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The best dance music to start your day. Anthems you need to hear from today with the perfect blend of Dance Anthems from yesterday.[...]

Nothing but anthems from legendary Clubland artists to keep you feeling happy[...]

Chart Toppers

Nothing but the best dance tracks that topped the Official UK Chart or the UK Dance Chart[...]

The Daytime Requester

We have your workday completed with anthems from Yesterday, Today and Tomorrow

Wherever you’re going later in the day, let Dance Revolution be your soundtrack. Homebound is the ultimate mix of dance anthems of Yesterday, today and [...]

Manic Mondays

EDM Anthems to start you week right[...]

Dance Revolution Afterdark

Non stop dance anthems to keep your night going whether you’re partying, working or an insomniac.[...]

Trance Tuesdays

There nothing more euphoric than trance anthems so we're here to hypnotise you with trance tuesdays.[...]

The Halfway House

Now you've made it halfway through the week, you deserve loads of house anthems.[...]

The Euro Tunnel

The best dance anthems from the biggest european artists[...]

Scott McGerty

Fancy some new skool and old skool all rolled in to one show? Scott McGerty brings you 90 minutes of new skool then we do 90 minutes of old skool.[...]

90’s @ 9

Nothing but 90's anthems for an hour. Afterall, so many people say it was best decade.[...]

Non stop anthems from the 10’s decade celebrating the dance revolution we predicted all those years ago[...]

The British Passport

60 minutes of the best tracks from UK talent. Some you'll remember and others you might not.[...]

00’s @ Noon

60 minutes celebrating the best tracks of the 00's with some forgotten gems thrown in. [...]

Legendary Anthems

Nothing but the biggest dance anthems of all time[...]

Nothing but the best dance tracks of all time[...]

Love the funkier side of dance tracks? We play you loads of funky house classics and hidden gems[...]

• Dallas, TX | Nov 8 - 10, 2024
• Orlando, FL | Nov 22 - 24, 2024
• Winston-Salem, NC | Jan 10 - 12, 2025
• Chicago, IL | Jan 24 - 26, 2025
• The Difference
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• Conventions
• Productions
• What Others Are Saying
• Showcase & Awards

Dallas Everything You Need to Know

Schedule and event info.

Printable Documents

Rules, Policies and Liability Statement

Be sure to check out our rules and policies before attending Dance Revolution!

Extra Protocols

Based on numbers, we will be taking extra protocols with wristbands on, dance bags and chairs to have a safe, fun and effective convention experience!

Follow Dance Revolution, Earthshakers and all other events to stay up-to-date on the latest DR news!!! ALSO! Be sure to use #DRImmersionTour when you post your DR pictures for a chance to win prizes throughout the weekend! Audition this weekend and receive a video emailed to you from the director about all the details this program has to offer! Be sure to come to our ING Meeting on Saturday at 12:15pm in the Apprentice Ballroom! ING members will be there to answer any questions you may have about the program!

DR is awarding an outstanding teacher on tour this year! We are celebrating the leaders and mentors that are changing the face of dance with us. Students can fill a form out about their Outstanding Teacher and turn it into the DR Main Table by the end of the DR Showcase.

Outstanding Teacher Form

New Scholarships

We are excited to announce our sponsors this year! Scholarships will be awarded from Intent Intensive and The Drop Off Hip Hop convention!

We will have a professional videographer and photographer for the Countdown to Transformation, The Gathering, DR Showcase, and Faculty Finale.

Don't forget to email your Showcase music to [email protected]!

Dallas...we can't wait to see you!

- The DR Team

(704) 650-3925

[email protected]

Parent Portal Login

DAnce Revolution

WHAT IS DANCE REVOLUTION?

Dance Revolution (DR) is a 3 day convention for our Bright Ones, Supernovas, and Illuminator dancers ages 7+ in an amazing Christian environment! For the last three years it has totally transformed our dancers spiritually, mentally and physically! We have an incredible time and make so many fun memories! We will be traveling to Winston Salem February 9-11 2024 - we would love for your dancer/s to join us! Here is a link to their website!

Here is what their website says:

“We believe that we have the "answer" the dance world has been looking for. We provide excellence in the journey while seeking to help dancers see purpose within themselves. It will be two and a half days that will shift your gift! Dance Revolution Dance Conventions offer more classes and events than any other convention of its kind. How do we accomplish this? The core mission of who we represent is God and God alone.” This year's tour is entitled "The Imersion Tour".

Check out what your dancer can expect ...

6:00 - 7:30 pm - Registration Table open

7:30 - 8:30 - Countdown to Transformation and Dance Party.

THEME - t's time to go into the deep! Dress in your favorite immersive outfit! Be a mermaid, be a wave, dress in all blue or come wet! Whatever you want! Just be ready to go to the deep with us!

7:30 - 8:00 am - Prayer Room

8:00 - 8:45 - The Gathering

8:45 - 12:00 - Classes

12:00 - 1:00 - LUNCH

1:00 - 5:00 - Classes

5:00 - 6:30 - DINNER

6:30 - 9:30 - DR Showcase (our company, SAYCRED, will be performing)

8:30 - 9:00 am - Prayer Room

9:00 - 10:30 - DR Production

10:30 - 12:30 - Classes

12:30 - 1:30 - LUNCH

1:30 - 2:30 - Classes

2:30 - 3:00 - Break

3:00 - 4:00 - Faculty Show and Awards

Classes include ballet, jazz, hip hop, musical theatre, contemporary, fusion, tribal funk and more! The teachers of these classes are professionals in their genre, from broadway stars to company leaders to So You Think You Can Dance contestants!

The investment cost for this incredible weekend is $260 (cash or check)if paid before January 1 and $275 after. We will also be staying in a hotel for 2 nights and eating 4-5 meals. Those costs will depend on the number of attendees. We will be holding a couple fundraisers to put towards these extra costs, including hosting a parent’s night out at the studio and food nights at local restaurants! We will be taking installment payments November 1 - $100, December 1 - $100, and January 1 - $60 each to help spread out the cost if you so choose!

We will also be needing chaperones as the teachers will be participating in their own incredible classes. We will need assistance with carpooling, food gathering and hotel management! Parents that chaperone may also buy observation tickets for $45 and are able to sit in on all classes.

Log In Or Create An Account

New Students - Please create an account as the first step towards enrollment.

Enrolled Students  - Login to access to your account and the Parent Portal.

© Pure Dance Works, 2023

Pure Dance Works, LLC 12844 Coldwater Rd, Ste. D Fort Wayne, IN 46845

• Dallas, TX | Nov 8 - 10, 2024
• Orlando, FL Nov 22 - 24, 2024
• Winston-Salem, NC | Jan 10 - 12, 2025
• Wheeling, Illinois | Jan 24 - 26, 2025

The Difference

• Take a Look Inside
• Conventions
• Productions
• What Others Are Saying
• Showcase & Awards

Showcase & Awards

All students are welcome and encouraged to participate in our Showcase. All entries will receive an award in honor of their participation in The Showcase.

