Dear Students & Families: past, present and future,
Welcome to my preliminary teaching and performing schedule for 2016-2017. All programs are inclusive and are adaptable.
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This year, as lead youth/teen yoga and mindfulness instructor at Open Spirit Center, Framingham and their Nourishing Teachers, Strengthening Classrooms project, I am aiming to bring yoga and mindfulness to target populations of students and faculty at Framingham High School and Hoops and Homework, an award winning After School and Summer Program serving the most under privileged kids in Framingham, MA. *** My ability to reach these populations is determined by grants and private donations though the Open Spirit/ Nourishing Teachers, Strengthening Classrooms Project. For more information, please visit our donation page.
On the performance front, I will be dancing for the Boston Arts Consort and Song Caravan. On the stage, you will find me either dancing traditional flamenco or my beautiful creative gypsy-freestyle, which blends my life of dance into my own artistic expression.
I am available for *private and semi private work, site specific choreography, educational presentations and master classes. *My private lesson slots are filling fast.
This summer, I had the awesome opportunity to bring yoga to a BINA Farm/Warrior Thunder Foundation event and I hope to do more work with both organizations.
On Saturday September 24, 2016, I will be participating in Open Spirit Center’s Day of Spirit. Please join me for my gypsy-freestyle class and how mindful movement assists in freeing your artistic voice. Check Open Spirit Center/ Day of Spirit for more details
Just throwing this out there: I am looking to create a 11+ yoga boys class. If you are interested or know of anyone, please share my information with them.
Please contact me for more information. All programs can be tailored to fit your needs.
I had the ultimate pleasure of working again with the Maria Baldwin School in Cambridge for this year’s Dance In The Schools Month. I began forging a relationship with the second grade teacher’s 6 years ago and it only keeps getting better each year I go back. This year I had the extra enjoyment of bringing not only my yoga program but I also brought flamenco to the music classes. Together these two classes make up the basis for Always Be Dancing Mindful Movement. This opened up a whole new angle to me for bringing mindfulness into this school. Pairing me up with the music teacher only enriched my musical knowledge, so it was truly a win-win situation for all! The second graders received a veritable cornucopia of mindfulness through dancing, Yoga posing, breathing, and meditating.The positive responses I gathered from the students and the teachers were full of positive remarks and full of enjoyment.
Please comment on what worked regarding the content of this program, e.g., use of theme, connection of movement/dance to curriculum, etc. Did you or the Classroom Teacher notice any changes in any of the students’ behavior, focus, ability to do whatever you were teaching? Please describe if possible.
The kids were all so connected to learning-it is a great environment. The staff and kids are very engaged and even the few children who are on the spectrum or emotionally developing interact with the group and learn alongside their peers. I often work with special needs and other high risk populations and I have developed a compassionate and effective way of bringing what I am teaching to these groups. I appreciated that every student tried what I offered to them. The music students learned about the history of flamenco and the gypsies, styles of flamenco, the emotional content of flamenco, the art of clapping, singing, dancing rhythmically and also rhythmic footwork. In yoga, we used the basics of yoga, breath-work, poses and meditation, to reinforce emotional control. In the end, they students created a book for me which reinforced their engagement with both my yoga and flamenco classes.
Did you share any materials, resources, music, ideas, props with the Classroom Teacher so they could continue after your last session? If so, what?
MUSIC: I sent a musical link and we made a video of our dance. I also created a special document that gave the history of flamenco and wrote out a simplified version of the choreography for reference.
Describe the nature of your collaboration with your Classroom Teacher – before your sessions (interaction with teacher, co–planning of materials, other), during your sessions (co-teaching, assessing the process, altering plans), after you finished (examples of follow-up lessons created by you and/or the Classroom Teacher, other)
MUSIC: After reaching out to the music teacher, he sent me some ideas for how we could collaborate his music and my dance class, which really helped me to mold my program.
We worked with each throughout the classes, him adding in his teaching methodology (using the Takadimi system) which opened my eyes to new ways of being able to teach ideas and my own creative style of teaching which only enhanced his system.
