Here’s the Constant Contact version of reflections from me, announcing our Autumn retreat at Madrona MindBody Institute plus updated Zoom policy plus some great links to music:
https://conta.cc/41u4G4h
Wassa’s Savory Dances for Autumn
October 13-15, 2023
Madrona MindBody Institute
at Fort Worden
Port Townsend, WA
Join us for a weekend immersion in movement and music dedicated to the richness of our individual and collective experiences. Each of the three daily sessions offer the invitation to come as you are and go deeper into what calls to you through embodied listening, with guided contemplative and lively movement that is sourced daily with some of the best music the world has to offer.
All levels of fitness and experience are welcome.
$230 for the weekend
Spaces are limited and first come first served
Single sessions available by request
Email Lara at lara@wassadance.com for registration, payment options, cancellation policy, any questions or requests.
Our preliminary schedule is:
Friday 10/13: 4-6 pm
Saturday 10/14: 1-4 pm
Sunday 10/15: Noon – 3 pm
One of the sirens’ calls that first got me into teaching dance was the notion that I could make my own mixes with all this new to my ears music that was coming my way. From the continent of Africa especially. This excitement along with needing to structure a mix along an aerobic hear rate curve was very compelling.
I spent a lot of time counting the beats per minute of pieces and hours and hours getting a set just so in the cassette form.
Then came the CD format. Faster but still needing to have all the physical materials on hand to make something happen. Once it was burned, it was done.
Now I can make and rearrange mixes as fast as I can think of or explore a new song.
I’ve had many different goals with the musical choices I’ve made over the years but exposing folks to some of the vast richness of cultures and expressions from the African diaspora has always been one of the essential keys.
When we were first slowly coming out of Covid lock downs, working with so many restrictions, including dancing in separate taped off squares, masked and 98% virtually, many of the 100+ compilations didn’t feel right. Some sounded too big, some had too many layers of memories for me of big groups and unencumbered spaces, some I thought wouldn’t sound good on whatever home set up people were using to dance on Zoom. I didn’t try to present as if it was the same class as ever with some inconveniences thrown in. And I felt we needed music that was encouraging, nurturing and inspiring to move with in small spaces.
I now have a whole series of those that start with the letter Z (for Zoom).
This winter one of our long time dancers, Nan, who now has dementia, started joining us on Tuesdays. When I know she’s coming, I’ve gone for my most gentle mixes thinking too much stimulation might be harder. Having her there is teaching me many things. One is the kinds of music she most seems to respond to (it varies but definitely pieces with a touch of Latin flavor). And for however small it appears, how deep from within her those movements are. It feels very pure. One of the things I appreciate about her responses too, is how when she gets overstimulated she simply stops and slowly folds herself into a ball on the floor. Or makes her way to the door where her amazing husband helps her sit out for a while until she’s ready for more.
Lately as more people are able to return in person and we can use the whole room again, my curiousity, creativity and musical palette are opening up too.
Last week Ismaila Toure of the great Senegalese band Toure Kunda died. Hearing this reminded me of how their song “Salaly Muhamed” was one of THOSE songs that got me excited to start teaching with my own musical choices. I set out to re-explore some if their work and other songs from that era. That resulted in a mix I made with Nan in mind that also includes Samite, Remmy Ongala, Dorothy Masuka, Thomas Mapfumo, Angelique Kidjo…
The next one brought in more from Toure Kunda, some older some newer, a nod to De La Soul’s catalogue being remastered and released with most of their original samples (and RIP Trougoy/Dave), a posthumous piece from Ali Farka Toure, new Baaba Maal and a Janelle Monae/Seun Kuti collaboration, Kokoko!,Angelique Kidjo and a few more. I wasn’t sure this one was going to fly but it held together in a fresh way. I can’t wait to dance with it more.
Happy Anniversary Balance Studio!
Click to read.
We have begun! Here’s the link to check out our first tastes of what goes on in our daily classes. Enjoy! And, I’d love to hear from you: lara@wassadance.com
Yes indeed! We will be returning for our 15th beautiful year of dancing at
Kalani Oceanside Retreat Center on the Big Island, Hawaii.The dates are February 7-13, 2016
Lodging options are limited this round.
Please contact Lara at lara@wassadance.com
Join us this winter in seeding a new season of our potential for ease and joyful vitality.
Come as you are, let the rhythms dance you deeper.
We will be
– cultivating fresh vibrancy in our physical wit and wisdom.
– immersing ourselves in afro-infused dance inspired by some of the best music the world has to offer.
– engaging our senses in the complex natural and cultural beauty that IS the Big Island. Ocean meets lava, mongoose, wild pigs, tree frogs, bird song, hula, solar power, compost, and not so far away strip malls all co-existing while Pele makes the newest earth in the world.