The Lord is at the forefront of everything we do which makes everything we do an AMAZING experience!

If you are looking for an experience that leaves you inspired, motivated and ready to take on new challenges in your dance . . . then you have come to the right place.

DanceDanceRevolution

I've played Konami's arcade game DanceDanceRevolution competitively since 2002. No other game compares with DDR's synesthetic fusion of body, mind, music and machine.

Since the beginning, I've been involved in community organization within the DDR scene, helping to bring people together around the game we love. I'm lucky to have affected the DDR scene in Kentucky and West Virginia (by starting the KYDDR community in 2002), Ohio (through OhioDDR and ODDR in the mid-2000s), and California (with SF EVOLVED starting in 2016).

Tournament History

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Filed under:

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• Are We Human, or Are We Dancer? The Legacy of ‘Dance Dance Revolution,’ 20 Years Later.

Shame, joy, and dance, all in one special package

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Art may largely be a matter of taste, but one conclusion is close to inarguable: 1998 was the best year ever for video games , producing an unparalleled lineup of revolutionary releases that left indelible legacies and spawned series and subcultures that persist today. Throughout the year, The Ringer ’s gaming enthusiasts will be paying tribute to the legendary titles turning 20 in 2018 by replaying them for the umpteenth time or playing them for the first time, talking to the people who made them, and analyzing both what made them great and how they made later games greater. Our series continues today with a look at Dance Dance Revolution , an embarrassing and exhilarating demonstration of the human spirit.

The revolution started with a whimper. In the fall of 1998, a roughly 900-pound contraption with blinking lights, blaring music, and a raised platform that housed two “dance floors” was wheeled into a Japanese arcade, then lifted onto another raised platform. Four steps above the arcade floor, the first Dance Dance Revolution machine ever built was the ultimate novelty, a neon temple of uncanny-valley disco that towered over the sea of beat-’em-up sidescrollers and fighting games. Given the bewildered stares on the first day of trial runs, one of the biggest innovations in video game history might as well have been a particle collider.

Only months earlier, in the spring, Konami game producer Yoshihiko Ota pulled the plug on a formulaic fighting game he and his staff had come close to completing. “Deep inside, no matter how many times I calculated things, I couldn’t imagine that this game would sell,” Ota told Japan Close-Up in 2000. He was in search of a more provocative muse. Arcades, once the lifeblood of the video-game industry, were on the downturn with the rapid improvement of home consoles. The industry could no longer be content churning out the same product for a changing market.

Ota needed a wild card and found inspiration in the clubs he’d visit on off hours. It wasn’t long before Ota and his group of 35 core developers mobilized to create an experience that would serve as a spiritual successor to Konami’s first rhythm-based video game, the club-DJ simulator Beatmania , released less than a year earlier. Konami’s music game department soon became known as Bemani (an abbreviation of Beatmania, in the way Pokémon is short for Pocket Monsters ). They brought in professional dancers and used available motion-capture technology to break down movements into data points. They eventually established the basics of the Dance Dance Revolution— a system of steps assigned to parts of a beat, visualized as a reverse cascade of corresponding directional arrows — by “having an engineer look at a dance book,” Ota said. No one on staff knew how to dance.

The objective of the game is simple. Players stand atop a dance pad with four separate panels in each of the cardinal directions (up, down, left, and right). Affixed near the top of the screen are four master arrows outlined in a near-translucent white; as the song begins and colored arrows rise from the bottom of the screen, the player must sync each arrow with its corresponding master by making contact with the correct panel on the dance pad. The power of systematic command chains (via rhythmless programmers) compels players into a bad toprock to the beat of a song.

In 2007, nearly a decade after DDR ’s initial release, poet Cathy Park Hong published a collection titled Dance Dance Revolution , a nod to the video game series that had inspired a poem that she’d eventually scrap, but whose “cultural zig-zagging” nonetheless aligned with the themes of her work. “I was fascinated by the origin of the game,” Hong told Poets & Writers . “By the fact that the Japanese appropriated Western dance moves to turn into a video game, a game which was then imported back to the West with explosive success.”

Finding new modes of expression in a roundabout manner might just be the enduring legacy of DDR , a game that, 20 years ago, seemed to intuit more about our relationship with technology and each other than society could.

Ota was met with an understandable skepticism from his colleagues and higher-ups after the DDR pitch: Who the hell would want to subject themselves to that kind of public humiliation? “It’s true that there is an embarrassing aspect,” Ota replied. “But don’t you think that behind their feeling of embarrassment, people also have the desire to stand out?”

The Germans have a word, fremdschämen , that translates to feeling embarrassed on someone’s behalf—literally “strange shame.” But is there a word that properly conveys the scene of an inebriated soul crouched on a table in a Koreatown karaoke booth with friends, belting out Stone Temple Pilots’ “Interstate Love Song” in a deep, impressionistic growl, and the elation in the room that follows? What’s the word for when a communal sense of embarrassment sublimates into joy?

Commiseration is a powerful social device, as evidenced by the cesspool of shared neuroses that make up modern social media. Around the turn of the century, DDR became the most effective way for youth to socialize their embarrassment. Some of the first DDR machines to reach America were installed in Southern California circa 1999. My brother, a latchkey kid from the time he immigrated to America from Vietnam, grew up in our old neighborhood arcades, learning the very basics of morality from a few quarters worth of Street Fighter II a day. He discovered DDR there, during his high school years, when social cachet could first be harnessed in a meaningful way. Then he brought it home. We bought vinyl dance mat controllers imported from Japan for DDR ’s Playstation port. He threw house parties centered on DDR and karaoke—the two most embarrassing social premises available to teens at the time. I was 7 then; if I weren’t overwhelmed by idolatry, I probably would have cringed.

But the beginnings of DDR as a nationwide phenomenon can be traced back to Northern California’s Bay Area, where DDRFreak.com, one of the seminal DDR online resources, was born. In 1999, Jason Ko, a student at UC Berkeley, and Cynan de Leon, a young software engineer, discovered that there was a DDR machine at the Golfland entertainment center in Sunnyvale, California. De Leon, who was a fan of rhythm-based games even before he’d heard of Bemani, learned about DDR by accident. He stumbled upon the Dance Dance Revolution soundtrack while sifting through albums at a video game store in San Francisco’s Japantown. “I was like, ‘This is just some random dance CD. Why is it in the video game section?’ And then I read up on the game and was like, ‘This game will never come to America.’”

