Your world with Dr. Beatrice Hyppolite
Hello,
I am Dr. Marie Beatrice Hyppolite. I hold a doctorate in Health Science with emphasis on Global Health and master’s degree in social work. I have over 14 years of experience in the field of health and human services.
This podcast is primarily focused on mental health and the quality-of-life elements that affect it such as divorce, death, domestic violence, trauma, toxic relationships, and single parenthood to name a few. It is no secret that mental health challenges continue to profoundly impact modern society although not enough discussion is given due to stigma. Research has shown an increase of 25 % in mental health crises after COVID-19. It is important to have honest, uncomfortable conversations about mental health while being supportive. Although we are interdependent, change begins with the individual, hence “your world.”
I welcome you to join me on my journey and look forward to your responses.
Your world with Dr. Beatrice Hyppolite
Dancing Through Life
The transformative power of dance stretches far beyond entertainment, touching every aspect of human existence. In this illuminating conversation with dance expert Pierre Villarson, we uncover the profound physical, emotional, social, and spiritual dimensions of this universal art form.
Dance emerges as both primal expression and sophisticated art—a practice rooted in our earliest ancestors yet continually evolving. "Dancing is an expressive activity that comes out of creation," Pierre explains, framing dance as fundamental to human experience. From spiritual worship to cultural celebration, dance serves as a bridge between our physical bodies and deeper consciousness.
The health benefits are remarkable. Physical advantages include improved cardiovascular function, enhanced flexibility, better balance, and weight management. More striking are the mental health impacts—adults dancing just 2.5 hours weekly show significant reductions in stress, anxiety, and depression. Pierre shares a powerful personal testimony: "When I started dancing, I started meeting people... I started to smile. The joy I felt replaced sadness, melancholy, grief." This emotional transformation represents dance's most profound gift—its ability to heal from within.
Socially, dance creates democratic spaces where people connect regardless of background or status. It preserves cultural heritage, passing traditions through generations while providing economic opportunities through teaching, performance, and associated industries. For diaspora communities especially, dance maintains vital links to ancestral identity.
Pierre emphasizes that dance is for everyone, regardless of age, weight, or experience. "No more discrimination of weight, no matter how fat you are or how old you are, you can dance," he insists. This inclusive invitation reflects dance's essence—a birthright belonging to all, offering transformation to anyone brave enough to take the first step.
Ready to experience these benefits? Join us Thursdays at Carlisle Restaurant in Brooklyn for free dance workshops and social dancing. Contact Pierre at 917-982-9688 or piervillarson@yahoo.com to learn how movement might transform your life, one step at a time.
Hello everyone. I'm Dr Beatrice. To go back to the CAEU to talk about Chita. It is a subject that is really important and it is with a package of privileges a package of pleasures that we have received our friends who? My problem is that last time in Chora, we talked about integration and that it was a good information field for us to cause social integration.
Speaker 1:Today we are still in the studio to come and talk to us about dance implements that benefit us, that we are able to join in our dance. I know a lot of people who like to dance socially, who like to dance in activities that are done by family and friends, but a lot of people who like to dance for God. Today, our friends Pierre Villarsone are with us to bring light to us, to embrace this idea, Because I myself have a lot of things I don't know Together with us. I will learn from Mr Villanson, Zamy, Pam, good evening.
Speaker 2:Good evening.
Speaker 1:How are you?
Speaker 2:Well, it's a pleasure to be here this afternoon and I thank you for the opportunity to participate in this second activity, which is the importance of dancing and providing important information for the people, because in our community, the 4th grade can minimize the importance of dancing. So I think it's important for me to thank you.
Speaker 1:Let's not waste too much time. Who danced back then? What is too long? What is dancing? What is its origin?
