Bronx Dance Magazine/Ella International Issue 9 Bronx Dance!

BRONX/DANCE MAGAZINE
Ma1/2une 2008
E99a Internationa9
Issue ?
!e##er &ro( #he *+,#or
This s&mmer is *onna be a scorcher0 1e be*in by t&rnin* &p the heat 5ith the 6on* 6astin* contrib&tions of
Bronxite Tonito Arroyo a0k0a0 <66a =nternationa6, an ama?in* trans*ender performer 5ho took the inspiration
he receiAed from the Batina bombshe66 =ris Chacon and sp&n it into *o6d0 Dis story *oes from an inspired
yo&n* person to the act&a6 meetin* of his mentor, dancin* 5ith her and eAent&a66y creatin* *o5ns for her to
5ear on her pop&6ar TE sho50 Tonito is a master seamstress and his fashion sense tied 5ith his dance
sensibi6ity has created some ama?in* cost&mes0
Fane Gabrie6s has *racio&s6y *iAen &s yet another insta66ment of H<so <s0I 1e are *6ad she contin&es to
contrib&te and hope she 5i66 inspire yo& to do the same0 There are 6ots of *reat eAents takin* p6ace oAer the
next months so be s&re to take a 6ook at the ca6endar0
Jina66y, 5e are *reat6y honored and thankf&6 that Arth&r AAi6es Typica6 Theatre 5as a5arded the Bronx Arts
Ktabi6i?ation J&nd Grant from the Bronx Co&nci6 on the Arts to s&pport the Bronx Dance Coa6ition and the
Ma*a?ine0 1e 6ook for5ard to he6pin* to stren*thenin* this deserAin* comm&nity0 Bookin* for5ard to F&6y!
-Arth&r AAi6es, <ditor-in-Chief
-re+,#s
Arth&r AAi6es
<ditor-in-Chief, Director of the Bronx Dance Coa6ition
Char6es Pice-Gon?a6e?
Assistant to the <ditor
A6ethea Qace
On6ine <ditor, Ma*a?ine Desi*ner
Kpecia6 thanks to Tonito Arroyo for his contrib&tion to this iss&e0
Thanks to the Association of Dispanic Arts SADAT and Me6issa U*irai6emesan*0 1e 5o&6d a6so 6ike to thank
the Ao6&nteers for their s&pport0
1e appreciate feedback andVor additions to the ma*a?ine0 =f yo& 5o&6d 6ike to Woin the Ao6&nteer staff, p6ease
contact &s at X18-8[2-52230
This pro)ect is made possible with funds from the Bronx Council on the Arts through the Ford Foundation0
Bronx Dance Ma*a?ine and Bronx Dance Coa6ition are proWects of Arth&r AAi6es Typica6 Theatre and operate
from the Bronx Academy of Arts and Dance SBAAD!T, 8[1 Barretto Ktreet, Bronx, U_ 10[X[0 BAAD! 5as
fo&nded by dancerVchoreo*rapher Arth&r AAi6es 5ith assistance from the Qoint CDC0
2
Bronx Dance + Eso Es +
.he s0otlight is on the artists5
!" $%&' ())*$ +, -.+"/ 0%"&$ 1%2%3("$4 !56$ 7$$" ("&8*9("2 %" (":$.6($; +. :;+ ;(:' )+<$ +,
:'$ %.:():) ("6+86$9 (" :'$ ;+.89 +, -.+"/ 9%"&$ (" +.9$. :+ ,*.:'$. $".(&' +*.)$86$) ;(:' :'$
;$%8:' +, <+6$<$": 9(%8+2*$ '%==$"("2 (" :'$ 7+.+*2'> !:5) 7$$" % 2.$%: ;%? :+ @2$: *"9$.
:'$ )A("@ +, :'$(. 9%"&$ ;+.A %"9 '$%. :'$ ):+.($) :'%: (")=(.$ :'$(. =$.,+.<%"&$)> ! 7$2(" $%&'
%.:(&8$ ;(:' :'$ B*$):(+" %"9 %");$.C
!"#$ &' ()*+, -#+CE0
-.+"/ 9%"&$ () D!E0FGFHHI H% -+'$<(% 1IG!E %"9 '$. =$.,+.<%"&$ $":(:8$9 !ever4
;'(&' ;%) (")=(.$9 7? %"9 =%(9 '+<%2$ :+ H% H*=$4 :'$ J*$$" +, H%:(" K+*8>
!h2t i5s7ired ;o= to >25t to m2@e 2 d25Ae to her m=siA0
!ever () +"$ +, <? ,%6+.(:$ )+"2) ,.+< :'$ <*)(& +, H%
H*=$> L'$" ! ;%) % ?+*"2 2(.8 2.+;("2 *= (" M*$.:+ G(&+ <?
,%:'$.N) ,%<(8? *)$9 :+ 2$: .$%88? $/&(:$9 ;'$" H% H*=$ ;%)
%7+*: :+ =$.,+.< +" :6> ! 9(9"N: A"+; ;'+ H% H*=$ ;%)> ! '%9
'$%.9 +, '$. 7*: ! "$6$. )%; '$. =$.,+.< 7$,+.$> O"$ 9%?4 !
)%; ;'%: :'$ 7(2 9$%8 ;%) %7+*: '$.> 1? &+*)(" D%:'?4 ;'+
;%) % ?$%. +89$. %"9 :+*2'$. :'%" <$4 ;%) )&%.$9 +, :'()
;+<%"> ! &+*89"N: 7$8($6$ (:> 1? &*.(+)(:? ;%) %: (:) '(2'$):
=+(":4 $6$.?7+9? ;%) 2%:'$.$9 (" :'$ 8(6("2 .++<4 %*":) %"9
*"&8$)4 ;%(:("2 ,+. :'$ <+<$": ;'$" H% H*=$ ;+*89 9+ '$.
:'("2> F6$.?7+9? ;%) )("2("2 '$. )+"2) P ,(.): :'$ ;+<$" ("
<? ,%:'$.)N ,%<(8? ):%.:$9 :+ )("2 %"9 :'$" <? *"&8$) %"9
&+*)(") Q+("$9 ("> R'$ ;+<$"4 :'$? %&:$9 8(A$ :'$? ;$.$
)8%)'("2 :'$(. ;.():)> R'$? *)$9 :+ &%88 '$. )+"2) S&+.:% 6$"%)>T
U$. )+"2) ;$.$ ):.+"24 8(A$ %99(&:(+" ,+. 7.+A$" '$%.:)>
V++9 %"9 7%9 :'("2) ;$.$ )%(9 %7+*: H% H*=$ %"9 '$.