This sweet 6 night island style intensive features daily sessions of movement meditations and personal tuning leading into spirited dance segments in Wassa’s unique ways. Most afternoons and evenings are purposefully left open for participants to enjoy their own experience of the many delights and resources of Kalani and the island
Delicious daily buffet style meals, accommodations and use of Kalaniʼs grounds, pool and spa are included.
* Spontaneous offerings for group or individual sessions TBA.
LODGING OPTIONS / RATES*:
Lodge Rooms: sold out, contact Lara for wait list.
Bungalow: $1,770 single / $1,410 double
Lofts and Treehouses: $1,890 single/ $1,500 double
Tropical Cottages: $2,340 single / $1,710 double
A deposit of $300 holds your space.
Second installment due by Oct. 31 and final payment by December 31, 2015.
*Prices subject to change without notice for unregistered participants.
For island residents or vacationers wishing to attend the daily dance intensive without Kalani lodging or meals, drop-in rates per class and weekly options are available as space allows. Pre-registration is strongly suggested for this option–which also includes a Kalani day pass with each class/series purchased. Lodging and meal options at Kalani may be purchased separately through Kalani.
Kalani Honua Retreat Center: Kalani means Harmony of Heaven and Earth and is located on 19 coastal acres of tropical beauty on the SE coast of Hawaii. Dramatic lava cliffs provide a haven for sunbathers, stargazers, whale watchers and those seeking a deep connection with the earth and sea. Other offerings at Kalani at additional cost include: Hawaiian and Thai massage, Yoga, Bodywork, Watsu (water-based bodywork) and Hawaiiana/Hula Classes.
For more info on Kalani: www.kalani.com
To book airport shuttles, please call Kalani’s Guest Services at 800-800-6886 at least a week prior to travel.
Night time
is the right time
for fun-fun dancing.
Thursdays
Oct. 22 – November 19, 2015
6:15-7:15 p.m.
Balance Studio
418 North 35th Street
Seattle, WA 98103
$ 50 for the series* or use your 10 class card.
Drop-ins are welcome: $15 at the door.
Please contact Lara to sign up.
*no refunds or extensions on individual series purchases
I hope you can join us for a special session of restorative movement on Thursday December 4.
6:15-7:15 p.m. at Balance Studio.
This will be our last Thursday evening session of 2014 and it seems a very good time to slow down and nourish our bodies as we head into this busy winter season.
Use your dance card, monthly subscription and $15 drop in.
We had a blast tonight putting together two pieces of movement that have been cultivated separately over the past 3 months or so!
The movement keeps being informed by different pieces of music. Tonight we danced with MC Solaar’s HIJO de AFRICA and Lala Njava’s VOATSE.
Fun fun fun.
Next session in Dec. 4 and that will be a restorative movement session to close the season.
We’ll pick up the series again in January. I can’t wait!
This week Geoffrey Holder passed away. He was a true Renaissance man. Our legacy of arts and culture are greatly enhanced by his time on earth.
http://en.wikipedia.org/wiki/Geoffrey_Holder
Here are splendid tidbits from him :
Here’s a letter Leo Holder wrote about the last days with his father.
A little more than a week after developing pneumonia, Geoffrey Holder made a decision. He was calling the shots as always. He was done. 2 attempts at removing the breathing tube didn’t show promising results. In his truest moment of clarity since being rolled into I.C.U. he said he was good. Mouthing the words “No, I am not afraid” without a trace of negativity, sadness or bitterness, he sincerely was good with it. He had lived the fullest life he could possibly live, a 70 + year career in multiple art forms, and was still creating. Still painting, a bag of gold (of course) fabric and embellishments in his room for a new dress for my mother, sculptures made out of rope, baseball caps and wire hangers. New ideas every second, always restlessly chasing his too fertile mind. A week of breathing tubes and restrained hands had forced him to communicate with only cryptic clues which I was fortunate enough to be able to decipher at best 40% of the time.
The fact that we all struggled to understand him enraged him to the point that he could sometimes pull tantrums taking up to 4 people to restrain him from pulling out the wires. He was head strong (understatement), but he was also physically strong. Iron hand grip that no illness could weaken. 9 days of mouthing words that, because of the tubes, produced no sound forcing him to use his eyes to try to accentuate the point he was trying to make. But this didn’t mean he wasn’t still Geoffrey Holder. This didn’t mean an end to taking over. Holding court as he always did.
Directing and ordering people around. Choreographing. Getting his way. We still understood that part, and the sight of his closest friends and extended family brought out the best in him. Broad smiles in spite of the tubes, nodding approval of anything that met his standard (which was very high), and exuding pride and joy in all those in whom he saw a spark of magic and encouraged to blossom. The week saw a parade of friends from all over the world checking in to see him, hold is hand, rub his head, and give him the latest gossip. But he was still trying to tell me something, and although I was still the best at deciphering what he was saying, I still wasn’t getting it.