Speaker 2:What is it about? Dancing is an expressive activity that comes out of creation. Once man creates, he gains sound and man is able to dance. But with evolution changes have been made and music has come, because the man who dances without music has come to dance with music and we know that music itself is a pleasant sound that is synchronized and that works that have finished production by musicians. But to dance to oneself, it is since creation that man has always worshiped God and dance is a spiritual struggle that comes. It's like God takes music and inspires man to write music, to play music and then to glorify himself. But it's after that. There is a deviation that is made in dance and in music. When man comes and says I myself make music For God, there is someone who says says I make music myself, to make me what?
Speaker 2:But dancing is a art? It is a collective art and when we say dancing is a art, that is to say it is a subjective activity. Subjective in the sense that we have the possibility to create the data. It is a subjective activity that must be expressed personality, character appear in the way you express yourself and it is a corporal activity. It is a spiritual activity and which is is done in the soul of man. Let me explain what I mean. A body activity is to dance, to learn the movements of the body. It is the body that produces or that makes movements, but to be able to make movements you have to cultivate it. That's what physical education is about. So that's where anatomy and physiology play a role, or biology, in the dance.
Speaker 1:And how do you produce it? According to the message that you gave us, the Baikorwa, the Baikorwa.
Speaker 2:So when we listen to this music and this music normally leads to a contact between the brain, love, your heart, the music, the harmony, the melody you will appreciate it, or you can appreciate it, you can reject it. And here we are talking about the soul of man in music and the soul of man in dance, the soul of man. When we talk about the soul of man in dance, we talked about the will that man has to choose between these types of music and to reject everything and with all the determination that he has to even dance, because it is love that he has for music that we have to push him to learn to dance. This music we hear and then K'o'o, explain through K'o'o or translate or show his understanding of music. So the music is invisible, but dance makes music visible.
Speaker 2:So dancing is an art and dancing is a physical body activity and music is a spiritual activity. Spiritual, because when you dance you are inspired. Inspiration comes from the spirit and that's why we say that every artist is a heart prophet. Once you are inspired by the Spirit and if we go back to the creation, we can see that God is Spirit. God inspired Adam and Eve to dance to glorify the ball of glory. God inspired David to dance to ball of glory, inspired to play music and dance in front of him. And God says in the Bible to feed the eternal with who? With music and with dance. So dance is a physical activity that will support the human being so that the calories, the muscular work and then the help back is in circulation without. And not only is it good for circulation without and I see that a lot of dancers, dancers who can dance, they always continue to dance, that is to say, for example, when I see that it is very difficult for them to lose weight.
Speaker 2:That is to say they have a big advantage to lose weight if they lose weight, that is to say they have a great advantage for losing weight, securing the tablet, losing weight. And the other thing it does for them is coordinating. In this we learn to coordinate, because it is what we call the chain of movements and figures and it helps with memory. The Fokke, the paper of memory, is always able to remember the sequence of figures. So dancing is a sport.
Speaker 2:While they are a sport, they are also social activities. They are cultural activities. When I say social, they are activities where friends come together in the same space where they meet each other without having to say goodbye. The absence is like that they are with each other before. To dance is like they were not there before and the benefit that comes from it the social benefit is that sometimes we don't even know the people we meet. They are people of great character. Maybe they are great professionals, great intellectuals or great people of great value in society, and they dance themselves without discrimination. Once they dance, they dance for everyone.
Speaker 1:They have to create their own network.
Speaker 2:They have to build their own social network. They are connected with people, so dance does that and, as they say, they are activities, social activities. They create beautiful activities. But on a mental level, what dance does that is very good is that it is able to chase sadness, melancholy, grief, depression, and it creates joy. They have to live with hope, that is to say, to fight suicide. According to research that is done, to fight suicide you have to live with more determination.
Speaker 1:Yes, and if I am able to continue in this direction, according to research that I myself have done, I say that dance is important for people for several reasons, and there are four. There are not only four reasons, but there are four fundamental reasons that I found important that we discussed with you. First, physical health According to research, dance has improved cardiovascular health, flexibility, balance and physical condition in general. And for mental health people who are doing research today, in this case, to reduce stress, anxiety and depression while they are released from endorphins and then encourage us to relax. For social benefits, in this case, to help us connect with people who are in dealing with, build relationships and develop social justice. And the last point is cultural expression, in which we can express our cultural identity and preserve our traditional practices.