<*)(&> W+. <$4 (: ;%) %;$)+<$ :+ )$$ % ;+<%" '%6("2 )*&'
(",8*$"&$ +" =$+=8$ PP LOL $6$" <? &+*)(" ;%) )&%.$9 %"9
'(9("2 (" % &+."$.> R'%: 9%?4 (: ,$8: 8(A$ :'() () ;'%: %9*8:) 2+
:'.+*2'4 )+ <*&' &.%3("$))4 2++9 '*<+.4 8+6$4 %88 :'$)$
,$$8("2) (" :'$ %(.4 (: ;%) Q*): %<%3("2> L'$" H% H*=$ ):%.:$9
:+ )("24 $6$.?7+9? )%"2 ;(:' '$.4 $6$.?7+9? ;%) &+<=8$:$8? ("
!R4 :'$ 7+9? <+<$":4 :'$ ,%&(%8 $/=.$))(+")> O"$ +, <? %*":N)
8++A$9 %: <? &+*)(" %"9 7$2%" :+ :$%)$ '$.> I: :'%: <+<$":4
H% H*=$ :++A +,, '$. ;(2 %"9 <? :+*2' &+*)(" D%:'? ):%.:$9 :+
)&.$%< ,+. 9$%. 8(,$ %"9 .%" +*: +, :'$ 8(6("2 .++< 8(A$ % 7%: +*:
+, '$88> R'%: <+<$": () %"9 ;(88 %8;%?) 7$ :'$ <+<$": H%
H*=$ (":.+9*&$9 '$.)$8, :+ <? ;+.89> M+;$.,*8 %"9 ,($.&$4
%,.%(9 +, "+ +"$> K'$ (")=(.$9 =%))(+"4 :'() (":+/(&%:("2 <(/ +,
%9+.%:(+" %"9 ,$%.> !: ;%) )+<$:'("2 ("&.$9(78$>
! )%; H% H*=$ +"&$> 1? &+*)(" I"2$8% :++A <$ :+
&$8$7.%:$ <? XY:' 7(.:'9%? %"9 '$. '*)7%"9 =8%?$9 ;(:' %
;$88PA"+;" K%8)% 7%"9C K%":(%2+ D$.+"4 )+ )'$ :++A <$ :+ :'$
-.+%9;%? Z[ K%8)% D8*7> H% H*=$ ;%) :'$.$ :'%: "(2':> I"2$8%
B*($:8? :++A <$ +6$. :+ )$$ '$. %"9 ;'()=$.$9 (" <? $%.4
SD("9?4 8++A 7*: 9+"N: <%A$ (: +76(+*)>T H% H*=$ ;%) )$%:$9 %:
% :%78$ ;(:' :;+ 2$":8$<%"> R'$.$ )'$ ;%) PP &'(88("2 %"9
)<+A("2 % &(2%.4 )$%:$9 7$:;$$" :;+ <$"> ! ;%) :;+ ,$$: %;%?
%"9 ! ;%) ,.+3$"4 ! ;%) Q*): 8++A("2 %: '$. %"9 ):*9?("2 :'$
;%? )'$ <+6$9 '$. '%"9) ;'$" )'$ )=+A$> K'$ ;%) :'$ +"$
:%8A("2 %"9 :'$? ;$.$ 8():$"("2> K'$ '%9 &+":.+8 +, :'%: ;'+8$
)(:*%:(+"> O"$ <%" 8(: '$. &(2%.4 :'$ +:'$. =+*.$9 :'$ 9.("A)
%"9 :'$? 7+:' '*"2 +":+ $6$.? ;+.9 )'$ )%(9> R'() ;+<%" '%9
):?8$4 2.%&$4 %"9 :'() yo no se *ue (je ne sais *uoi) %7+*: '$.> R'$
;%? )'$ 9%"&$9 )%8)%4 )'$ ;%) =$.,$&:> ! ):++9 :'$.$ (" )'+&A4
Mari%o' Dia* +,-2003
,.+3$"> ! ,("%88? )%; '$.4
R'$ L+<%" (" =$.)+">
U$. ,($.&$ )$8,> OU 1\ VO0]]] K'$ 8++A$9 )+ 7$%*:(,*8> K'$
'%9 :'() 6(":%2$ 8++A PP :'$ ;(24 <%A$*= %"9 :'$ %&&$":>
LOL4 )'$ ;%) )+ $/&$88$":> W+. <$4 )'$ ;%) :'$ =$.,$&:
9(%<+"9 (" :'$ .+*2'> K$$("2 '$. (" =$.)+"4 )'$ <%9$ <$
.$%8(3$ :'%: ?+* &%" 7$ 9(,,$.$": ,.+< $6$.?7+9? $8)$4 %"9 :'%:
(:N) +A%? P +:'$. =$+=8$ <(2': "+: 8(A$ ?+* +. %&&$=: ?+*4 7*:
)+<$ ;(88 %"9 ! A"$; :'%: ! ;+*89 7$ +A%?> ^*): ,.+< ;%:&'("2
H% H*=$ %"9 :'$ ;%? )'$ 8(6$9 '$. 8(,$>
!h2t does she re7rese5t for ;o=0
H% H*=$ .$=.$)$":) $6$.?:'("2 :'%: () 7+." 7$,+.$ (:)
:(<$> K'$ () %7+*: "$6$. 78$"9("2 (" PP ;'(&' :+ <$ () "+: % 7%9
:'("2 7*: )+<$:'("2 2++9> H% H*=$4 ^+)$='("$ -%A$.4 V.%&$
^+"$)4 M'?88() U?<%"4 F%.:'% _(::4 E("% K(<+"$ PP :'$)$
;+<$" ;$.$ %: :'$ &+.$ +, )+<$ :'("2 7$%*:(,*8 %"9 9(,,$.$":
%"9 ! ,$$8 8(A$ =$+=8$ "$$9 :+ +=$" :'$(. '$%.:) <+.$ :+ +:'$.)
