scarlette Esparza, Zachary Ramos, and Simone Carrillo. Sophomore Solos, from Hayley Dyer and Megan Glaudini. Junior Solos, from Brooke Wendel, Rheana Tumang, and Mia Roberts, and Senior Solos, from Emily Ha and Florrie Ku. The sophomore, junior, and senior solos took first place!

The light shine down and the music surrounds her as she dance into the air and across the stage. The audience yells and clap for her as the curtain close. It’s the end of another work week for Jane Onwuegbuchu. Jane comes from a very huge family of 8, where it’s very hard for her to be at the center of attention, especially being the 5th child. Jane was born in Houston, Texas on June 22, 1987 to Rosaline and James Onwuegbuchu. She started dancing at the young age of 3 with Elite dancers and fell in love with dancing since then. “Growing up as a child, Jane was a very good child, she loved dancing and just seeing her dance melt my heart. She was a part of a lot of dance organization, church, youth dance team etc… You name it and she was there,”

Naomi Lang was born in a small tribe in Arcata California (1)(2)(4), it is close to the Redwood National Forest (2). December 18,1978 Naomi was born in the Karuk Tribe (1)(2). Her Indian name is “Maheetahan” it means “Morning Star”(1). In her tribe there are about 3,096 members(4). Naomi started dancing at three years old (3). Naomi’s mother became ill and so Naomi’s family moved to Michigan to be with her (4).She started skating lessons in Michigan when she was eight (1)(2)(4). The Ice Capades inspired her to skate (2)(3). When Naomi was twelve she went to the Interlochen Arts Academy and the Grand Rapids Ballet Company to be a ballerina (2)(3). While Naomi was there she was awarded the ‘Outstanding Achievement in Ballet’ (3). Once she was sixteen she went from skating to dancing (2). At this point in her life her mother was very encouraging and supportive to her (5). Naomi Lang’s childhood and teenage years were filled with skating and dancing schools

From kindergarten until high school, I was a member of the Jean Wolfmeyer School of Dance. Up to 5 days per week, I would be at the dance studio taking classes, rehearsing for shows, and helping out in the less advanced classes. Regardless of skill level, Jean never hesitated to speak the brutally honest truth about students’ performances and she never settled for anything less than perfection. Jean would often preach that she is only the instruction manual and she cannot make us good dancers, we had to do that for ourselves. However, it was not her critique or teaching alone that motivated dancers to perform well, it was her relentless work ethic and commitment to her studio. As a 70 year-old women, Jean held classes as much as 7 days per

When she was younger, it wasn’t hard for her to learn the new choreography.She was a natural dancer,but no matter how well of a dancer she was she knew that she could always improve her skills. She also became a local dancer and she performed at rodeos and county fair. One of instructor said “She didn't know learn the basics.” She needed to be taught the basics.

Since she came to Mount Saint Charles, Caroline has been extremely involved. She dances on a highly competitive elite team at Mount Saint Charles along with dancing outside of school. As she has been a part of the team for the past two years, she also wants to continue to dance in college.

Influenced primarily by cultural roots and incredibly opportunity, Dunham had the luxury of studying in the West Indies as well as anthropological study of other cultural style dances. The West Indian experience changed forever the focus of Dunham’s life and caused a profound shift in her career. This initial fieldwork began a lifelong involvement with the people and dance of Haiti. And, importantly for the development of modern dance, her fieldwork began her investigations into a vocabulary of movement that would form the core of the Katherine Dunham Technique. Though many of Dunham’s primary influences lies within her multicultural experiences, Mark Turbyfill also seemed to play a large role in her future dance career, giving her private lessons despite his doubt in the opening of her student company (Kaiso! 187). Katherine Dunham has been list as an influence to “everyone from George Balanchine to Jerome Robbins, Alvin Ailey, Bob Fosse and Twyla Tharp. American dance, including ballet, modern dance, Hollywood and Broadway, would not be the same without her” (Aschenbrenner 226).