Saturday night I had a break through. After a good day for him, including a visit by Rev. Dr. Forbes, Senior Minister Emeritus of Riverside Church who offered prayer and described Geoffrey’s choreography as prayer itself, which made him beam, I brought in some music. “Bill Evans with Symphony Orchestra”, one of his all time favorites. He had once choreographed a piece to one of the cuts on the album… a throwaway ballet to fill out the program, but the music inspired him. From his bed, he started to, at first sway with the music, then the arms went up, and Geoffrey started to dance again. In his bed. Purest of spirits. Still Geoffrey Holder. Then he summoned me to take his hands, and this most unique dancer / choreographer pulled himself up from his bed as if to reach the sky. It was then I broke the code: he was telling me he was going to dance his way out. Still a Geoffrey Holder production. If it had been up to him, this evening’s solo would have been it. The higher he pulled himself up, the higher he wanted to fly. I had to let him down. Not yet. There are friends and family coming in from out of town. He resignedly shrugged his shoulders, closed his eyes and went to sleep.
I got it. Really. I got it. I walked out of the hospital elated. Ate a full meal for the first time in days, slept like a baby after. The next day would be his last. I was not sad. It wasn’t stressful for me to deal with him in this state. It was an honor and a privilege to tend to anything he needed. This impromptu dance was his dress rehearsal.
Next morning, I show up early. Possible second thoughts? Should we wait? What if he changes his mind? Did he understand what we were talking about here? Thoroughly. Mind as clear as crystal. “You still game for our dance tonight?” A nod, a smile, and a wink, with tubes still down his throat.. We’re still on. But he still wants to do it NOW. NOT later. He’s cranky. Sulks a while. Sleeps a while. Eventually snaps out of it.
From noon on, a caravan of friends and family from all over the globe come through the ICU wing. Ages 1 to 80. Young designers and artists he nurtured and who inspired him. YOUNGER dancers he encouraged to always play to the rear balcony with majesty. The now “elder statesmen” dancers on whom he built some of his signature ballets. His rat pack of buddies. Wayward saints he would offer food, drink, a shoulder to cry on, a couch to sleep it off, and lifetime’s worth of deep conversation and thought. Closest and oldest friends. Family.
They know they are here to say goodbye. He knows they are here to say goodbye. He greets them beaming with joy to see them. By this time I’m reading his lips better and am able to translate for him as much as I can. The last of them leave. It’s time for his one true love to have her time with him. His muse. Her champion. This is their time. 59 years distilled into 5 minutes of the gentlest looks and words as she caresses his noble brow one last time. She puts a note she wrote to him in is hand. She leaves.
Everyone is gone except me. My moment. I will be with him as he goes.
One more time: “you good?” Nod & faint smile. ‘you ready?” He is.
I have asked the doctors to not start the morphine drip right away, because I want him to have his solo on his own time. Knowing him, he might stop breathing right after his finale. For dramatic effect. He’s still Geoffrey Holder.
They remove the tube that has imprisoned him for the past 9 days and robbed this great communicator of the ability to speak. I remove the mittens that prevent his hands from moving freely.
I start the music, take his hands and start leading him, swaying them back and forth. And he lets go of me. He’s gonna wing it as he was prone to do when he was younger. Breathing on his own for the last time, Geoffrey Holder, eyes closed, performs his last solo to Bill Evans playing Faure’s Pavane. From his deathbed. The arms take flight, his beautiful hands articulate through the air, with grace. I whisper “shoulders” and they go into an undulating shimmy, rolling like waves. His Geoffrey Holder head gently rocks back and forth as he stretches out his right arm to deliver his trademark finger gesture, which once meant “you can’t afford this” and now is a subtle manifestation of pure human spirit and infinite wisdom. His musical timing still impeccable, bouncing off the notes, as if playing his own duet with Evan’s piano. Come the finale, he doesn’t lift himself of the bed as he planned; instead, one last gentle rock of the torso, crosses his arms and turns his head to the side in a pose worthy of Pavlova. All with a faint, gentile smile.
The orchestra finishes when he does. I loose it.
They administer the morphine drip and put an Oxygen mask over his face and I watch him begin taking his last breaths.
I put on some different music. I sit and watch him sleep, and breathe… 20 minutes later, he’s still breathing albeit with this gurgling sound you can hear though the mask. Another several minutes go by, he’s still breathing. Weakly, but still breathing… then his right hand starts to move. It looks like he’s using my mother’s note like a pencil, scratching the surface of the bed as if he’s drawing. This stops a few minutes later, then the left hand begins tapping. Through the Oxygen mask the gurgling starts creating it’s own rhythm. Not sure of what I’m hearing, I look up to see his mouth moving. I get closer to listen: “2, 3, 4….2, 3, 4… He’s counting! It gets stronger, and at it’s loudest sounds like the deep purr of a lion, then he says “Arms, 2, 3, 4, Turn, 2, 3, 4, Swing, 2, 3, 4, Down, 2, 3, 4….”