8(A$ :'$<>
!h2t did it feeC Ci@e for ;o= to >2C@ i5 her shoes for 2
so5D0
! &+*89 "$6$. ;%8A (" '$. )'+$) +. ,(88 :'$<> I88 !
&+*89 9+ () '+"+. '$. 7? =$.,+.<("2 :+ '$. <*)(& ;(:' % A(&A
%)) <$))%2$ PP )+<$:'("2 ! A"+; )'$ ;+*89 7$ =.+*9 +,>
!h2t >2s the feeCi5D ;o= >25ted to DiEe the 2=die5Ae
2Fo=t her0
! &'++)$ W$6$. 7$&%*)$ ;'$" ?+* '$%. :'%: )+"24 Q*):
:'$ ;%? )'$ )("2) (:4 (:5) )+ )$/? %"9 ! &+*89 9$8(6$. :'%: ;(:'
H*=$ (" <("9>
D!E0FGFHHI H% -+'$<(% 1IG!E =.$)$":$9 '$. '+<%2$ :+
E("% K(<+"$ +" I=.(8 `a %"9 1%? X %: -II0] %) =%.: +,
M$=%:(%"N) ,+*.:' %""*%8 ^b1M !R bMC-GOEc IGR!KR
KMORH!VUR 2aae>
D%:&' *= ;(:' ?+* %"9 <+.$ -.+"/ &'+.$+2.%='$.) %"9
9%"&$.) (" :'$ "$/: ())*$]
P^%"$ V%7.($8)4 I.:():(& M.+9*&$.4 ;;;>=$=%:(%">+.2
INSPIRATION DANCES
Tonito 6++o/o i4 a t/:ica. ;ance+ in 4ome <a/4 an; e=t+ao+;ina+/ in othe+4> ?e
<a4 bo+n an; +ai4e; he+e in the $+on= an; c"++ent./ .i@e4 on Mo++i4 6@en"e>
Tonito <a4 Ain; eno"gh to 4:eaA <ith me an; *ha+.e4 CiceDEon7a.e7 f+om the
ho4:ita.> ?i4 contin"e; ;ete+mination i4 in4:i+ation on it4 o<n> Gn thi4 inte+@ie<
Tonito 4ha+e4 <ith the ;ance comm"nit/ abo"t hi4 g+eat in4:i+ationH G+i4
*hacIn> M4> *hacIn i4 a J"e+to Cican icon a;o+e; b/ men an; <omen the
<o+.; o@e+> Tonito not on./ ha; the o::o+t"nit/ to meet hi4 in4:i+ation b"t a.4o
to become one of he+ co4t"me ;e4igne+4> Late+H the f+en7/ of hi4 in4:i+ation
tooA Tonito to the :oint of act"a../ becoming G+i4 in ;+ag com:etition4
th+o"gho"t the $+on= an; Manhattan an; +ecei@ing n"me+o"4 acco.a;e4 in
ga/ ba+4 .iAe ETK4 an; Lta+> Tho4e ba+4 a+e .ong gone b"t TonitoK4 4:i+it
t+an4cen;4 an; contin"e4 to en.ighten "4 a..>
Tonito dances with his mentor and primary
inspiration
Arthur: When was the first time that you ever
ChacEn so
danced6
perfect. It blew my mind away. And the rest of
Tonito: In my living room.
the show they did Donna Summer. She was hot
A: At what age6
at the time. The show was so fabulous that I
T: I think I started around 12 or 13.
started going every weekend, just to look and I
A: Do you remember what you danced to6
kept looking and learning. I said one day I will
T: Anything, especially Iris ChacEn stuff.
perform here. If they could do it, I could do it.
A: Do you remember any songs in particular6
A: Did you6
T: Oh yeah, T" $o&"ita, *a+ame.o /
T: Yes I did. Remember Ivan 3.
*hoco.ate. Iris was loose, wild and
Te+ib.e6 We had a show over here in
expressive. So that’s what I liked about
the Village. I was one of his guests
her, her costumes and her glamour and
and he said, XDon’t change. I’m
her style. I used to just lip sync and carry
taking you to La 34c"e.ita. There’s a
on and think that I was at Madison Square
competition there tonight.’ And I
Garden at a concert.
said, XOkay.’ That was my first time
A: And what did your parents think about
going there all hooked up and
this6
everything. XI used to hang out over
T: They thought it was a routine of
there. So when I walked in with the
exercise.
makeup and the outfit and the wigs
A: And did you put on shows for them6
and everything. And people were
T: I think I was around 15 or 1O. My
like, XWho’s that6’ And we went
mother made me compete with my sister
straight to the backstage and I set
Tonito aka Ella International
at
Night
of
12
Gowns,
1999
and of course, I won. That’s when they
up and Ivan was like XDon’t worry,
really noticed that I was coming out.
you’re going to kick some ass
A: You know there are a lot of drag queens that
today.’ And I said, XOkay, let’s see.’ He opened
do fashion and walk. But yours in particular is
the show and then there was the competition
dance.
and I did 67"ca+ Mo+eno. And I was stunned.
T: Mine is stage presence.
The minute I walked out, I had a long gown with
A: There are not a lot of drag queens that dance.
a split that opened as I walked down, people
There are some who do, but a lot of them do
were screaming and hollering. Then I started
fashion. What drew you to dance6
doing my Espa[ola thing and I won that night. I
T: It’s a form of expression. It gives me energy. It
was like, XWow, I won.’ So they gave me a
gives me what I need to go through. It gives me
booking for the following week and that’s when I
the extra boost.
was going to get paid. And I was like, XWow, I
A: What was the first club you ever went to6
did it.’ And I came back the following week, with
T: The first club that I ever went to was La
something different, and I rocked the house.
34c"e.ita in the late 70’s. That was the first gay
A: Now what did you mean Espa[ola thing6
club that I ever went to. TMy friendsU took me
T: The song that I was doing was from Spain. It
out. We went to the club and every night they
had a little twist to it but it was very moving.
had a drag show and one of them did Iris
A: By using your arms, how would you do it6
T: You just move and make the gestures and
carry on. You push the tail back and forth.
A: So why are you doing those movements with
your hands6
T: Como flamenco. They move a lot with the
hands and the skirt and they start flipping,
flopping, flapping back and forth. It’s part of the
music. It is part of the art that they are putting
through the music. You have to live the music in
order to be creative and know what to do.
