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Stage 7 is moving!

July 8, 2020

After over 20 years at our location in North Park, Stage 7 has moved to an entirely new and immaculately renovated studio at 9103 Chesapeake Dr. in Kerney Mesa, easily accessible from the 163, 52 and 15 freeways.

Our new location will offer ample parking and two spacious studios with our state of the art sprung wood floors, as well as a therapy studio with resident Feldenkrais practitioner Gg Muir-Robinson of Helpful Movement

We would like to thank our amazing team of tireless volunteers who helped make the move possible and we look forward to sharing some dancing space and time with you when our health and safety conditions permit.

On that subject, the new space has generous airflow and circulation thanks to two large industrial rolling doors, and when it’s safe to re-open, we will be observing all recommended safety best practices including thorough sanitation, distinct entrances and exits, distancing, barre sterilization, temperature checks, and mandatory face coverings.

Stage 7 Goes Virtual

March 24, 2020

Stage 7’s entrance into the world of Virtual Ballet classes aims to satisfy our need to keep moving while still respecting the national “social distancing” response to COVID19.

We will keep Stage 7’s unique laboratory approach to barre and encourage all participants to move with personal integrity… and joy!

As we all adapt to the online environment. please expect corrections, suggestions, and lovingly sarcastic remarks.

Online Classes Begin Tuesday March 24th at 4pm PST

Schedule for this week

We’ll be merging our usual 4pm and 5:30pm classes into a single session, at 4pm daily beginning Tuesday 3/24

  • Mixed Level Ballet: Tuesday – Friday 4pm
  • Adult Pre-Ballet / Bonehead – Wednesday 5:30pm

How To Connect

Classes will be held via Zoom on your laptop or smartphone.

Zoom meeting ID: 562-465-665

All classes will use this same meeting link:

Sign in early 10 minutes before class to troubleshoot any video or sound issues. For the best experience, have Zoom installed on your computer or smartphone before you join. You may direct technical questions to

No One Turned Away For Lack Of Funds (NOTAFLOF)

Stage 7 remains committed to artists and movers who may be adversely impacted by limited employment during these times. No one should feel excluded from class for not having the means to pay. 

Going forward Stage 7 will accept payment by Venmo for those who have the means, or would otherwise like to support our efforts.

  • $9 per class may be sent to @stage7dance on Venmo
  • Those with class cards may use them. If you have a class card please notify Kathryn before class or if you forget, send a note to

Stage 7 specializes in the excellence of training. Period!!!

Teaching at Stage 7 is thematic, so, without rote repetition of exercises, students grapple with sets of ideas and problems over time. In addition, we take an unorthodox approach to ballet technique that allows students to apply its principles to whatever other forms of movement they want… jazz, musical theater, circus, modern, post-modern, etc. Strong basics plus versatility is empowering. While we do produce student performances such as in-house soirees and community festivals, we never dilute class time with rehearsals. A class is a class. Rehearsal is a rehearsal.

I am most proud of the uniqueness and individuality of my students’ as they experience the power of their own dancing.

Speaking on pursuing a passing for dance:

On a broader cultural level, the “So You Think You Can Dance” phenomenon has infused our consciousness with an impression that dance is about of glamor, fame, and instant gratification or instant defeat. Since dance is a universal human phenomenon, our challenge is to stay grounded, real, and focus on the joy and power of dance for all.

Follow this link to read the complete article.

To register for this workshop, please visit the Facebook Event Page

BRAPA presents
Folk Dances from Pernambuco
2 hour workshop, Thursday June 28th 8-10pm
with Marilia Rameh and Anne Costa from Artefolia Dance Company (Recife, Brazil)


March 26, 2014


The next time you hear yourself justifying inclusion of the arts in an educational setting stop and ask if this could be true:



Then back up and ask yourself:

Is my art form a vehicle for communication?

Does my art form support personal engagement and community participation?

Does it distill my insights and synthesize my meanings?

Do I use a symbol system that emerged to support my art form?

Does my discipline support idiomatic expression for me and my community?

Does my art form invite engagement and gain meaning from critical interpretation?

Is it guided by particular structures, rules or agreed-upon [cultural] customs?

Does my discipline adapt with relocation or change over time?

Let us assume, for now, that the answers to the above are all yes!

All of the above are characteristics of BOTH language and arts disciplines. Clearly academia generally privileges written and spoken language when it defines literacy. That forces all other ways of knowing through a single sieve: language.

While trying to prove our relevance in schools today, might we have overlooked our gift to the future of education? Teaching Artists own the map to the Literacy Genome!! Each of our arts disciplines configures the guts of literacy in an unique way. (If this seems too radical a thought, go back and recheck the above list of the functions of literacy.) Our effectiveness as Teaching Artists stems from our ability to navigate the DNA of distinct literacies and engineer their relevance in school and community environments.

In the future, the rules and frameworks that govern a single literacy will be too limiting to prepare children’s intellectual fluency for a world overrun by information. The arts, if well taught, offer engagement with an array of tools that build flexible, adaptive, and – most of all – creative citizens that are able to navigate a fast-changing world.

Arts disciplines are wired to :

connect disparate domains of knowledge,
navigate parallel wisdoms
decipher hidden meanings
reveal common ground
catalyze the fusion of unrelated fields
…. (Please, please add your ideas to this list!)

We Teaching Artists “get” the DNA of literacy, whether we know it or not, and we model how its tools work. How can we get past rationalizing our relevance and set our sights on the gifts we offer the future?

True story –

I was once invited to teach a workshop at a literacy conference for elementary school educators. When I spoke on the phone with the director of the conference I asked whether I could treat dance (my arts discipline) as a distinct literacy. There followed an awkward silence…….. and then she said that she was taking a more traditional approach to literacy, one that focuses on books and language. I replied I had no problem with that and immediately set about to make a two part workshop that might wear away at the foundations of her perspectives:

Part one: Create an exercise in which teachers and children (I insisted that they provide me with a 1:1 ratio of children to adults) collaborated in the choreographing of dances based on their shared interpretation of some favorite children’s books.

Part two: Create an exercise in which teachers and children design a word-based sound-score for 60 seconds of a dance film. (If you want details, I can provide them.)

In the first exercise they translated the written ideas into movement, and in the second they translated movement ideas into words. While I never rubbed their noses in the fact that this would never have worked if dance weren’t a literacy equal in stature to the English language, I know they left with a visceral sense that literacy was a broader subject than they came in with.
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