YOGA:I was in contact with the two second grade teachers prior to my visit. They asked me to work with their students on Socio-Emotional learning and the executive functions, to enable a string and fruitful learning environment for all. I mapped out 4 programs that I would use as the basis of the 4 sessions.
Eve’s Awesome Yoga Day one was about using yoga to calm the body, mind and energy and playing with the differences between silence and non-silence, which can mean vocally, mentally and physically. Here I also taught about the brain and the concept of neuro-plasticity; Day two, healthy eating; Day three, Rhythm and movement; Day four, Cooperation.
Do you feel/think you were effective? Why/why not? What did you learn? What challenges did you face? (This is a food for thought question, not judging or criticizing you.
MUSIC: This was extremely effective. Every time I came into the room, the kids all brightened up and beamed, totally ready to dance/do yoga. I could see in their faces their joy! I loved learning about Takadimi as it brings in a Kathak element to my Flamenco teaching, as Kathak is seen as one of the roots of Flamenco.
YOGA: The kids learn in a very short amount of time about how they can control their brains, that brains change, how to be strong, focused and self-effective. How to work by themselves and cooperate in a group. How to be still and to move; to be quiet and loud; to be fast and slow. They learn about emotional control and how they can learn in a different environment than they are usually presented with.
Rocio Molina, no words can describe what I saw, heard and felt when you performed. I can only say wine, broken glass, rag doll and tambourine. You are flamenco in every strand of your being, pure essence, pure light. My soul cannot thank yours enough.
From the first time I experienced you, when you danced inside the box (we just call it the box dance) I knew for sure you were the epitome of flamenco for me. Your body is so full of expression. You morph between the flamenco of yesterday, the flamenco of today and the flamenco of the future, bringing in a kaleidoscope of rhythms, emotions and energy. Intense movement, sparkling energy, grounded down deep into the floor to sudden statue-like stillness, but even within that moment of absolute peace, life is emanating from your pounding heartbeat and the trails of energy that remain from what came before.
Presenting Danzaora & Vinática as part of World Music/CrashArts 2016 Flamenco Festival, Rocio Molina, along with singer and mandola José Angel Carmona, guitarist Eduardo Trassierra and palmas and percussionist José Guerrero “Tremendo”, has created a show that allows her unique artistic voice to be heard loud and clear, so that it is cannot be confused with any other danceable language. To say she is the perfect flamenco dancer would to be putting Ms. Molina in a box. No, she is all dance, not just the Spanish arts such as flamenco and Spanish classical but also crump, tap, African, yoga, and modern. She speaks her own language yet is able to make us comprehend meaning with just a tilt of her head, the stamp of her foot or the long arching back-bend almost touching the floor with the back of her head, bringing to mind Classical Indian movements from Kathak and Bharatanatyam . Ms. Molina embodies effort and ease; fire and ice; the tangible world and the spiritual world.
The show begins with Ms. Molina, standing, at first what seems stock still, center stage, in a beautiful asymmetric dress. The musicians enter, talking, preparing; we the audience enter, talking, shifting, settling. Then as all of our energy stills and our eyes are drawn to her figure on the stage, only then do we notice the glass of wine tilting menacingly in her hand and the long rope in her other hand, wrapped tightly around the neck of an old ceramic jug. In the composition with the lit-up tambourine, Ms. Molina conjurs up Arabia, Egypt and Africa, creating rhythms that just echo the past while shedding light on the future of the possibility of sound. I have not seen anyone play the tambourine like this since a night, long ago, when Simon Shaheen, oud and violin virtuoso, introduced me to the intricate rhythmic ability of the tambourine’s skin and bells.
For Ms. Molina, everything has the possibility of creating rhythm. Her feet as they strike the floor, an old jug being dragged, breaking glass, a wine bottle being struck repeatedly like an anvil, and inevitably the gritty sound of broken glass crushing underfoot. It was so dramatic when the artists stood around a table, which seemed actually to be a cajón, and created rhythms with their intense finger rolls, knuckle raps and a flurry of foot stomps. To see Rocio’s face break into a smile when they were in a particular sweet spot, playing off each other, the lines blurred between what they had practiced and what just came up from the spirit of the moment was entrancing. Her face often severe or placid was often punctuated by a radiant smile, giving life to the impish “El Duende”, the spirit who brings to light a heightened state of emotion, expression andgenuineness that permeates her soul.