Because if you’re going to do an Espa[ola song
and you’re just going to stand there and go like
this Tflops handU, you killed it. You have to play
with the song. You have to go with the flow. Like
if you do merengue, merengue is a different step.
You have to shake it and if you have to break it,
you break it. That’s all. But you have to give it all.
XCause you’re not going to do something fast
and then be stiff on the stage. Then people are
not going to rally for you.
A: I understand that you have taught women
A: Do you rehearse6
T: Yes.
A: And when you rehearse, do you set your
movements6
T: Oh yes. I first practice the song. I listen to it
until I really learn it. Once I learn it, I start putting
the movement until I get very comfortable with it
and then that’s it.
A: So you have that number and you get up on
stage, it seems like you have a set amount of
stuff to do but as you were saying the audience
gives you a certain amount of support and so
you’re able to move away from the set material
and just do your thing. When you rehearse, is
there a split involved6
T: No, like when I did Miss Piggy in a competition I
just finished coming out of the hospital maybe
like a week and half. And I had everything set up
and everything. I said, XI could do it, I can do it.’
And I did. I got my makeup done and I was
hooked up. And during the talent show I did the
You have to shake it and if you have to break it, you break
it. That’s all.
how to dance.
T: Rhina is one of them. She came up to me and
she needed steps and she needed to
impersonate Iris ChacEn for her number. She was
kind of clueless.
A: And you even gave her one of the garments
that you actually made.
T: I lent it to her and she never brought it back.
That’s a different story.
A: What song did you teach Rhina6
T: She wanted to be a little funny and so I told
her to do the melodies. They’re basically her
greatest hits but just edited into smaller portions.
And those are the songs that people would
recognize. And it went perfectly with the outfit.
A: So what moves did you give her6
T: Well, Iris ChacEn is giving a lot of shoulder, a
lot of hair, flapping it back and forth, and of
course shaking her bon, bon. That’s Iris ChacEn
right there.
A: How about cartwheels6 Have I seen you do
cartwheels6 I’ve seen you do splits on stage.
T: I did splits, a few splits. Cartwheels, no, I’ve
never done cartwheels on stage.
A: That’s amazing to see.
T: That’s not something that I practice. That just
comes as I am there. Depending on the
audience if they’re really carrying on and
supporting you and they’re clapping, that’s
when you want to give it that extra push.
split. I was like I did it and I didn’t think I was
going to be able to because I was a little sore
and stuff like that. And what happened was that
that night I won the crown.
A: Who’s your favorite dancer6
T: Who’s my favorite dancer6 I don’t know.
A: I would imagine Iris.
T: Well she was a performer. I saw a lot of
Broadway shows and there was a lot of dancing
involved and it was like whoa, wow.
A: Like what, do you remember6
T: I saw Smokey Joe’s Cafa. There was a lot of
dancing involved there. I saw Miss Saigon but
that was totally different. I saw Dreamgirls four
times. That show was amazing.
A: And there was dancing6
T: The dancing, the choreography, the
costumes, the stage setting and everything. I
was blown away. I said costumes, music, dance,
a well put together show.
A: So you’re kind of a multi media person. It’s
really not just the dance. You like costumes. You
like set. You like the whole ambience.
T: The whole entire thing. Like I said, you have to
be put together completely from head to toe.
A: Any new dancers today that you like6
T: I love the way that Britney Spears dances. I
went to see her at Madison Square Garden for
Tmy son’sU birthday. The stage was outrageous.
Her costumes were awesome. The way she
!
danced, Xcause you have backup dancers and
T: Yeah we did Mami.ia4. We did Je.ea ;e Ea..o4.
sometimes they end up doing most of the job,
A: How was it working with Merian Soto6
while you’re just playing around on the stage.
T: It was good, totally different. It gave me more
No, she blends in well with them. And they do
of a feeling of stage presence, to know when is
the same routines and everything. It was like
your cue, when to be dressed, the lighting setup,
wow, she worked it out.
things like that.
A: And anyone else6 How about guys6
C: And you did a little drag in that6
T: Guys6 I like more the women, females. Give
A: What did you do in Merian’s piece6
me costumes, give me wigs, give me eyebrows,
T: I started doing my dance routine because
give me nails, give me heels. That’s what I enjoy.
everybody started dancing. And when I came
Like Iris ChacEn, every time she comes out during
out and did my routine, I ended up in a split on
her concert you actually see at least 1b changes
the floor. People started screaming and carrying
of costumes. So it’s worthwhile to see her. She
on.
really puts some big pumps to
A: What kind of acceptance do
dance. And the way she
you feel in your community in
kicks her heels up and
relationship to dance6
everything and the way they
T: Bueno, in my community a lot of
flip her up and down. You’re
people don’t really know anything.
going to be entertained. It’s
When it comes to my house and
all about entertaining.
my area where I live, everything is
Charles: Now you met Iris
kind of private. I mean I have left
ChacEn6
the building dressed up, with
T: Oh, yeah, definitely. And
makeup and the whole nine yards,
we hung out. She invited me
ready for a show and stuff like that.
Tonito and his son, Donovan, outside their
apartment in the South Bronx
over for a New Year’s Eve
But I don’t hang out in the
bash. She had a show at a
neighborhood exposing myself and looking for
restaurant in cueens. I never spent a New Year’s
trouble or whatever.
outside of my house. I told my mother I’m sorry
A: Oh, you look at that as looking for trouble6
I’m going with Iris this year. We had a ball. We
T: XCause there’s always an in or an out there.
took pictures on the stage. We were dancing
There’s always one. And thank god I haven’t
maracas. We got into a little battle between us
had a confrontation. The few ones that have
together.
seen me say, Xyou look nice, you look nice.’
C: You battled Iris ChacEn6
They’ve only seen the costumes and sometimes
T: Yeah and she used to love it. She used to call
me leaving the house if I’m performing. That’s
me all the time. XCome up, come up’ Xcause
the only time I get dressed up when I’m going to
after awhile she already knew who I was and
perform. If I’m not performing, I’m not going to
stuff like that.
get dressed up. I don’t just like to go to a club all
C: Did she ever see you perform her6
dressed for nothing. And lately the few last
T: No, she heard about it because the ChacEn
shows it’s been that I perform, I change, I wait for
dancers used to hang out at La Escuelita. And
my pay and I go home. Like some other ones
as a matter of fact, one day she said XI heard
that they get dressed up and they go to the bar
that you have fabulous dinners in your house but
and they mingle and not me. Pay me and I’m
you never invite me.’ And I said, XWill you come
going home. Yeah, cause I have a responsibility
to the Bronx6’ She said, XI will.’ So I invited her
at home. So I can’t really go and hang out.
one time but she had a recording thing for a
A: What’s the responsibility at home6
show. And that was my birthday a couple of
T: My son.
years ago and she said, XWell, instead you come
over and celebrate your birthday over here with
us.’ That was a dream come true to me.