Speaker 2:That's good, because that's exactly what we say, that's what we do. I can take for example I can use myself in the years 1992-1991, when I met my cousin Lionel, who was in Kiskeya. That's when I met Yann, and even with Clifford Jasmin, I met Yann Amab, who is Harry Policore's nephew, and that's when they said, yes, yann danced once in the party that took place in Kiskiya and it's from there that Mr Yotabine, who is there, followed Yann as Policore and that's when they started learning to dance. When their cousin came, he started making moves in that room. I looked at movement of the dance. I was amazed.
Speaker 1:That's why you asked the question how did you get introduced to the dance Exactly when I saw the movement of the dance.
Speaker 2:I was amazed. I didn't understand it, because it was done for this purpose. When I saw the movement of the dance, I was very happy to see that she was able to do it. It was when I came to the Capo-Licard. I saw that there were beautiful people. I said oh my God, it's like creating a country in Haiti. That is in the Capo-Licard. I said wow, and I said that's where I'm going to show you and I showed you the Capo-Licard. It was in 1992.
Speaker 2:And then when I went to the press, I was in the police station. But even then my cousins came to see me. They came to see me, they entered Jack Mel and they did salsa con con Clifford, jasmin, paul Prisley and then Lionel Bonhomme, patrick Bonhomme, and then they came to do salsa con con with Jack Mel. They came to Jack Mel to do salsa con con when I was in the press. I was in the police station, so was born in Prince with my father. My father was a policeman, so that's when I started learning to dance. That's when I started to dance properly or to have a good sense of dance. That's when I was 45, I was a young girl, and at the time it was already the beginning of the age gap, when I was 18, 19 years old and was like, wow, I have to learn this. That's when I started learning to dance. So, socially, I started to build a good relationship with other people's advice.
Speaker 1:You connected with other people.
Speaker 2:I connected with other people's advice. Dance is very important to me. Dance is my business. People who go to dance school have a business. People who go to dance school have a business and, at the same time, that's where I started Once I started learning to dance. I started learning to dance by myself when I was 13,. I came to dance. I came to dance more than 10 years before I entered the United States, after teaching dance in Haiti. So I taught dance. It's dance that I learned. It was at the professional level, then At the professional level I changed.
Speaker 2:Not only I did not study, only it was at a professional level then, at a professional level, we changed not only our studies, but also our life, whatever it is. We took it seriously, because dance is what I like to do in the United States, and I came to the United States thanks to dance. I have a family, I have a father, I have a grandmother. It's a relationship I have in Haiti. I think I like to leave Haiti. It's a relationship between Haiti and the people who live there.
Speaker 1:But I think that before I thought that it was a big deal. But maybe, even if there are many advantages, there are a lot of people who benefit from it or who are really attracted to it because they are in another class, because it's not like I don't want to say the word, like the big girl Defavoring. I say defavoring, unfortunately it's my poor little girl in my head.
Speaker 1:And that we can't stop my poor little girl. Practically her head is full of dances not made for her. No, dances made for everyone. We don't have the opportunity to pay her classes to dance, but we can dance anywhere.
Speaker 2:That's it. Dancing is a universal activity. Once there is music, there is dancing. So once you have so much music, you can dance. And sometimes you can't even have so much music. You can dance without music. So dancing is a universal activity, whatever the religious trend is religious or classical dance? If we talk about classes, what kind of music we choose? Because there is popular music. There is music that is not popular and there is music of the class. For example, we hear tango, waltz, fox-word, quick-step. That's how we start in the class. But if you want to be merengue, bachata, salsa, salsa is popular music. But it's true that Even Jean Compa.