Rocío Molina is the embodiment of flamenco’s past, present and future. She and her company bring together the complex patchwork of flamenco’s history weaving it into new material by bringing with them each their own eclectic blend of musicality, artistry and above all character.
Latin Grammy–winning Vicente Amigo is known as one of today’s most dazzling flamenco guitarists and a likely successor to Paco de Lucía. Hailing from Córdoba, Spain, Amigo is at the forefront of a new generation of flamenco performers, steeped in the classic style while constantly innovating within the tradition.
From the legendary Farruco dynasty, the first family of Gypsy flamenco dance, Farruquito is regarded as one of the most faithful representatives of flamenco puro. His new show, Improvisao, is a work of intimate, authentic, and visceral flamenco, which Farruquito calls “a return to my roots.” He will be accompanied by guest dancer Gema Moneo, four singers, two guitarists, and a percussionist.
ROCÍO MOLINA
Performing the Boston premiere of Danzaora & Vinática
Rocío Molina is at the forefront of modern flamenco and has been awarded many of Spain’s top accolades, including National Dancer of the Year. Considered “one of the finest soloists in the world today” (The New York Times), she performs the Boston premiere of Danzaora & Vinática, a thrilling work with live musical accompaniment.
The Qasida project is an extraordinary musical encounter between the young Spanish singer Rosario “La Tremendita” and her Iranian peer Mohammad Motamedi. Renowned for accompanying flamenco dancers Belén Maya, Rocío Molina, Rafaela Carrasco, and many others, “La Tremendita” explores the roots of flamenco in the richly varied poetic songs and improvisations of Motamedi, the young rising star of Persian classical music. They will be accompanied by six musicians on guitar, Iranian kemanche (a bowed string instrument), percussion, and palmas (hand clapping).
Today was the final day of Dance In The Schools 2015 at the Baldwin School, Cambridge. My classes were based on the life cycle of the butterfly (current with the 2nd grade science curriculum) and the concepts of senses we know (touch, sight, smell, hearing and taste) and then the ones we don’t know as much about (proprioception= an awareness of our bodies in space and the vestibular system=balance, gravity and movement information though our inner ear).
The best thing about yoga is that it allows for a sensory experience in a safe/non-competitive environment. You can manipulate your body in space, using poses, breath and meditation to clear pathways to achieve balance.
Breathing Sticks (once again, I noted to them to practice their breathing once they got their sticks)
Sa-Ta-Na-Ma meditation
What is the Butterfly Life Cycle?
Egg (usually laid on a leaf)
Larva/Caterpillar (eats leaves to grow)
Pupa/Chrysalis/Cocoon
Adult butterfly/moth
What is metamorphosis?
Interesting facts:
Butterflies are active during the day feeding on flowers. They suck up the sweet nectar with their long, curly tongues. That is because butterflies cannot bite or chew.
There are about 150,000 kinds of butterflies and they and their caterpillars come in all sorts of colors and sizes.
Butterflies Like all insects, they have six jointed legs, 3 body parts, a pair of antennae, compound eyes, and an exoskeleton. The three body parts are the head, thorax (the chest), and abdomen (the tail end). Most have four wings. The wings of butterflies are covered with tiny scales that seem to shimmer in the daylight. Some of them are brightly colored. Others have bold patterns or scary eye-spots. When a butterfly flashes its wings at its enemies, it confuses them, and gives itself time to escape the danger that they might be in.
Butterflies and moth belong to the order Lepidoptera. Lepidos is Greek for “scales” and ptera means “wing”.
Waiting for Wings by Lois Ehlert
Out in the fields, eggs are hidden from view. Child’s pose
clinging to leaves with butterfly glue. Stretching child’s pose. Fingers crawl to the left and right to stretch sides.
Soon caterpillars hatch. They creep and they chew. Creep forward into inchworm.