I called my mother at home, where she was having a reception in his honor. She picks up. There are friends and family telling Geoffrey stories simultaneously laughing and crying in the background.
“Hi, honey, Are you alright?”
“Yes actually… he hasn’t stopped breathing yet.” I tell her about his solo, which brings her to a smile and a lightening of mood. I continue:
“Can I ask you a question?”
“Sure Honey. What?
“Who the hell did you marry?”
“What do you mean?”
“You’re not gonna believe this. He’s got a morphine drip, going on over half an hour, an Oxygen mask on, his eyes closed, AND HE’S CHOREOGRAPHING!”
This brings her to her first laugh of the day. She now knows we will be alright.
He continues on like this for quite a while, and a doctor comes in to take some meter readings of the machines. I ask the doctor if this is normal. As she begins to explain to me about the process, his closed eyes burst open focused straight on us like lasers and he roars with all his might: “SHUT UUUUUUUUUUUUUP!!! YOU’RE BREAKING MY CONCENTRATION!!!!!!!”
We freeze with our mouths open. He stares us down. long and hard.
Then he closes his eyes again, “Arms, 2, 3, 4, Turn, 2, 3, 4, Swing, 2, 3, 4, Down, 2, 3, 4…”
He continued counting ’til it faded out, leaving only the sound of faint breathing, slowing down to his very last breath at 9:25 pm.
Still Geoffrey Holder.
The most incredible night of my life.
Thank you for indulging me.
Love & best,
L
WASSA DANCE – SPRING TUNING
March 28 – April 2, 2015
Kalani Oceanside Retreat Center – Big Island, Hawaii
Join us in seeding a new season of our potential for ease and joyful vitality.
Come as you are, let the rhythms dance you deeper.
We will be
– cultivating fresh vibrancy in our physical wit and wisdom.
– immersing ourselves in afro-infused dance inspired by some of the best music the world has to offer.
– engaging our senses in the complex natural and cultural beauty that IS the Big Island. Ocean meets lava, mongoose, wild pigs, tree frogs, bird song, hula, solar power, compost, and not so far away strip malls all co-existing while Pele makes the newest earth in the world.
This sweet 5 night island style intensive features daily sessions of movement meditations and personal tuning leading into spirited dance segments in Wassa’s unique ways. Most afternoons and evenings are purposefully left open for participants to enjoy their own experience of the many delights and resources of Kalani and the island
Delicious daily buffet style meals, accommodations and use of Kalaniʼs grounds, pool and spa are included.
* Spontaneous offerings for group or individual sessions TBA.
To inquire or register contact Lara McIntosh: lara@wassadance.com
EARLY BIRD SPECIALS AVAILABLE!
Spaces are limited. Early registration is advised.
Registration requires $250 non-refundable deposit.
LODGING OPTIONS / RATES*:
Ocean Cottage: $1,999 single / $1,499 shared
Bungalow: $1,675 single / $1,350 shared
Lodge Room (private bath): $1,475 single / $1,225 shared
*Prices subject to change without notice for unregistered participants.
**For island residents or vacationers wishing to attend the daily dance intensive without Kalani lodging or meals, drop-in rates per class and weekly options are available as space allows. Pre-registration is strongly suggested for this option–which also includes a Kalani day pass with each class/series purchased. Lodging and meal options at Kalani may be purchased separately through Kalani.
Kalani Honua Retreat Center: Kalani means Harmony of Heaven and Earth and is located on 19 coastal acres of tropical beauty on the SE coast of Hawaii. Dramatic lava cliffs provide a haven for sunbathers, stargazers, whale watchers and those seeking a deep connection with the earth and sea.
Other offerings at Kalani at additional cost include: Hawaiian and Thai massage, Yoga, Bodywork, Watsu (water-based bodywork) and Hawaiiana/Hula Classes.
For more info on Kalani: www.kalani.com
Please call Kalani’s Guest Services at 800-800-6886 to book airport shuttles at least a week prior to travel.
Night time is the right time.
Come dance on Thursdays!
February 19,26 March 5, 12,19, 2o15.
6:15-7:15 p.m.
Balance Studio
418 North 35th Street
Seattle, WA 98103
$50 for the series*
Drop-ins are welcome: $15 at the door.
The Thursday night series is designed for those who want to go deeper into the intensity, technique and choreography of Wassa Dance. The lively hour features focused energy and choreography along with deeper skills and technique. And, it’s FUN FOR ALL!
Series spaces are limited. Please contact Lara to sign up.
Drop-ins are welcome: $15 at the door.
*no refunds or extensions on individual series purchases