Speaker 2:Even Jean Compa Compa is popular music. It's not a question of class, it's a question of cultural music in the country. And, for example, we take salsa. Salsa is music that came out of Cuba. After it came out of Cuba, it crossed, fell into Puerto Rico and then it made the rest of Latin America. So Latin American countries came to play salsa, but it came out of Cuba and in salsa, people came out of Mambo, who took it in the Olympics in New York City. But it's still the same people who came with Cuba, who came with Mambo, because they live in the United States.
Speaker 2:They are cultural activities. So these salsas that we bring to the country, they come back to the United States, they continue to play salsa, but they play in another form, in another way, which differs. But we can say that this little salsa that they have and that they have danced, we say that Monsayo is Latino, that they have, as we said earlier, which is very good. It is a traditional, cultural activity, because cultural and traditional because they passed from generation to generation and left them as little ones. If we go back to the compas, for example, the Moujambatis Bano, for example, they were born in 1952 and Jodiala Menua in 2025. Our style is in this compas, whereas the Moujambatis died a long time ago. So music was the culture in Haitian culture and they came traditionally, they passed from generation to generation and even now you said that the Christians called him God. Music that played, that dance, that rhythm that played. It's the same Because each people called God or and dance in their culture.
Speaker 1:So you mentioned the Christian thing and that there are many people who say, well, I am a Christian myself and that I am a ball and that they have a space that they create for their dancing. They have to consider it as a club. There are people who say that it is was there, that they were not afraid of such activities. Of course, I know the people of the church who play music because they have a beautiful atmosphere, especially at night. There is a big Jericho program that is held in the church, so there is always a great pile that passes you. You understand, you are really like if you found yourself dancing or singing and then you go out into the church, whether it's at night or in Jericho, you go out with a clean spirit and if you have a message that you want to share with people who know that if you move, you dance in the space that is made for people to have fun.
Speaker 2:Who will it be? But there is a ballroom, the popular dance, or. So let's make a difference between ballroom and dance without ballroom, for example, folk dance, ballet and jazz dance without ballroom. When I say ballroom, I mean the dance of the living room, the ballroom dance of the living room. The dance of the living room is the dance of couples, a dance that dances in pairs. So the dance that dances in pairs is the dance that we call extravagant, the dance that seems extravagant and that they seem extraordinary. There is no one like Simba who is perverted, imputed in the dance scene. The dance scene is where Mario has no problem at all to offer to people who dance, to give them to the people who know how to dance, to see the pulchita to keep dancing.
Speaker 1:That's, if I don't know how to dance, I'll pay to learn how to dance If you don't know how to dance.
Speaker 2:you don't know how to dance, you'll still be paid in the dance school to learn how to dance Because in the spirit of a dancer it's not perversion, in the spirit of the dancer, it is the art of dance, it is expression, it is making figures to demonstrate how to dance without any evil or dirtyness. We are enumerated all the advantages that come from dancing. We are enumerated all the benefits that we have in dance and people who come to dance it is for benefits that they come.
Speaker 2:They do not come for other activities. It is true that they have their place of meeting to meet people. It is the same. For example, dancers are proficient in dancing in dance. There are shops for shoes, there are shops for rags for rags, stores for dance costumes, so it's not just dancers who are busy, it's all that is connected to dance that is on the market. So there are stores that sell dance for 10,000 Lola. So people who are good at dancing are busier than nothing.
Speaker 1:So if you want to dance, it depends on the type of dance.
Speaker 2:Each type of dance is different.
Speaker 1:If I dance ballet and the other one is tango, If I dance tango, that's good.
Speaker 2:So when you dance, it's all about the family, the friends you invite. It's the joy. It's the joy that breaks the heart, especially when you have a presentation to do, because you go as if you were presenting a thing that who cares if it's a taboo for us in the family? It's like people are dancing on the floor in front of their families or friends. It's like people are passing through the baccalaureate.