Each one knows what it must do. Press up to cobra. Add hissing and snaking back up and down.
Find a place where winds don;t blow, Locust.
then make a case in which to grow. Bow.
Caterpillar changes now begin– Rock and roll on belly, release. Rise up to standing position.
body and wings take shape within. Tapping.
When it’s time, each case is torn– Willow tree and joy breath.
wings unfold; new butterflies are born! Star Pose.
They pump their wings, get ready to fly, Add cross body kicks.
then hungry butterflies head for the sky. Yoga Jumping Jacks.
Looking for flowers with nectar to eat, Standing flower pose (tree)
they catch a whiff of something sweet.: Join a partner for partner tree/or group tree
They follow that fragrant scent of perfume, Melt to the floor. breathing in and smelling the delicious odor of fresh flowers 3x.
until they find our garden bloom.: Seated flower
We’ve been waiting for wings! Seated bat (opening flower)
We watch them circle, land on their feet, Lay on back and hug knees to chest. Legs up towards ceiling, as if walking on ceiling. Foot circles, both directions. Point and flex and then walk on ceiling and then bicycle.
unroll their tongues, and begin to eat.: Rock and roll. Grab feet, happy baby.
They dip and sip, Feet down. Simple lying twist.
then fly away, back home to the fields… Full body stretch-like a gingerbread man.
They have eggs to lay.: Savasana
Song (sung to the tune of Pop Goes The Weasel)…I tried!
I spin and spin my chrysalis
I stay inside to rest
When I come out….Metamorphosis!
Pop! Goes the butterfly.
Of course we then did a rousing version of Yogini Went to Seaand then the Downward Dog Crawl Tunnel. Not taking into account the size of the room, proved to be a stumper for a moment. But I offered up the challenge to the class and we were able to create a circle, which worked very well! I so appreciated the first groups problem solving ability!
Last night, I attended Ainoa performance in her school’s International Night event. I am so impressed with this event. First of all, it is a night solely represented by dancing-boys and girls alike and there are dances representing at least 12 different countries such as India, Mexico, Iran, Ireland, China and Peru. Ainoa’s dancing has reached a new level. She has found her self within the music, knowing the choreography, understanding the rhythms. We can call this the comfort zone. So now we attack the emotional content and how to express it to the audience.
Seated yoga sequence to balance the chakras
Muladhara Chakra- root chakra- color red
Easy pose (habitual cross leg first-both of us chose right over left). Feel sit bones. Show on skeleton model, where the sit bones are (Remind of the wrap of the psoas muscle and the Nerf ball.) Recross to non-habitual side and feel sit bones.
Svadhistana Chakra- sacral chakra- color orange
Upavishta Konasana, with legs only as wide as the mat (short ways), with bolster under knees. Just resting arms on upper legs and letting head drop forward.
Butterfly pose.
Manipura Chakra- solar plexus chakra- color yellow
Easy seated twist. Right leg in front, right hand holds left knee. Recross. Left leg in front, left hand holds right knee.
Anahata Chakra- heart chakra- color green
Bolster under shoulders and then moves after 3 breaths down the spine. Stopping and always taking at least three breathes in each spot. End with bolster under hips and do knees into chest. I pointed out to her that this is a back bend too. At first she did not believe e as she sees wheel as the only back bend, but I had her close her eyes and I told her to imagine she was standing on the edge of a pool and by leaning back, she was going to be able to dive in backwards. I could just tell from her energy shift that she was getting it.
Vishudda Chakra: throat chakra- color blue
Ocean breath, in constructive breath, on in breath still holding, knees go out and on out breath pull knees back in towards chest, like a bellows.
Ajna Chakra: Third-eye chakra- color purple
Release legs and let them rise to the ceiling (Make your body into an “L” shape-do not do shoulder stand). Make ankle circles in and out. Point and flex feet. Re-hug legs into chest.
Sahasrara Chakra: Crown of the head chakra- color white light/ glimmering diamond
Emotion Cards: How to Dance With Heart (or how to access your emotional body)
I started to create a deck of cards that have emotions and energies written on them.