But it did. And as soon as Ko and de Leon caught wind, a caravan of three cars full of mutual friends descended on the arcade. Their Friday night venture soon became a weekly ritual, and their circle quickly widened. “Once people started noticing that the same people came every Friday night to play this DDR machine, more and more people started to try it out,” de Leon told me. “We were pulling people in, like, ‘Hey, do you want to learn how to play? Come on!’” It didn’t take much for unsuspecting newcomers to join in on the fun. “There’s a low barrier for entry—you just have to get over the embarrassment,” de Leon said. The appeal, and the impulse to engage (in one form or another), is undeniable.

“You look at DDR , and you’re like, ‘What the hell kind of game is this?’” de Leon said. “It’s this ginormous cabinet, it’s got lights, it’s got music, people are stomping on it, some people are acting crazy on it, some people actually try to dance. The music and the lights and everything about it—there was nothing like it in the arcades. You’re just like, ‘I gotta try it, or at least I gotta laugh at these people making themselves look silly on this machine.’”

Video games have always presented themselves as an escape from reality, but how many can actually promise the sensation of physically assuming another identity for the world to see? Last year, Oscar Hudson, a London director who has produced music videos for Radiohead and Young Thug, released UpDownLeftRight , a short film about a Japanese salaryman who considers his second life as a viral sensation after being secretly filmed joyously dancing on a DDR machine. “I don’t think I’d dance if there was no one left on earth,” the salaryman, dubbed “The God of DDR ,” says. “It’s about the other people. I wouldn’t know what to do if it was just me.”

Last month, it was announced that a Konami-approved Dance Dance Revolution movie was being developed, wherein viewers would “explore a world on the brink of destruction where the only hope is to unite through the universal language of dance.” It’s a mind-rotting premise for a number of reasons—one being that it is essentially lifting key plot points from a college parody movie made in 2011 with a $300 budget .

But, really, how far does that synopsis stray from DDR ’s actual ascent? Dance Dance Revolution was released in Japan in late September 1998. Only a month prior, the Associated Press published a story outlining the potential ramifications of date-recognition errors in computers at the turn of the century, titled “500 Days to Fix Millennium Bug.” There were legitimate concerns that power-grid failure could lead to widespread blackouts, that financial markets could plummet into the abyss, and that entire national weapons systems would malfunction. Thinking about technology in the macro is like dreaming in a non-native language—the possibilities are clear, but the transmission is garbled. In 1998, the world was preoccupied with the notion that shortsighted technological innovations would spell civilization’s end. Ota’s shortsighted innovation— DDR was created in four months, start to finish—instead proffered a tool to navigate (or at least cope with) the future, step by step.

Machines make more sense than we do, and that’s by design. We build platforms that facilitate and expedite processes in ways that human nature doesn’t always allow for, which means these mechanisms have an internal logic that runs more consistently than our own. We create machines to extend our bandwidth for human communication, but what about the ways in which we communicate with technology itself? I come back to the very origins of the DDR , and how it was programmed not to teach humans how to dance, but to emit its specialized digital language that, if read correctly, will stimulate specific movement in humans. It’s a fremd gespräch —a strange conversation between man and machine, confirming each side’s intent in two completely different languages. “ DDR is a machine that was invented with a lot of thought put into communication,” Ota said.

DDR blossomed just as games like Quake, Counter-Strike, and Diablo 2 began to take advantage of multiplayer capability over localized networks, which forever changed the scope of video games—socialized multiplay had never before operated through a virtual hub. Thus, the game, in a way, served as a final frontier. In treating its gameplay as a social spectacle, it established a physical, performative dynamic that was unique to the gaming landscape then and remains unique today. Dance Dance Revolution was a game tailor-made for the nebulous idea of what the millennium could bring us: a virtual reality that, nonetheless, bled into actuality.

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Dance Teachers in Los Gatos & Sunnyvale, CA

Dance Attack Studios offers dances classes in Los Gatos, CA and Sunnyvale, CA. We are proud to be the dance studio students of all ages choose to enhance their skills, build their confidence and improve their technique. Whether you are looking to dance competitively or recreationally, our team of instructors are experienced in a variety dance styles. They are passionate about sharing their love of dance and are proud to teach a range of disciplines including: hip hop, tap, breaking, modern dance, jazz and ballet classes.

Meet Our Dance Teachers

Graciela Acedo (GA) began her dance training in Caracas, Venezuela. She earned multiple scholarships to train with elite programs in the United States such as Boston Ballet and Harkness Ballet, NY. She studied pedagogy in Cuba and began her professional career with Ballet Teresa Carreno. Graciela moved on to dance with Ballet Nuevo Mundo de Caracas and soon became a principal dancer. She traveled the world with Ballet Nuevo. In the U.S., Graciela has danced with Oakland Ballet, Margaret Wingrove Dance Co., Pacific Dance Theatre of San Francisco, Western Ballet, Peninsula Ballet Theatre, Santa Clara Ballet, and Princeton Ballet. Currently, she teaches at Dance Attack, U.S.F., Berkeley Ballet, SOTA S.F. School for the Arts, Ayako Ballet School, and Diablo Ballet pre-professional program. Graciela has been a guest teacher for several Bay Area and international dance schools such as Pacific Dance Theatre of S.F. and University of Nebraska, as well as assistant director to programs at Western Ballet.

Lauren Kato (LK) is the Assistant Artistic Director of Dance Attack’s Contemporary Performing Arts Company, DAC PAC. She graduated with a B.A. in Dance and a Minor in Biology from Marymount Manhattan College in New York City. Growing up, Lauren was a member of Dance Attack’s Performing Company, as well as one of the original members of DAC PAC. Over the years, she has had opportunities to work under esteemed artists and choreographers including Cheryl Copeland, Katie Langan, Igal Perry, Lorna Ventura, Sheila Barker, and Flavio Salazar. In 2016, Lauren served as the Teen Summer Intensive Coordinator at NYC’s Peridance Capezio Center, where she organized and ran a 3 week dance program for young dancers from all around the globe. After living and dancing in NYC for a handful of years, Lauren is excited to be back at her “home studio” teaching and inspiring the next generation of dancers.

Cheryl Copeland (CC) graduated with a BFA in Dance Performance from The University of the Arts in Philadelphia, PA. Cheryl’s fresh, unique style and approach to dance has made her in demand and given her notoriety across the United States. Having studied and performed extensively in Florida, New York, Philadelphia, and Los Angeles, her training and technical expertise is reflected in her classes and choreography. She has worked under such notable choreographers as Mia Michaels, Milton Myers, Lisa Hopkins, GeorgeFaison, Kim Bears- Bailey, and Winifred R. Harris. As an educator, her students have received countless awards, scholarships, and gone on to dance with artists such as Janet Jackson, Justin Timberlake, Aaron Carter, and can be seen in Target, Gap, and Old Navy commercials. Some of her students are even pursuing degrees at the prestigious Juilliard. As a choreographer, she has won countless awards including a Choreography Under the Stars finalist cash award, a young choreographer’s award from NYCDA, and several outstanding choreography awards from various dance competitions. Since graduating college in 2003, Cheryl has toured with Tap Kids, served as resident choreographer to Teen Dance Company of the Bay Area, taught at Millennium Dance Complex. Edge Performing Arts Center, and Debbie Reynolds Dance Studio in LA, started 3 performing companies, Breakthru in Florida, the Humnz Dance Ensemble in Texas and DAC PAC here at Dance Attack, as well as founded her professional company, BHumnDance, in 2005. It is Cheryl’s goal to reach children at any level and to nurture their love for art and dance.