Speaker 1:But what I know is that, pierre, while I was preparing for our K-20, you made me think about it and I was researching and I'm not am a professional dancer I came to this festival to learn the good Creole. I woke up, I went to the toilet and I saw what it was like. I thought to myself there are people who really want to dance. I will never learn to dance, but there are things that I discovered while I was looking for a place to educate my subordinate in dancing, and there was something that really amazed me. It was that people knew how to dance my adult who dances at least two and a half hours a week. There is more opportunity to reduce stress, depression, anxiety and then live a better quality of life from an emotional point of view.
Speaker 2:Because you always have to live with hope, hope to increase.
Speaker 2:Because in this age, what we have in our psychological framework that we need to know to make it exist and to make it, to put it in value and then to value it. When you dance, it's all you who focus on what you want to do. It's like when you go to sing, for example, in the church, when it's only on Sunday that you sing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing, singing.
Speaker 2:In a world like that, they live with hope and they live in joy and they are connected socially and they are always ready to learn dance. They are always ready to learn and socialize with others. They socialize with others and that's everything. Not only that. In society, people who have danced, if they educate, they train, they have a chance to occupy a very good position in society because they are connected to people who are able to offer them social advantages.
Speaker 1:These are people who have opportunities to.
Speaker 2:That's it imagine, has the opportunity to go to the club.
Speaker 1:Not the club, but the places where people than to learn to dance but there are dance companies.
Speaker 2:Dance companies are when you finish a dance, you look at whether you are qualified or not. You pass an exam and you are qualified, you take and you put in a company. Dance companies are the same they do dance shows. They are people who have a lot of passion. For example, when Michael Jackson was dancing, he was in a group of people who danced with him. People who danced with Michael Jackson were a series of people who came out of the dance company, these professional dancers who didn't even learn to dance from Michael, but these dancers who already knew how to dance. They went, but you already know how to dance. You went to the studio to learn how to dance.
Speaker 1:So you have a good service, so you have contracts to come and sing Exactly.
Speaker 2:In dance. You can be a choreographer In dance. You can be a teacher In dance. You can be a competitor. You can be a competitor. You can be a competitor. You can be a choreographer, you can be a competitor. You can be a teacher. You can be a coach someone who coaches others to go to the competition, that is to say his business.
Speaker 1:That's why you only have people who benefit from values, Values that's it.
Speaker 2:You break everything. We are people who were just at the social level only who do social only, and then we learn to dance.
Speaker 2:So it's a business that is linked. Even people who have a doctor or a doctor or a lawyer who are professionals, they all come to learn to dance or who come to learn to dance because dancing is not the same as dancing in the club. Social dance, ballroom dancing, is not the dance in the club, it's the dance of's the bourgeoisie who makes it. In Haiti it's the same, but in the United States, in England, in France, canada, it's the same. As Jean said, people who are favored don't make money, because it's always people who pay bills, who pay fine bills, has a dance teacher to make money, or it's like people who are looking for a hobby and who say that they are ready to retire, or at least like that, they want to engage in social activity.
Speaker 1:But they want to do social activity. It's on the side of raising them, as if they have danced to raise them, to make them feel that they have done something, or they have the possibility to dance to different types of music. That's right. It's not true, even if people say that they want to learn to play the violin, to play the guitar or play a certain instrument, and that he says, well, he pays the cheetah on the side to learn to play guitar, violin, piano, whatever instrument he learns to play. So people understand me. It's almost a thing like that To learn to dance, to understand, and that he comes to pay to learn how to dance, to learn how to dance and to pay for it.
Speaker 2:I want to say that some people learn how to eat by taking a ticket and they come to us with circumstances to learn how to dance. But dancing is a diplomatic activity Because it's not a negotiation. Before it was not a negotiation. Even the music you play when you dance with people. When we dance, it's the easiest time to negotiate. When you dance with people, they are less rigid, they are more relaxed and you get an easier benefit. While you dance, you have to talking to us with Portu and Nda.
Speaker 1:During this time. We remember that in quality service it is related to play therapy, especially for people who are psychologists, social workers or mental health providers who know that there is a way to help someone speak in session therapy it's to play with them Exactly.
Speaker 2:you play with them, you ask them questions.