Tonito’s generosity is endless. Donovan, his son, is
C: Now, did she ever give you an outfit or
a fine young man moving through high school.
something6
We thank Tonito for giving us an account of Bronx
T: No, I gave her two.
dance history, a history rarely told. Since this
A: Now did you make them6
interview Tonito came back from the hospital
T: Yes, I made them.
and is now relaxing and recovering in the
C: Now the other thing is that you also danced
comfort of his Bronx apartment.
with Merian Soto in Mami.ia4.
Bronx Dance
Directory
A/TISTS
Alethea Pace
970 Grand ;oncourse #?E
Bronx, BY 10474
718-I77-0098
Anthony Jeyers
?180 Bronx Park East # IL
Bronx, BY 1046?
718-8??-8041
Amask11?0Oaol.com
Antonio /amos
189 St. Jarks Avenue #11
Brooklyn, BY 11?78
Ariane Garcia
1084 Rox Street, Basement
Bronx, BY 104I9
917-9I7-897I
ariane1??9Oyahoo.com
Awilda Sterling-Duprey
awildasterlingOhotmail.com
;laire Barrat
;illa Vee Jotion Sculpture
ProWect
Hand H Productions
P.O. Box 164?
Bronx, BY 104I1
cillaZveeOearthlink.net
;hantler Townsend
169 Jontrose Avenue, #7/
Brooklyn, BY 11?06
718-486-704I
chantleroneOyahoo.com
Darren ;hase
?770 Bronx Park East
Bronx, BY 10467
718-6I7-4?18
chase61Oiwon.com
Dawn ;randell
?6 Bedford Park Blvd #E1
Bronx, BY 10468
747-?76-8849
rubysarahOyahoo.com
]oy Dawn Williams
14II Harrod Avenue
Bronx, BY 1047? #IH
718-778-7166
]DdanceballetOaol.com
]ule ]o /amire_
1?78 1st Avenue #1I
Bew York, BY 100?1
?1?-777-7478
Limberly Vasque_
?0I ;ity Island Avenue #4
Bronx, BY 10464
LimberlyObronxarts.org
Lrystal Hall-Glass
?990 Jarion Avenue #IE
Bronx, BY 104I8
718-I84-I178
Lucy Aponte
64? /osedale Avenue
Bronx, Bew York 10477
718-I89-04II
livinglearningbyartsOWuno.com
Jaria and Eddie Torres
1964 Jatthews Ave
Bronx, BY 1046?
718-719-9717
Jark Anthony
174I Plimpton Avenue #?B
Bronx, Bew York 104I?
Jarsi Burns
7901 Independence Ave #6A
Bronx, BY 10467
Jarsi?1Oaol.com
Jasako Loga
716 W. 9Ith Street #1?1
Bew York, Bew York 100?I
?1?-749-8?6?
Jonica Rigueroa
7?0 Janida Street #?
Bronx, BY 10474
646-I1I-68I6
TapDiva19Oaol.com
Borma ]ean Barnes
4?00 Hutchinson /iver Pkwy
#17A
Bronx, BY 1047I
718-7?0-147?
Pat Hall-Smith
78-79 Pratt Avenue
Bronx, BY 10466
Patricia Jabry
1I West 179th St. #14]
Bew York, BY 10077
?1?-694-4118
Pedro ]imene_
917-I7?-48?6
cubanessOyahoo.com
/hema Sterling
8?I Boynton Avenue
Bronx, BY 10477
718-84?-1187
/ichard ;olon aka ;ra_y Legs
7?8 Rirst Street
]ersey ;ity, B] 0770?
www.rocksteadycrew.com
Samantha Hewitt
876 Tilden Street
Bronx, BY 10467
718-?71-0797
Wendy Bicolls
P.O. Box 607
Bronx, BY 104I7
ban Yassin
6I4 Janida Street
Bronx, BY 10474
718-991-9781
DAB;E ;OJPABIES
Arthur Aviles Typical Theatre
Arthur Aviles- Artistic Director
BAAD!
841 Barretto Street
Bronx, BY 10474
718-84?-I??7
;ontemporary Ballet Theatre
Pepper - Artistic Director
P.O. Box 74001I
Bronx, BY 10474
718-860-6400
?1?-64?-8774
peppercbtOaol.com
Dan_e Divas
;hisel Valde_ - Artistic Director
914-I89-1780
Eloquence Performance
;ompany
Bryan Davis- Artistic Director
1??7 /osedale Avenue #?/
Bronx, Bew York 1047?
718-7?8-046I
BryonLDavisOaol.com
Expressions Dance Alliance
Rordham dniversity
441 E. Rordham /d.
Bronx, BY 104I8
718-817-1000
Rull ;ircle Productions
Jarla Teyolia, ;ompany
Janager
1810 Bruckner Blvd #4R
Bronx, BY 10477
www.fullcirlcecoul.com
84I-87807?7
]ust ds Dance ;ompany
Peter Gon_ale_ - Artistic
Director
1946 Webster Avenue
Bronx, Bew York 104I7
I16-487-8089
?1?-I47-6191
Lanata Bative Dance Theatre
Bess Pruitt - Artistic Director
819 E. 168th Street
Bronx, Bew York 104I9
718-I89-0400
La Santa Lu_
Anthony /odrigue_- Artistic
Director
ceo Police Athletic League
Bew South Bronx ;enter
991 Longwood Avenue
Bronx, BY 104I9
lasantalu_Ohotmail.com
One World Arts - /etumba
Yvette Jartine_ - Artistic
Director
P.O. Box 7
Bronx, Bew York 10464
718-88I-?I74
retumbaOaol.com
Opus Dance Theatre
]ames Buster Grant - Artistic
Director
9?8 Gerard Avenue
Bronx, BY 104I1
OPdSDT;Oaol.com
718-?97-7777
Owl /ed Joon
Darkeem Dennis
889 Dawson Street
Bronx, Bew York 104I9
747-I?4-7070
Pepatian
]ane Gabriels
Jerian Soto - Artistic Director
1001 Grand ;oncourse #10R
Bronx, Bew York 104I?