Michelle Klaers D’Alo (MD) attended the University of California, Irvine under the William J. Gillespie Scholarship, where she received her B.A. in Dance and trained with David Allan, Larry Rosenberg, Donald McKayle, and Bonnie Homsey. There she also studied extensively in William Forsythe’s technique with Douglas Becker of Frankfurt Ballet. In 2001, she studied at the Conservatoire Nacional De Paris in an exchange with UCI.

In 2004 she joined the original cast of Disney’s Snow White an Enchanting Musical directed by Eric Shaeffer and choreographed by Karma Camp, where she performed multiple roles and helped originate the role of the “Bluebird.” Then she went on to perform for Tokyo Disney Sea in their Broadway review show Encore. Michelle is an American Ballet Theater® Certified Teacher who has successfully completed the ABT® Teacher Training Intensive in Primary through Level 3 of the ABT National Training Curriculum.

Jessica Egbert (JME) , Jessica Egbert’s dance training spans two decades, culminating into her undergraduate studies at California State University, Long Beach as a BFA major in Dance and a minor in Communication Studies.Upon her graduation, Jessica received the Most Outstanding Graduate Award for the College of the Arts, as well as the Betty DuPont, Richard and Joanna Baker, and COTA Scholarships. Jessica has received extensive training in Modern, Ballet, Jazz, Tap, Hip Hop, Improvisation, and Choreography and performed in multiple venues in Long Beach, Los Angeles, San Francisco and New York City. She is currently a dancer for The Anata Project and Reach BC Dance Company, both San Francisco based dance companies and has performed in works by Gabriel Mata, Andrew Vaca, Keith Johnson, Gerald Casel, Rebecca Lemme, and Rebecca Bryant. Jessica has a breadth of experience teaching dance including Jazz, Contemporary, Modern, Ballet, Hip Hop and Tap, to students ranging in age from 2 to 18 years old. In addition to her performance work and teaching, she also works as a Production Assistant for a few dance companies in San Francisco.

Jessalyn Espiritu (JE) is a native of the Bay Area. She is a graduate from the University of California, Santa Barbara with a BA in Psychology and Sociology and also has an extensive background of choreography and dance. With her education and passion for dance, Jessalyn has taken two roads of success in her life. In the world of dance Jessalyn has been a dancer and choreographed for several professional dance teams and hip-hop crews which include Richmond Rocket Girls, Silhouette, THYCK, Fusion Latina, Culture Shock Oakland, Phase II, Oakland Raiderettes and the NLL Stealth’s Spy Girls. Currently she is working on several projects and is the choreographer for California’s Great America’s CULTure Pop. She was also a feature performer in the show “Mixed Element”, had the lead role of Doris in the “School of Rock Live” Musical and was a part of the traveling Las Vegas “Legends in Concert” production. Jessalyn also had the privilege of working with artists such as LL Cool J, Amerie, “Weird Al” Yankovic and choreographed the Oregon tour for the Universal Recording Artist Dol Re’. While working with all the groups and artists she has also managed to keep the movement and inspiration of dance alive while currently being a Master Instructor and Choreographer for several dance studios and youth dance teams in the bay area. With her passion in Psychology & Sociology, she is currently a Case Manager for the Bill Wilson Center working with at-risk adults in the Bay Area. She is committed to empowering today’s society through counseling, the teachings of education and values. Jessalyn is devoted to her craft, committed to sharing her dance knowledge, education, and passion for life with students and dancers of all ages. “Life isn’t about finding yourself. Life is about creating yourself,” George Bernard Shaw. In her free time Jessalyn enjoys traveling and exploring the world. Spain, Turkey and Hawaii are amongst her favorite vacation spots. She enjoys baking for family and friends and loves to sing, play the piano and watching movies.

Theresa Hoyer (TH) is currently a student at San Jose State University as a special major in Musical Theatre and a double minor in Dance and Elementary Education. Dancing and performance has always been a pastime of Theresa’s. At age 16 she was introduced to theater in high school. Credits include Briar Rose, The Interview, Halloween Screams, Seussical, Beauty and the Beast, Bury the Dead, and 42nd Street. Theresa also had the opportunity to be an extra in High School Musical: the National Tour. Theresa has worked as a stage manager and tech crew for various productions at SJSU and community theaters such as The Gifts of the Magi (Tabard Theatre Co.), Annie (Sunnyvale Community Players), Of Corpse! (Company One) and The Seagull (SJSU). She is a member of several performance companies at SJSU such as S.T.E.P (school touring ensemble program), Magic Carpet Theatre as a choreographer/dance instructor, and was last seen in Company One’s production of Filthy Rich. Theresa’s current goal is to become an elementary school teacher as well as get involved with other theatre companies to pursue a career in outreach, bringing theater into schools and encouraging kids to be more confident and enthusiastic about the arts.

Michael “Mappy” Mappala (MM) is best known for his R&B and soulful influence, as well as his passion and commitment to dance and the community. Mappy has been affiliated with dance companies like Ronnie Reddick’s City Slam, Culture Shock San Francisco (later renamed Culture Shock Oakland), freestyle dance crew Mystic Disciples, Mind Over Matter, Funkanometry SF and Phoenix Dance Company. He has taught classes and companies all over the Bay Area, throughout Southern California, and in Las Vegas. He has also worked on a variety of projects, dancing and choreographing for Bay Area recording artists Malyssa, Desi, Immij and Kim Del Fierro. And he also choreographed and danced for Black Eyed Peas, in the music video “Bebot.” In September 2006, Mappy co-founded reDEFINE youth urban dance company. With Mappy as Artistic Director, reDEFINE went on to perform at several major venues in their first year, such as the Golden State Warriors Game and Battlefest Live 360. As a full-time hip-hop director at Dancemakers Studio of the Arts in Newark, a PDC dancer and a director for reDEFINE youth urban dance company, Mappy continues to live out his passion for dance in his daily life. He is constantly teaching and inspiring up-and-coming dancers, and looking for ways to bring recognition to the Bay Area dance community.