“Listen, Jody, you ain’t de Jody ah run off down de road wid. You’se whut’s left after he died. Ah run off tuh keep house wid you in uh wonderful way. But you wasn’t satisfied wid me de way Ah was. Naw! Mah own mind had tuh be squeezed and crowded out tuh make room for yours in me (Hurston, 86.)” This was the moment in the book when Jody realized that his decision of using Janie and shaping her in the eyes of Jody was completely wrong and

With 15 years under her feet, Johnson is a Dance major going into her sophomore year at the University of Louisiana at Lafayette under the training of Marie Broussard, Kenneth Jenkins and Dina Melley. She practices many styles of dance but

She has an on and off again relationship with Mark Brittain. Everyone in their school thinks that they are just the perfect couple. Moby, Sarah Byrnes, Jody, and Brittain are all in the same CAT class (contemporary American thought), where they were talking about abortions. When Jody and Brittain were "separated", Jody and Eric staring hanging out. One day while they were hanging out, Jody told Eric that she had an abortion, "'You can't imagine the emptiness. There's a piece that isn't getting talked about in class. Mark took me to the clinic, but he dropped me off two blocks away because he thought somebody might recognize him. When I can out, I was just lost. All Mark wanted to talk about was how we'd made the right choice and how his life is no longer ruined. I just wanted to cry and have somebody hold me'" (151). Because she was embarrassed, Jody never told anyone what she told Eric. It took courage for her to speak up to Eric and tell him what happened. Jody also showed courage by facing the abortion alone. She didn't have anyone to tell her "instructions" or what to do. All she had to count on was herself and because she had enough courage to do so, she made

Jody was the second oldest and only sister of three surviving brothers. “We very much like any type of family, we had rough patches, but we loved each other very much.” Family was a very important aspect in Jody’s life; many of her traditions lie hand in hand with her them. She noted how great her mother was at cooking; “she would make turkey, mashed potatoes, green bean casserole, pistachio salad, sweet potato casserole, and fluffy rolls. Family dinners happened every night.” They didn’t only eat together, her family loved being outdoors, and had a family band.

Jody is about an adopted child. It is about searching her natural parents. Who wants to know her true identity. This is the story of being human who has ever about the heart’s journey home. This is true to life story written by Jerry Hulse. Jody was an adopted daughter by Mary and Bruce Carr, who’s married dozen years before they adopt her. She was born on May 13, 1931 in Fort Wayne, Indiana. She was faces now serious surgery and the doctors needed her family background or medical history about her parents. When she was 16 years old, she knew that she was only an adopted daughter. Her adoptive parents never told her about it, only the place where she was born. And that is the only information to find her mother. Jerry Hulse her husband is the first travel editor in Los Angeles. He was died on 2002 at the age of 77.

    Jody is complex. He represents a whole host of things, including the attempt of the black man to gain wealth and power, his effort to pattern success and failure after the model of the white man ("she was proud of what she saw. Kind of portly like white folks"), and the false sense of ownership that money brings.

“What are you even doing here? I have never seen such flawed technique in all my years as a choreographer.” The words echoed throughout the medical college auditorium. Impelled by the admonishment in front of my peers, I persevered in my endeavor to improve upon my dancing prowess and by the final year of medical school was leading the college dance team. The above mentioned undertaking further spawned an interest for the discipline of Latin Ballroom which lead to participation at the national level. The unwavering focus and persistence even in the face of unfavorable odds is more broadly reflective of my approach towards learning, both academic and extracurricular. This has been instrumental in achieving stellar academic outcomes including being ranked nationally in the top 0.0004 percent in the premedical test and the top 0.6 percent in the common aptitude test for management training.

Jane Desmond introduces her article, “Embodying Difference: Issues in Dance and Cultural Studies,” by describing a dance that readers can picture as the dance of tango in their minds. This helps lead to her connecting dance, or body movement, with cultural studies and social identities. In her article, Desmond focuses on connecting how dance and body movement can be portrayed differently in social identities, such as race, class, gender, nationality, and sexuality.