I chose words that I felt were evoked during flamenco dance and by listening to flamenco music:
Adoration, Anger, Despair, Determined, Energized, Fatigued, Fury, Grief, Happy, Sad
These cards jump started Ainoa and she started to create her own deck, where she then proceeded to create her own definitions and how they could relate to dance (they key words are underlined):
Angry: scrunched up face; angry eyes; eyebrows narrowing; eyes on fire
Calm:laying on the couch and watching TV.
Clumsy:bumping into things.
Curious:wanting to uncover something.
Determined:refusing to quit.
Happy: smiling, jumping, breathing fast.
Funny: you can make people laugh or other people can make you laugh.
Mysterious: lifting up one eyebrow; skulking; looking everywhere
Nervous: you have to perform in front of 3,000,000 people.
Pushed:feeling forced to do something
Sad: someone died; crying; eyes drooping; looking down; not really moving; dancing energy in down
Scared: you see a monster.
Suspicious:not believing what someone is telling you.
Identify flamenco emotions. Choose three or four emotion cards
After a lot of hard work and a great run through of the (Tangos en Tono de Taranto) choreography,
we played a yoga game that worked so well for the varied ages in the group:
I created 7 packets of 4 cards (using a mix of the Yoga Pretzel Cards and the Yoga Planet Deck) and gave each student one of the packets. They spread themselves out in the room and then created their own yoga sequences with the cards. I loved how the older kids really took time to read each of their cards and practice the poses where the kids who read less were able to use the picture sequences on the back of each card to create the poses.
From the child who is really low energy to the child full of unbridled energy, I loved watching each child enjoying their yoga their way! After a short time, I signaled for them to switch to the next person cards and off they went again.
Next week we will explore turning the poses upside down and on their sides and also adding partners and movement -possibly passing a small ball or beanbag between the hands in the balance poses.
Things that clutter your brain…random song lyrics, swears in foreign languages, snippets from #SNL…there was one with #JamesFranco. He was inside someone’s brain clearing out the clutter…well another such snippet that sticks with me is #JohnLovitz #thegreatestactor #masterthespian #Itsacting. Well that’s where today’s blog title comes from…I spent today working with Ainoa to pull out her emotions, her duende, her inner dancer. To as we say, “Wear her heart on her sleeve and to allow her guts to spill on the floor.” Her movement needs elasticity and breath of movement so while she was dancing I kept up the mantras: “First full Inhale…now, long exhale through the nose”; “Allow the movement to fill you with breath and when you land in the pose, allow your breath to settle before you move on”; “Take a breath before you move, so you can build up the dynamic tension within the silences”; “The final pose is not what you are going for, but instead, allow for your breath to carry you between motions, so each one blends into the next. Know where your periods are and where you need commas,, semicolons and exclamation points!” These phrases are true for both flamenco and yoga…the final pose is not the out come, it is the journey to the poses that is the yoga…um the flamenco… um both….
Somewhere in between the dancing, we learned about grammar, inflection and mindfulness.
We started class today with footwork exercises to build foot strength before moving on to her actual zapteado section for her dance: single golpe, doubles, redoboles, how to accent the first beat and to set a rolling rhythm. I wanted her to understand how her shoulder should lie on her back while her hands were at her hips-she was tending to squeeze her shoulder blades together, but I wanted them to lay flat, almost wider than the chest, so that the expanded and lifted chest could rest right into and be supported by the upper back.
I had her lay on the floor, on her back, with her knees bent and feet flat on the floor-active resting pose. From there, I had her rest her arms on the floor, in a low “V” shape (sides of pinky and back tip of the elbow on the floor, so palms are gently turned towards the body.) This is to simulate mountain pose. Here she could feel her shoulder blades spread out on the floor easily.. Keeping the shoulder blades wide and the shoulders un-hunched, I had her slide her arms along the floor, pinky and back of elbow on the floor, palms are facing sightly down here, into a “T” position, once again noting the spread of the back, recreating the feeling that the back is spreading to hold the ever expanding and lifting chest; thirdly, she brought her arms up to a high “V” shape, noticing still the open shoulders. Lastly, I had her bring her hands to her hips and to one again recreate the shoulder, elbow, pinky alignment.