Amanda Marquez (AM).  Amanda’s dance background is versatile and extensive with her core training from The School of the Garden State Ballet, NJ in classical ballet, modern and jazz. Her studies continued into New York Style Mambo, International Latin and Latin Jazz. Amanda has made television appearances on Telemundo, Univision and the BBC Vancouver, and has done many live performances including TheLatin Billboard Awards in Miami dancing for singer Don Omar under Director/Choreographer Maria Torres and assistant Jermaine Brown. Amanda resides on staff teaching Jazz and Salsa at Ballet Hispanico and has taught and performed alongside director Sekou McMiller and SMc Dance Co. in Vancouver, China, Atlanta, Boston, Seattle and Chicago. In addition Amanda is certified in Ashtanga yoga and holds a BA degree in Sociology and Family Studies from San Jose State University.

Dasha Maximovich (DM) has been serving on the faculty of Dance Attack since 2010, where she is currently Co-Directing the award-winning Performing Company. Dasha brings a wealth of professional training and performing experience to her teaching at DA. Her recent choreography has earned her special recognition and honors. Dasha is proud to have received several Choreography Awards for her work. A native Russian, Dasha was trained in one of the most prestigious ballet schools in the country and was trained in the classical Vaganova’s technique. After moving to the U.S., she continued her training at San Jose State University and graduated with a Bachelor Degree in Dance with an emphasis in ballet. While studying at SJSU, Dasha was a member of the University Dance Theatre, directed by Gary Masters, and a member of the musical theatre Company One, directed by Janie Scott. With the inspiration of her professors at SJSU, Dasha moved to New York City, where she danced and studied at Steps on Broadway, Broadway Dance Center, and Peri Dance. Throughout her performing career, Dasha has performed in Las Vegas, New York, the San Francisco Bay Area, and is currently represented by VEP Events Agency, LV. Dasha is also a staff member of Monta Vista High School in Cupertino, CA and at USA Spirit Dance Association. Her love and passion for dance is something that she is determined to pass on to her students. Dasha believes, “dance is an art form that teaches you discipline, hard work, concentration, and gives you an unbelievable work ethic, which you will carry on for the rest of your life”.

Tina McLean (TM) graduated from San Jose State University with a degree in dance. She was one of Dance Attack’s first students in Santa Clara and she went on to become a member of the Performing Company. She was in SJSU’s University Dance Theatre and has performed at the Mexican Heritage Plaza, the American College Dance Festival, and in several dance program concerts. She was a member of Funkanometry for several years and is currently dancing with De La Femme. She teaches combo, jazz, and hip hop at Dance Attack!

Lindsey McLevis (LM) A dancer from the age of 3, Lindsey moved to Southern California to pursue her dance career. Through her time there, she was lucky enough to work with Beyonce, Lil’ Wayne, Kat Graham, Savion Glover, Neil Patrick Harris, and Charlie Sheen. She was requested to train Charlie for his dance scene in the Roman Coppola film “A Glimpse in the Mind of Charles Swan the III,” in which she also appeared onscreen as a dancer and actress. Recently, she did motion capture for a new Dreamworks film yet to be released. She has been a part of the Olympics, Grammy’s, and Latin Grammy’s, and was top 35 on So You Think You Can Dance season 6. Lindsey has appeared on TV shows like America’s Got Talent, First Look LA, Paula Abdul’s Live to Dance, and KTLA News. Commercial credits include Old Navy, SENSA, and Salon Pas, with industrials for NIKE, Amway, Sexy Hair Co., and Oakley Sunglasses, amongst others. She has performed and taught internationally in places like Costa Rica, Guam, Canada, and the Bahamas, and has also performed for the Saudi Arabian royal family. Lindsey helped train a troupe of chinese acrobats and was assistant choreographer and dance captain for “The Dream” overseas. Her company credits include Terry Beeman’s Dance Co. as a dancer and aerialist, Joelle Martinec’s SoleVita Dance Co., and RhetOracle Dance Company. Most recently, Lindsey founded and created PERSPECTIVES Dance Company, a contemporary dance company in the Bay Area.

Stephanie Mihalyi (SM) began dancing at the young age of three. Her first debut in the dance industry was at the age of eight, when she was featured as a character in the video game, Dance Dance Revolution, which was influenced by Tap and Hip Hop. Stephanie then went on as a representative for her studio, Castro Valley Performing Arts, to audition for the Macy’s Thanksgiving Day Parade. She was invited to join the opening number of parade in New York City for two consecutive years with Camp Broadway. Stephanie has also had the privilege to work under many amazing dancers and choreographers. Learning most of her dance knowledge from Janet Taddie, Stephanie has also worked under Sam Weber, Al Blackstone, Jason Samuel Smith, Mark Goodman, Lisa Hopkins, Heather Cooper, Gary Masters, Fred Matthews, as well as many others. She has danced at halftime at Oracle, home of the Warriors, and at Candlestick, the retired home of the 49ers. Stephanie also danced as the entertainment between events at the Miss California pagaent for over ten years, and was employed as a professional Miss California dancer. In her third year as a dance major at San Jose State University, Stephanie is currently part of University Dance Theatre, a modern company run by Raphael Boumaila.

Juliet Pinto (JP) graduated from San Jose State University with a B.A. in English. She started tap dancing with Dottie White at the age of 5, and then added Jazz and Ballet once she started dancing with Sioux Lehner at Dance Attack! She started breaking and danced several years with the hip hop outreach group, Culture Shock S.F., while she was in high school. In 2000, she was honored by LA Dance Magic as a Magic Performer and she moved to L.A. to pursue a dance career. She was a member of the Groovaloos while she lived in North Hollywood and was a founding member of the all female dance crew, Beatfreaks. Juliet has appeared in several music videos including Dimples by John Lee Hooker, Written on my Heart by Plus One, Block Party for Lisa Lefteye Lopez, and Tainted Love for Marilyn Manson. She has also appeared in commercials for American Express and Dr. Pepper and in the movie Legally Blonde 2 as a cheer leader. She danced with Mindtricks in the tribute show One4Gee for her first Hip-Hop teacher, the legendary Gary Kendell (Mindtricks/Jabbawockeez), who passed away December 2007. Juliet teaches Tap, Jazz, Ballet, Funk Styles, and Breaking.

Patricia Retanubun (PR) graduated from San Jose State University with a Bachelor of Arts in Dance, with Jazz emphasis. She has been dancing and performing since three years old in various styles including ballet, pointe, jazz, lyrical, and modern. During her in time in the dance program she was fortunate enough to be involved in the University Dance Theatre under artistic educators of Gary Masters and studied under Jill Yager, Heather Cooper, Dominique Lomuljo, and Keith Pinto. Patricia also focused in dance composition under the guidance of Fred Matthews. She has performed at the American College Dance Association at Cal State Long Beach. Prior to her education at San Jose State University. Patricia studied Royal Academy of Dance under the direction of Bambi Fleeman, Sandra Burnham, and Isabelle Sjahsam. Patricia is currently a performer at Disney World, Florida. She is a recipient of Outstanding Student in Dance award from Ohlone Community College and studies under the direction of Janel Tomblin-Brown.