718-I88-1976
PepatianOaol.com
Physual
/ichard /ivera - Artistic Director
646-68I-6?7I
r?nluvOyahoo.com
DAB;E S;HOOLS
Andrea!s Dance Studio
900 Jorris Park Ave
Bronx, BY 1046?
718-I97-9869
Barbara Blackwood Dance
Barbara Skinner
7II1 Laconia Avenue
Bronx, BY 10469
718-994-9?7?
Boston /oad Ballroom
146? Boston /d
Bronx, BY 10460
7?8-7?8-?I6?
Bronx Dance Theatre
Barbara Llein Art. Director
Lydia Pere_-Assoc.Director
I8I East 187th Street
Bronx, Bew York 104I8
718-764-?7?I
www.bronxdancetheatre.com
bdt1976Oaol.com
;ontemporary Ballet Theatre
Pepper - Artistic Director
1?71 Lafayette Avenue, 4th fl
Bronx, BY 10474
718-860-6400
El Grito Dance School
Lelly Terrie
940 Garrison Ave.
Bronx, BY 10474
718-I4?-4179fI1
saphireblu??1Oaol.com
Rancy Reet Dance Studio
16?8 ;rosby Ave.
Bronx, BY 10461
718-40I-I176
Rancy Reet Dance Studio
1?9I Allerton Ave.
Bronx, BY 10469
718-40I-I176
Gloria Wise BoysgGirls ;lub
Egeria Bennett - Director
9I0 Baychester Ave.
Bronx, BY 1047I
718-7?0-0II7
]ust The Place Inc.
;reative Arts ;enter
16?7 dnionport /d.
Bronx, Bew York 1046?
718-794-I878
718-?79-1118 hfaxi
danceWtpOaol.com
Lola Luis ;reative g Performing
Arts Studio
7II East ?7Ith Street
Bronx, BY 10466
718-6II-1607
louolafaOaol.com
Jaria!s Dynamic Dance BY
747? E. Tremont Ave.
Bronx, BY 104I7
718-409-0889
Jichele ;ompa Dance g
Exercise
7I90 Betherland Ave
Bronx, BY 10467
718-I49-967I
compadancerOearthlink.net
Jind-Builders ;reative Arts
;enter
Jadaha Linsey Lamb-Director
741I Olinville Ave.
Bronx, BY 10467
718-6I?-6?I6
Palomba Academy of Jusic
;harlie Salinas
974 E. Gun Hill /d.
Bronx, BY 10469
718-88?-7700
Side Street Lids
Toni Jendo_a- Director
1710 dnionport /d.
Bronx, BY 1046?
718-8?9-7?00
Starlite Dance Studio
1671 St Peter’s Avenue
Bronx, BY 1046?
718-8?8-8?8?
Sofia's Ritness g Dance Studio
7I01 /iverdale Avenue
Bronx, BY 10467
718-I47-4181
Top Hat Dancers, Inc
Harry Venghette Schott, ]r.
7749-I1 Hull Avenue #7G
Bronx, BY 10467
718-I1I-1661
harryvscottOveri_on.net
Young Dance Jakers
Alice Teirstein
Ethical ;ulture Rieldston School
Rieldston /oad
Bronx, BY 10471
718-7?9-7700
AliceTeirsteinOaol.com
;asa Atabex Ache
Tania /amire_, Program
Director
471 East 140th Street
Bronx, BY 104I4
718-I8I-II40
;OLLEGES ABD dBIVE/SITIES
Bronx ;ommunity ;ollege
Attnl Susan JosseAG 700
W. 181st St g dniversity Ave.
Bronx, BY 104I7
718-?89-I?81
;ollege of Jount St. Vincent
Attnl Dance ;lub
6701 /iverdale Ave.
Bronx, BY 10471
718-40I-7?00
;ollege of Bew /ochelle
Attnl Dance
Departmente;lub
77? E. 149th Street
Bronx, BY 104I1
914-6I4-I000
;ollege of Bew /ochelle
Attnl Dance
Departmente;lub
7II ;o Op ;ity Blvd.
Bronx, BY 1047I
718-7?0-0700
Rordham dniversity
Attnl TheatereDance
Department
441 E. Rordham /d.
Bronx, BY 104I8
718-817-1000
?1?-767-0I90
Janhattan ;ollege
Attnl Dance Department
4I17 Janhattan ;ollege
Pkwy.
Bronx, BY 10471
718-86?-8000
Jaritime ;ollege
Attnl Dance ;lub
6 Pennyfield Avenue
Bronx, BY 1046I
718-409-7?00
;OJJdBITY ;EBTE/S
;ommunity ;enter
]ackie Barretto - Director
46I Saint Anns Ave.
Bronx, BY 104II
718-66I-78I0
;ommunity ;enter
]eff g Alicia Jatthews
?000 Jonterey Avenue 1st Rl
Bronx, BY 104I7
718-767-6689
East Side House Settlement
777 Alexander Avenue, Bronx,
BY 104I4-1108
h718i 66I-I?I0
h718i I8I-1477 hfaxi
eshOeastsidehouse.org
Reatherbed Lane Youth ;tr.
Jr. Gustu_son - Director
1640 Grand Ave.
Bronx, BY 104I7
718-771-8660
Jitchel ;ommunity ;enter
Jonge ;odio ]r., Deputy
Director of Programs
?10 Alexander Avenue
Bronx, BY 104I4
h718i 997-97II
mcodioOeastsidehouse.org
Jill Brook ;ommunity ;enter
Rrenchtress Oliver, ;enter
Director
?01 Saint Ann's Avenue, Bronx,
BY 104I4
h718iI8I-1?I4
h;ontinued page 8i
!
OUTSIDE THE BRONX .000
Arthur Aviles Typical Theatre
!n t%e C()*an, (- .en
"#$%&'(& )$*#+ ,-## -. ./& "%&'(/ 0'1.2.*.& 3##2-'(& "%-'(-21&4 55 6 78./ 9.