Youth Flamenco on Wednesdays; Classes start Wednesday September 10th, 2014 @ The Dance Complex, 536 Mass Ave., Cambridge, MA
Youth Flamenco 1 (ages 5-10); 4:00PM The class is designed for children aged 5 to 11 with zero to 1 year of flamenco dance experience. This class includes basic technique of flamenco dance to include correct posture, hand, arm, and foot placement. The student will become familiar with basic flamenco vocabulary. The course will include exercises that will develop the clarity of the students’ footwork, develop their upper-body to lower-body coordination. Basic castanet playing exercises are practiced. Repertoire will be taught. Required attire: leotard or fitted top, castanets, flamenco shoes and skirt for girls. Castanets and flamenco boots for boys. Pre-Registration for Fall-Winter 2014 session, as well as Winter-Spring 2015, contact Eve Costarelli AdamAnt_Eve@hotmail.com for more information. No drop-ins.
Youth Flamenco 2 (ages 9-16); 5:00PM Two years of dance experience required. This class offers Flamenco technique to improve posture, hand, arm, and foot placement. Exercises that will improve clarity of the students’ footwork, upper-body to lower-body coordination as well as stamina and endurance are included. Medium to complex footwork and choreographic variations are taught. Required Attire: Flamenco shoes, flamenco skirt, leotard or fitted top, castanets. Other dance accessories may be required such as Spanish hat, mantón and fan, when necessary. Pre-Registration for this Fall-Winter 2014 session, as well as Winter-Spring 2015, contact Eve Costarelli AdamAnt_Eve@hotmail.com for more information. No drop-ins.
Inclusion Yoga (ages 6-10) and Tween/Teen Yoga on Thursdays: Classes start Thursday October 2nd, 2014 @ Open Spirit Center, 39 Edwards St., Framingham, MA
Inclusion Yoga (ages 6-10); 3:45-4:35PM This inclusion class will help children with Autism, special needs, and typical learners to feel comfortable with all people, noting that everyone is different and that’s OK. The class combines breath work, movement, guided meditations and a deep relaxation period to help children learn to be aware of their thoughts, emotions and what their bodies say. This specialized program is designed for typically developing children, and children with special needs, including but not limited to; Autism, ADD/ADHD, OCD, Anxiety, PDD, Sensory Processing Dysfunction, PTSD, CP and DS. Students must be able to take verbal instructions and follow along in a group setting with support. Pre-Registration for this Fall session, as well as other sessions throughout the year, are availablehttp://www.openspiritcenter.org/. Led by Eve Costarelli. $90 for the Fall session, no drop-ins.
Tween/Teen Girls Yoga (ages 11-18); 4:45-6:00PM This class brings older tweens and teens together to explore how yoga can help them better understand and appreciate their changing bodies, relationships, and lives. Yoga can help tweens/ teens move through these often-challenging years and emerge with healthy ways to address stress and find balance. Classes will help empower teens and inspire self-awareness and body confidence, and are fun, upbeat, and non-competitive. Yoga poses, philosophy, breath work, meditation and journaling will be explored. This class also presents a wonderful opportunity for tweens/ teens to come together, laugh, and build friendships within the Open Spirit community. Pre-Registration for this Fall session, as well as other sessions throughout the year, are availablehttp://www.openspiritcenter.org/. Led by Eve Costarelli. $90 for the Fall session, no drop-ins.
Privates are available, slots are filling quickly. Flamenco and Yoga parties available for children and adults. Yoga Classes & The Common Core, Weddings and Corporate events available. Please inquire.
Eve’s other projects include:
Nourishing Teachers, Strengthening Classrooms Project @ the Framingham Public Schools; Framingham, MA
The Birth of Flamenco @ Young Audiences of Massachusetts; Greater New England
Yoga in the Park @ Ivy Child International; Worcester, MA
Core Yoga In Schools @ Brighton High School; Brighton, MA
Rocio Molina, 
sic
I Am Uniquely Eve 