Brooke Serio (BS) began dancing at Dance Attack! when she was just six years old and quickly became a member of the Performing Company. During her ten years in the Performing Company, she learned from countless choreographers, served as a member of Team Rave SF, performed at various halftime shows and community events, and also won a Leadership Award. During this time, Brooke was also one of the first members of Archbishop Mitty High School’s dance team. She began teaching at Dance Attack! immediately after graduating high school while pursuing her degree at San Jose State University. In 2009, Brooke began choreographing for the Performing Company. She is now Co-Artistic Director of the Performing Company and Director of Minis Performing Company in Sunnyvale, where her routines have won many judges awards and overall medals. In addition to teaching and directing PC, Brooke is also pursuing a career in corporate event planning. Brooke teaches tap, jazz, and combo class at Dance Attack!

Akira Takahashi (AT) , from Nagano, Japan, trained at the Tachibana Ballet School in Tokyo, and performed with the Asami Maki Ballet Company. He joined Ballet San Jose as a trainee in 2005, became a full company member in 2007, and was promoted to Soloist in 2012. Akira’s career continued with the company under its new name, Silicon Valley Ballet, until 2016. There he performed roles in Karen Gabay’s The Nutcracker, Dennis Nahat’s The Nutcracker, Blue Suede Shoes, Romeo and Juliet, Middle Kingdom – Ancient China, Cinema Soundtracks, Ontogeny, and The Firebird. He joined Menlowe Ballet in spring of 2016.

Former Dance Attack! Instructors

Sioux Lehner  was the original owner and founder of Dance Attack!  Sioux was an inspirational teacher who affected hundreds of lives. She was a creative choreographer and producer, always dreaming up the next number or more likely, the next big show. Sioux was a beautiful dancer with a tender heart.

Lisa Dominguez (LD) graduated from the University of California Santa Cruz in 2007 with a degree in Political Science. She was exposed to dance at the age of 15 under the guidance of Christina McClelland and Kelley Dodd, Directors of the Dance Program at Independence High School in East San Jose. During that time, she was a member of IndepenDance Dance Company where she had the opportunity to train with Gary Masters as well as perform Jose Limon’s masterwork, “The Unsung”. Lisa continued her dance training at DeAnza College under Warren Lucas. She also trained in Ballet and Jazz at UCSC under Lisa Norris. At UCSC Lisa participated in the end of the year Jazz Repertory, where she performed as well as showcased one of her pieces. Lisa has been a teacher at Dance Attack for 9 years now. She is currently Artistic Director for the Sunnyvale Performing Company as well as teaching multiple Jazz, Lyrical, Hip Hop classes.

Ashley Hinson (AH) has grown up with Dance Attack, having taken her first dance class when she was four. She has studied tap, jazz, ballet, modern, and lyrical jazz. She has pursued other avenues of performing arts including acting and musical theater with the California Theater Center, as well as Aerial Dance with San Francisco Circus School. Ashley is a founding member of the equestrian drill team The Giddy Up Gals who were named the number one performing drill team in the state for 2009 – 2011, and have performed in many venues including the Pasadena Tournament of Rose Parade 2011 and 2012. She is a member of Company One under the direction of Janie Scott at San Jose State University where she is a student working on a double major in Dance/Creative Arts with a minor in Humanities. Ashley intends to go for her teaching credential after graduation. Her vision for the future is to allow people the opportunity to realize inner strength and beauty through the performing arts in a fun and social setting.

Katie Malooly (KM) has been dancing since she was six years old. She started taking classes in tap, jazz, hip hop, and ballet under the direction of Cindy Ginanni. At eight years old, she began dancing with the 49ers Goldrush cheerleaders and tapped in master classes with Tony Coppola. At 11 years, she moved on to pointe shoes and began choreographing alongside her ballet teacher for her pointe dances. She began teaching and assisting classes at 17 years old and began taking hip hop classes with many local hip hop crews. She has performed and choreographed for the Hybrid Project in San Francisco and performed in “Beatbox: a Raparetta” at Sonoma State. She is currently dancing with Silhouette. Katie’s specialty is fusing all forms of dance into her choreography and is currently teaching combo classes and hip hop. She works with the Performing Company and Hip Hop Crew at Dance Attack!

For more information about our classes, please contact us at 408-245-5432 to reach our Sunnyvale, CA studio or 408-356-6456 to reach our Los Gatos, CA studio. We are happy to answer any questions you may have about our dance programs and studio, including performing companies and class availability. We look forward to hearing from you!

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‘I want to bring the party up north’: Nia Archives on unleashing a Yorkshire rave revolution

She had to go her own way to get her 90s indie-infused drum’n’bass bangers heard. Now, after opening for Beyoncé, the performer is about to release her first album, a ‘quintessentially British record’

Nia Archives is a loud and proud junglist. When you dive deep into the West Yorkshire DJ, producer and singer’s discography, you might assume she was around during the genre’s mid-90s golden era. But being born in 1999 hasn’t stopped her from being nostalgic for an era before her own. “I love making the beats. I love making the drums. I’ve always loved the chaos of jungle,” she says. The 24-year-old’s recent rise has largely been down to the way in which her songs capture the energy and euphoria of the genre without being considered derivative or pastiches. It’s why drum’n’bass great Goldie refers to her as “one of our own”.

Since bursting on to the scene in 2020 with the melodic and soulful Sober Feels single, which she self-produced and promoted using her student loan, Archives has released a string of critically acclaimed EPs and been dubbed by the New Yorker “one of the brightest talents to emerge in the once again burgeoning field of drum’n’bass”. She has gained respect far and wide, collaborating with supergroup Watch the Ride (consisting of DJ Die, Dismantle and DJ Randall) on the club banger Mash Up the Dance and seeing her remix of Jorja Smith’s Little Things blow up on social media.

Archives became the first electronic artist to be awarded the coveted BBC Music Introducing award for artist of the year, and opened for Beyoncé’s 2023 Renaissance tour in London. “I didn’t know it was happening until the day,” she says. “I was anxious, but I was very grateful to be taking my underground genre to such a huge audience.”

Now she is about to release her debut album, Silence Is Loud. Not only is it her longest work yet, but it also serves as an evolution of her sound. The kaleidoscopic flair typical of an Archives recording is still there, but there’s a new rawness and tenderness to her voice. “I did a lot of the clubby stuff on earlier projects because I wanted to prove to people that I can produce. That I can make sick tunes,” she says. “I love rave music, but I don’t necessarily listen to albums that sound like that. I love albums that tell stories.”