:*'& 5;4 574 8=>
Contemporary Ballet Theatre
,&1(/#&% ?/&-.&% -. 6# @*1&$ A&# B-%%2$
@-C 5D4 E=>
Dixon Place presents Moving Men
F*%-.&+ GC 3%./*% 3H2#&1I F/$%&$J%-=/C GC @-#2'+- 3##&'4 :*#2$ 3%%$C$4 K&2#- F$%+$H-4 A-%L&&>
A&''214 @2(/-&# M&#&*NI
A2N$' O#-(&
:*'& 584 8=>
New York on New York
P$*'J +-'(&%1 #&+ GC 3%./*% 3H2#&14 K-C 61.&%>-'4 9.&=/&' K$=#$Q2.R4 O-R ?-'S*-T2$I
9.I @-%LU1 F/*%(/
@-C EV 84 8=>
B#$%& D(%)* D+#*),$#- ./#$0 123 85
!"##$%&T( !*%T*+,
M$,, H(8*% C$00:%+,- C*%,*#
D;(-%* <()=>$%, C*%,*# D+#*),$#
R$A*#, B#$;%, B#$2#(0
C$$#C+%(,$#
375 E(>, 143#C S,#**,
B#$%&, NY 10454
.7185 2O2-4151
B(,,*#>$% C$00:%+,- C*%,*#
M+)Q*R* S0+,Q, C*%,*# D+#*),$#
340 M$##+> A8*%:*,
B#$%&, NY 10454
.7185 OO3-2744
0+)QRR*T*(>,>+C*Q$:>*>3$#2
TQ* B$+%, CDC
B(:R L+1>$%
O40 G(##+>$% A8*%:*
B#$%&, NY 10474
"
718-542-413O
1(:RR+1>$%T:>(3%*,
P*+."+#/%!* ,P/!*,
B#$%& A)(C*0- $/ A#,> (%C D(%)*
.BAADX5
841 B(##*,,$ S,#**,
B#$%&, NY 10474
718-842-5223
;;;3B#$%&A)(C*0-$/A#,>(%CD(%)
*3$#2
B#$%& M:>*:0 $/ ,Q* A#,>
1040 G#(%C C$%)$:#>*
B#$%&, N*; Y$#= 10456
718-681-6000
B#$%& R+8*# A#,> C*%,*# Z G(RR*#G(+R N(,Q(%- D+#*),$#
1087 E(>, T#*0$%, A8*
B#$%&, NY 10460
2[%(,Q(%T*(#,QR+%=3%*,
C(0+%$ C* B(\
B3O3 B$& 801
B#$%&, NY 10454
718-742-7832
Q(##-T)(0+%$C*1(\3$#2
C*%,*# S,(2* C$00:%+,BR(-Q$:>*
2474 W*>,)Q*>,*# A8*3
B#$%&, NY 10461
718-823-6434
H$>,$> C*%,*# /$# A#,> (%C C:R,:#*
W(RR()* EC2*)$0A*
450 G#(%C C$%)$:#>* RC141
B#$%&, NY 10451
718-518-6700
718-518-4455 B$& O//+)*
L*Q0(% C*%,*# /$# ,Q* B*#/$#0+%2
A#,>
A%C#*( <3 R$)=$;*# –
250 B*C/$#C B(#= BR8C3 W*>,
B#$%&, N*; Y$#= 10468
718-O60-8281, 8232
(#$)=$;*TR*Q0(%3):%-3*C:
L+8* F#$0 ,Q* EC2* TQ*(,*#
CQ(%,R*# T$;%>*%C
O40 G(##+>$% A8*%:*
B#$%&, NY 10474
718-542-413O
L$8+%2*# TQ*(,*#
D(%,* ARA*#,+
250 B*C/$#C B(#= BR8C3 W*>,
B#$%&, NY 10468
718-O60-7830
C(RA*#,+TR*Q0(%3):%-3*C:
a(0$> A L( B*%( D*R B#$%&
718-402-O411
W(8* H+RR D(%)* D*1(#,0*%,
675 W3 252%C S,#**,
B#$%&, NY 10471
718-54O-3200
+%/$T;(8*Q+RR3$#2
OTHER ENTITIES
A#)Q+* B#$(C1O12 O>A$#%* BR()*
B#$%&, NY 10463
B*%+,( B#$$=>
2720 G#(%C C$%)$:#>* c516
B#$%&, NY 10458
718-561-5480
60O-877-5723
B*,Q AA#(Q(0 H$>1+,(R
A,,%: D(%)* B#$2#(0
612 ARR*#,$% A8*%:*
B#$%&, NY 10467
718-51O-4125
B#$%& T$:#+>0 C$:%)+R
<(%*,, M3 FR$#+%C$
1O8 E3 161>, S,#**,, S:+,* 201
B#$%&, NY 10451
718-5O0-3O4O
FR$#+%C$TA$*C)3$#2
B#$%& C$:%)+R $% ,Q* A#,>
B+RR A2:(C$, EC F#+*C0(%,
ERR*% B$RR*%
1738 H$%* A8*%:*
B#$%&, NY 10461-1486
718-O31-O500
(2:(C$TA#$%&(#,>3$#2,
*CTA#$%&(#,>3$#2,
*RR*%TA#$%&(#,>3$#2
D(%)* NYC
R$A*#, Y*>>*R0(%, D+#*),$#
)e$ TQ* <EHT F$:%C(,+$%
120 W$$>,*# S,#**, 2%C FR3
N*; Y$#=, NY 10012
212-O66-1638
#-TC(%)*%-)3$#2
D(#R*%* C(## Z A%,Q$%- C(##
2710 S*C2*;+)= A8*%:* c3A
B#$%&, NY 10468
718-601-0824
/+,A$C+*>T($R3)$0
DRA
D*%+>* R$A*#,> H:#R+%
165 W3 46,Q S,#**, S,*3 1300
N*; Y$#=, NY 10036
N*; I0(2* C$0/$#, SQ$* (%C
D(%)* S:11R+*>
43 W*>,)Q*>,*# Sf:(#*
B#$%&, NY 10461
718-31O-082O
R+)*-G$%\(R*\ B:AR+) R*R(,+$%>
CQ(#R*> R+)*-G$%\(R*\
841 B(##*,,$ S,#**,
B#$%&, NY 10474
718-542-0267
Inside Tonito+s Closet
A place neither him nor his creations liked to stay.