Listeners can still expect to hear high BPMs, deep synths and rapid breakbeats, but Silence Is Loud has more melody, alt-rock-inspired guitar riffs and passionate vocals. Archives has talked in past interviews of Amy Winehouse being a big inspiration, and you can very much hear it in her voice, while elsewhere there are nods to the Beatles, Blur and Natalie Imbruglia. “I’m a bit nervous, because the sounds are a bit different from what people are used to from me. But sometimes you’ve got to take risks.”

We are chatting over a video call. Her camera is off because she’s getting ready for an important meeting, so all there is to engage with is a black screen and a northern accent. It is rare but refreshing when talking to artists to hear a voice that sounds like mine. Archives was born in Bradford and raised, like me, in Leeds. She is half-Jamaican, half-English, and music runs deep throughout her family history. “I used to go to church with my nana. We’d always sing gospel.” Her grandmother ran a pirate radio station in Bradford as well as a sound system that introduced Archives to genres such as dub and soul.

So Archives is keen on affirming dance music’s history within Black culture. In 2022, she wrote an open letter to call the Mobos out for not having an electronic/dance category (when they did finally introduce an award, she became its first winner ). Why was she compelled to speak out? “I wrote that letter honestly just as a bit of a nudge,” she says. “For some reason in the past 10 years, people [don’t] associate Black people with dance music. The Black community distances themselves from raving. I’ve always found it so bizarre, because their parents were literally out at raves in the 90s. Funky house is Black music.”

Archives lives in London, but she is deeply proud of her northern heritage. “A lot of people assume I’m from London when they first meet me.” That assumption is evidence of how London-centric the creative industries are. It’s not often that you see Black working-class northern women receiving as much attention as she has. The north-south divide is something she is keen to dismantle: “I’m hoping in the next few years we see more northern creatives who are not just rich kids with parents who are going to pay for their gap year in London and their rent.”

Archives likes playing in London, but she loves playing up north: “It’s about creating those opportunities and bringing those events to people that is not the norm for them.” Once she’s done with the album, she wants to do DJ, production and visual art workshops with working-class kids. “I love working with people. It’s one of the amazing parts of my job,” she says. “And that’s definitely my future goal – to bring the party up north.”

Growing up there wasn’t easy for Archives, however. “It made me who I am. But it’s a tough place to come from.” She lived in Horsforth, a little countryside town on the outskirts of Leeds; it was a very white area, and she and her brothers were the only Black kids in her school. She was told her musical dreams were unrealistic. Whether it was coming from a place of tough love or lack of belief, she was frequently advised to focus on getting a “real job”. “But I’m a bit delusional,” she says.

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She admits to having a weird relationship with Leeds today. Archives moved to Manchester by herself at 16, and although she has never explained exactly why, her track Family on the new album sheds light on some of her personal struggles. “Seven years, I ask myself how this went on for so long,” she sings. “Sometimes family ties do not always survive.”

Today Archives will not talk about her family. But what she does make clear is how she uses music to work through her feelings about them. “When I started producing at 16, it was definitely my coping mechanism, just how I express myself. I’ve always found it quite a healthy way to express happy emotions, sad emotions. I like that I can have really deep songs on jungle beats and people won’t necessarily think I’m being deep unless they are really listening. It kind of protects me a little bit. If I wrote a ballad, it’s really [exposing].”

Music isn’t all about processing her melancholia. Archives also sees her music as an expression of her Britishness. “I am Black and I’m half-Caribbean. But I am also just a British girl,” she says. “I wanted to make a quintessentially British record.” Its artwork features a union flag because, says Archives, “it’s punk. And I’ve always thought of jungle as really punk.”

Archives is changing the landscape of dance music at an uncanny speed. Her dreams are big and beyond herself. Silence Is Loud might be a new experiment in sound and style, but it is rooted in the age-old ideals of music being a force of connectivity. “I’ve always loved the unity aspects of [jungle]. No matter what you look like. No matter who you want to date. Just come have fun. Listen to the music. That’s why I love jungle. It’s just so inclusive,” she says. “We’re taking it back to that attitude of what it was like in the 90s. That one-love vibe.”

Silence Is Loud is out now.

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Nhulunbuy dance school bound for the United States for whirlwind tour

She lives hundreds of kilometres away from the nearest capital city, but 12-year-old Katy Pelns dreams of performing on Broadway in the city that never sleeps.

"I watch 'Hamilton' a lot and it just looks so cool – with all of like the dancers, the music, the singing," she explains.

"I know all [the songs] off by heart."

For a long time, living in the remote north-east Arnhem Land mining town of Nhulunbuy, 650 kilometres east of Darwin, made Katy's passion to dance feel out of reach.

But since May last year she's been preparing to embark on a whirlwind tour with 19 other Nhulunbuy locals, performing at Disneyland and Universal Studios, then aboard a cruise to Mexico.

The trip is a first for the Arafura Dance Association, which usually struggles even to make the trek to Darwin for competitions.

The dance school's board president Taygan Tucker says since a series of layoffs at the town's major mine were proposed last month, several families have pulled out of the trip.

"We've had families who were very interested and keen to attend but just couldn't commit because they didn't know if they would have jobs here at the end of the year," Ms Tucker said.

But the Arafura Dance Association is determined to help level the playing field for its remote dancers and they're doing their best to bring down the cost in any way they can.

From Arnhem Land to Disneyland

The trip was the brainchild of principal dance teacher Geneva Kulper, a 25-year-old Sydneysider who migrated to the red dirt roads of Arnhem Land nearly three years ago.

"Just being remote, some of the opportunities are already so limited."

"I just know this is going to be such a great experience for them and open their eyes up to the wider world a bit more and what other dance opportunities are out there."

The dance school's board embraced the idea with open arms, but Ms Tucker admits that as the bills rolled in they realised it would be a lot harder than they first thought.

"We're looking at over $200,000 just to get these students safely to the US, pay for their airfares, accommodation and also to ensure they're participating in workshops and dances."

While Ms Tucker searches for grants and sponsorships to support the trip, all the students and their families are chipping in each weekend.

They hope car washes, sausage sizzles and bake sales will help them to raise enough money to bring down the costs to allow families to take part.

"It's a lot of hard work, but that's the thing with dance: you've got to put in the hard work to be rewarded," hip-hop dancer Tyce Smith, 13, explains.

Opportunities to perform limited in isolated town

Student dance teacher Tarni Petre, 14, believes dance is a vital part of the social fabric for many girls in Nhulunbuy.

"You can go out camping and stuff like that but it's hard to get people to take you out there," she said.

"We sometimes come up to the dance studio on our days off."

And while camping, fishing and motorcross remain popular, for Tyce nothing matches the feeling of being on stage.

"I get a bit shy in front of people – but when I'm up on stage it just gives me a boost," he said.

The other attraction is that for many of the performers it would mean going overseas for the first time.

"There's a place [at Disneyland] called bippity boppity bouquet and you get to like turn into a princess," Katy says.

Ms Kulper hopes to give the students a taste of her experience growing up in the city.

"Looking back on my childhood, the main thing I think of is dance," she recalls.

"My life wouldn't be anything without dance and I feel that a lot of the kids here feel the same way – so it's really inspiring to be passing that on."

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Scriabin — Etude, Op. 8, No. 12 (Revolutionary)

• Original choreography by: Isadora Duncan (1921)
• Premiered: c. 1923
• Categories: dramatic dances

“Revolutionary” is part of a trilogy of dances that Duncan created around 1923 to the Etudes of Scriabin.

Nadia Chilkovsky Nahumck

Reference: Nahumck, Nadia Chilkovsky. Isadora Duncan: The Dances . Washington DC: The National Museum of Women in the Arts, 1994.

It is truly amazing that in one, brief dance, a single human body can portray the terrible logic of directed anger as an antidote to curdling pain—an explosive finale to restrained endurance. From the first rebellious outcry through trembling emotional intensity to the ultimate defiant thrust of a clenched fist, we are reminded that tyranny begets violence. Evocative power in this dance resonates with the truth found in America's Declaration of Independence—that when a governing body becomes oppressive "it is the right of the people to alter or abolish it." First presented in 1921, four years after the Russian Revolution, this choreographic gem conveyed the emotional power of tradition-shattering conflict—an unmistakable call to action. This is a difficult dance to perform, since, to retain its compelling force, each interpreter must penetrate the union of theme and emotional vitality. Anything less would result in the reduction of the original masterpiece to a parade of diminishing likenesses reminiscent of a set of matrioshka dolls.

Catherine Gallant

This work contains an explosive power originally created as a depiction of the struggles of the Russian people as they moved towards communist ideology. The pounding fists and silent screams, the repetitive actions of forced labor and the final call to action retains the power to translate to any voice seeking to be heard and recognized.

Related items in the Archives

The Collection of Louise Craig Gerber > Programs > Irma's Isadora Duncan Dancers — Nov 02, 1930

The Collection of Mignon Garland > Programs > Duncan Dance Congress Program — Nov 15, 1942

The Collection of Mignon Garland > Programs > S.F. Duncan Dancers, Hotel Nikko — 1991

The Collection of Barbara Kane > Programs > Second American Tour — Irma Duncan — Moscow Duncan Dancers

The Collection of Barbara Kane > Programs > Isadora Duncan Dancers — Nov 15, 1929

The Collection of Barbara Kane > Programs > Riverside Dance Festival — Isadora Duncan Centenary Dance Company — May 26, 1977

The Collection of Barbara Kane > Programs > Duncan Dance Festival — Isadora Duncan Centenary Dance Company — 1978

The Collection of Barbara Kane > Programs > Riverside Dance Festival — Isadora Duncan Centenary Dance Company — Jan 05, 1978

The Collection of Barbara Kane > Programs > Isadora Duncan Centenary Dance Company — Jun 24, 1978

The Collection of Barbara Kane > Programs > Riverside Dance Festival — Isadora Duncan Commemorative Dance Company — Jan 24, 1979

The Collection of Barbara Kane > Programs > Isadora Duncan Commemorative Dance Company — Nov 16, 1979

The Collection of Barbara Kane > Programs > Homage to Isadora — Madeleine Lytton — 1984

The Collection of Barbara Kane > Programs > Linda Elkin — Isadora Duncan Dancers — Nov 05, 1987

The Collection of Barbara Kane > Programs > Starry Night — Barbara Kane — Dec 20, 1991

The Collection of Barbara Kane > Programs > Retrospective Isadora Duncan — 1993

The Collection of Barbara Kane > Programs > Ballroom Blitz — Barbara Kane — Isadora Duncan Dance Group, Moscow School of Music and Movement — Aug 04, 1993

The Collection of Barbara Kane > Programs > The Enduring Essence — Ligoa Duncan — Isadora Duncan Dance Group — 2004

The Collection of Francoise Rageau > Programs > Odile Pyros Program — Jun 22, 1987

The Isadora Duncan Archive Collection > Programs > Isadora Duncan in the 21st Century — Jan 20, 2017

The Collection of Barbara Kane > Artwork > Drawings of Duncan dance

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Prince's Revolution to reunite for 'Purple Rain' 40th anniversary gigs at First Avenue

P rince's former bandmates in the Revolution will return to where "Purple Rain" started to mark the album's and film's 40th anniversary in June.

The band announced a pair of gigs at First Avenue on June 21 and 22, the first time the members have all performed together since the salute to Prince at the Grammy Awards right before COVID-19 hit in January 2020.

Tickets for the June 21 concert (a Friday night) are being sold exclusively as part of the $600-$1,200 packages to attend Paisley Park's almost-annual Celebration , happening that same weekend at Prince's studio-turned-museum in Chanhassen. The June 22 concert (Saturday) is being held like a regular First Ave show, with $99-$199 tickets going on sale this Friday at 11 a.m. via first-avenue.com . Pre-sale options begin Thursday. Tto avoid inflated resale prices, those tickets will not be transferrable.

Guitarist Wendy Melvoin was a mere 19 years old when she made her debut with the Revolution at First Ave on Aug. 3, 1983 — the night the song "Purple Rain" was first performed and recorded for what would be the movie soundtrack issued the following summer. The album officially landed on June 25, 1984, followed a month later by the movie's release.

Melvoin and the other Revolution members — keyboardist Lisa Coleman, drummer Bobby Z, bassist Brownmark and keyboardist Dr. Matt Fink — played their first reunion gigs at First Ave in September 2016, five months after Prince's passing. Those three tearful sold-out performances at the landmark Minneapolis rock club gave way to more joyful tributes to their former bandleader over the next few years, including fun hometown sets at both the Basilica Block Party and Rock the Garden.

Melvoin and Coleman returned to the Grammy Awards this year to back Annie Lennox in her gut-punching rendition of "Nothing Compares 2 U," the Prince-penned song performed in tribute to its hitmaker Sinead O'Connor.

The Revolution's First Ave gigs will top off a mix of events happening around "Purple Rain's" 40th anniversary.

Prince's on-screen nemesis Morris Day will also perform with his current lineup of the Time that weekend at the Paisley Park Celebration, where a movie screening and other activities will commemorate the anniversary. Day is then scheduled to pair up with his former current and former bandmates in the Time, including super-producers Jimmy Jam and Terry Lewis, at the Taste of Minnesota on July 7 — not officially a Prince tribute event, but the chances of it becoming one seem clearer than the waters Lake Minnetonka.

Some of Prince's other ex-bandmates are paying tribute to him this month, too, which marks the eighth anniversary of his death: His '90s New Power Generation backers Michael Bland, Sonny Thompson, Tommy Barbarella, Levi Seacer Jr., Tony M and Rev Mike Scott will perform with other Prince associates at the renovated Uptown Theater on April 20 .

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