Tonito Arroyo has created wonderful costumes throughout the years. His
mastery is contributed to by his attention to detail and his understanding that
the costumes need to be worn by a moving person. If you move like Iris Chacon or
even if you are Iris Chacon you know full well that weak seams just won+t do. No,
these costumes were not made for posers, they were made for dancers.
!iss Piggy ())*
Rumbera ())*
Di,a from 2uter
Space ())9
Iris Chacon
Robot ())<
Big Bird ()))
S"#
M%#
T"'
W')
T*"
F,-
S./
5
A,/*", A7-8'9 T0:-;.8
T*'./,'< !he Disco *ro,ect
= >AAD@A B:C
M'D-;.# F%8E8%,-; D.#;'
F%C:'/-/-%# = G'*C.#A H:C
I':./-.#J9 S:,-#K D.#;'
F%#;',/L = >AADA M:C
M.0 2334
2
B
4
N
E#/', /*' F-,;8' P-/*
F"88 F-,;8' .#) QRBT
=H%9/%9A N:C .#) T:C
T,.#9UUUG./-# PVF"88 F-,;8'A
QRBTJ9A G. S.#/. G"W
XOGI[E D.#;' T*'./',A
>,%#D M"9'"CA T:C
XH:C
T
A,/*", A7-8'9
T0:-;.8 T*'./,'<
!he Disco *ro,ect =
>AAD@A M:C
E#/', /*' F-,;8' P-/*
F"88 F-,;8' .#) QRBT
=H%9/%9A N:CXT:C
T,.#9UUUG./-# =>,%#D
M"9'"CA 4:C
H
>%%K-' D%P# D.#;'< F-88.
['' M%7'C'#/ I,%\';/9 =
>AAD@A M:C
]
53
55
52
F"88 F-,;8'< H-:^H%:
D.#;' 535
=H%9/%9A 53<5N.C .#)
52<5N:C
5B
F%#/'C:%,.,0
>.88'/ T*'./,'< A
_.#K9/.J9 F,";-`8' =
W.8/%# H-K* S;*%%8A
4<B3:C
H5M^BT4^H433
54
A,/*", A7-8'9
T0:-;.8 T*'./,'<
!he Disco *ro,ect =
>AAD@A M:C
F-'8)9/%# S:,-#K D.#;'
F%#;',/ =H<B3:C
D-,';/') `0 A8-;' T'-,9/'-#
aH5ML^B2]^BN33DBBNM
M.) A`%"/ D.#;'
T*'./', =T*' I%-#/A M:C
5N
5T
5H
5M
>,%#D D.#;'
F%.8-/-%#
M''/-#K = >AAD@A
T:C
5]
23
25
22
2B
24
2N
2T
2H
2M
2]
B3
B5
Q.*",.#K- M.%,D.#;' T*'./',
=H%9/%9A 53<5N.C .#)
52<5N:C
F%#/'C:%,.,0 >.88'/
T*'./,'< R'8./-%#9*-:9 =
W.8/%# HSA 2<2T:C
M
F-'8)9/%# S:,-#K D.#;'
F%#;',/ =H<B3:C
D-,';/') `0 A8-;' T'-,9/'-#
aH5ML^B2]^BN33DBBNM
M.) A`%"/ D.#;' T*'./',
=T*' I%-#/A M:C
T% 8-9/ 0%", '7'#/ ;.88 "9 ./ H5M^M42^N22B %, 'C.-8 "9 ./ ..//=C.-8U;%CU
D'.)8-#' b%, 9"`C-99-%# -9 c"#' 22A 2334U
F%, K,%":9 :',b%,C-#K %"/9-)' /*' >,%#D 9'' :.K' MU
S"#
M%#
T"'
c"#' 2334
W')
T*"
F,-
S./
T% 8-9/ 0%", '7'#/ ;.88 "9 ./ H5M^M42^N22B %, 'C.-8 "9 ./ ..//=C.-8U;%CU
D'.)8-#' b%, 9"`C-99-%# -9 c"#' 22A 2334U
F%, K,%":9 :',b%,C-#K %"/9-)' /*' >,%#D 9'' :.K' MU
5
2
N'., E.9/ M"9-;
E#9'C`8' = W.7'
H-88A H:C
B
4
N
T
H
M
]
D.#;-#K F,.#' ab,%C
b%,C', S%7-'/
R':"`8-;L = W.7' H-88A
H:C
53
F%#/'C:%,.,0
>.88'/ T*'./,' =
e%"/* M-#-9/,-'9A H5M^
B2M^NT22
55
F%#/'C:%,.,0 >.88'/
T*'./,' = e%"/*
M-#-9/,-'9A H5M^ B2M^NT22
52
5B
>,%#D D.#;'
T*'./,'< S8'':-#K
>'."/0 >.88'/ =G'*C.#
H-K* S;*%%8A B333
T,'C%#/ A7' =4:C
aH5MLBT4^2H2N
54
5N
>,%#D D.#;'
F%.8-/-%#
M''/-#K = >AAD@A
T:C
5T
c.C'9 R'.C9 X
/*' >.,#9/%,C',9
= W.7' H-88A H:C
5H
5M
>,%#D D.#;' T*'./,'<
A# I#7-/./-%# /% /*'
D.#;' =G'*C.# H-K*
S;*%%8A B333 T,'C%#/ A7'
=H:C aH5MLBT4^2H2N
F%#/'C:%,.,0 >.88'/ T*'./,'<
S:,-#K F%#;',/ = W.8/%# HSA
M:C
OUT GIQE THAT D.#;'
F%#;',/= >AAD@A M:C
5]
23
>,%#D D.#;'
T*'./,'< A#
Ab/',#%%# %b D.#;'
=G'*C.# H-K* S;*%%8A
B333 T,'C%#/ A7'
=4:C
aH5MLBT4^2H2N
25
22
2B
Q%/';*'K#. ab,%C
I7%,0 F%.9/L =
W.7' H-88A H:C
D.#;-#K -# /*' S/,''/9<
S/':*.# Q%:8%P-/W =
>,%#D F%"#/0 F%",/A
#%%#A 52<4NA 5<B3
24
2N
2T
2H
2M
2]
B3
R'/"C`. = W.7'
H-88A H:C
!onito Arroyo a.k.a.
-lla International