Speaker 1:I will ask them questions. I will ask them a lot of questions.
Speaker 2:So sometimes if someone asks you a question, you ask them a lot of questions.
Speaker 1:Yes, you can do it yourself.
Speaker 2:So that's how we are in social work we join clients.
Speaker 1:We are in the same boat.
Speaker 2:Yes, so dancing is more than what people think. It's not just a therapy. It's not just a therapy that you can join. You can dance to make people eat. You can dance while you're eating.
Speaker 1:Oh yeah.
Speaker 2:You can dance. While you're dancing, you can sweat. While you're dancing, you can put on music. Music doesn't mean you can put on spiritual music, music from the range. You can put on your music. That's what you tend to do.
Speaker 1:You can do your own exercise in the car. You can do it in the car, or you can dance. You can do your own exercise, or your own music or dance.
Speaker 2:You can do your own sport or dance. You can also do it with your mother's help if you don't have a balance, Because you can fall in the soap. So there are several things that you can do while you dance or when you are at home you can dance, or to dance while you're there, or to go to the other side, or to dance, and if you want to do it, you can marry with your wife and go to the other side to learn how to dance according to research we do research like that a group of people who go to learn how to dance and a group of people who are in psychotherapy For us, between two families family groups, family groups who are dancing and family groups who are in psychotherapy we can see who is doing well.
Speaker 1:And then the results. Well, that's research you've done for us.
Speaker 2:You've done it right, but since we can do research.
Speaker 1:We don't know, if no, but they already do it.
Speaker 2:No, so so they already do it.
Speaker 1:As.
Speaker 2:I can read I can read results.
Speaker 1:If we do research on that. We can read results from this woman who has pronounced it.
Speaker 2:You have to dance to get good results. Okay, Because dancing brings people closer. Ladies and gentlemen, when you dance, you are happy. You are happy.
Speaker 1:Yes, dance brings people closer in intimacy. That's why we dance. Take tango, for example. When you dance tango, for me it's a dance that brings people closer in intimacy. But I don't know, you don't know. Yes, I don't know, I don't know, you don't know. Yes, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know. It's like they're dancing to a big song and they're playing it with their partner.
Speaker 1:Because the music is like they're getting closer to each other like there's a kind of intimacy that's released, they say, ah, music, I can't dance to anyone, so I don't agree with that. So I say music is really able to bring people closer in intimacy.
Speaker 2:In a house where there are people who, on the couple side, or those who are learning to dance, there is more mastery than in the other house that can do that, because it's the same thing.
Speaker 1:For example, they say there is more mastery than in the other house that can do that based on what they know.
Speaker 2:Like in society, for example, for example, my head. I woke up without mom, I woke up without dad, with my own discipline, I can smoke and drink Because I know if I go to dance with someone, if I go to the bar, I can smell the cigarette that someone has made in my house, if he himself is smoking.
Speaker 2:If he himself is smoking, smoking, alcohol, coffee. Because hygiene, I don't know how to use it. It's the same perfume. It's the same perfume Without alcohol. Because hygiene, in my opinion, hygiene, the way we dress, how we dress, how we behave in society. We do things so that we don't have problems in society, so that we don't stop. We don't. We have to know our advantages, our discipline. A good principle. So maybe you don't know, even if there are others who do sports, they do it all, but dance does it a lot.
Speaker 1:And dance is what occupies you. Question for you how can you describe the physical and emotional benefits that you personally benefit from through dance?
Speaker 2:At the time I didn't want to learn to dance. I really needed it. It was like a cyclone that passed through my life. I lost my mom, my grandparents. I also lost my son, my grandmother, my uncle, who died. I was in a state of complete loss. I also lost my five-year-old daughter. I went to school, so all the attachments I had with my family, plus going to school for five years, and then the sadness of life and the parental support that I needed at the time.
Speaker 1:The uncertainty of life.
Speaker 2:The uncertainty of life and all that and I had a lot of needs at the time An uncertainty of life, An uncertainty of life and all that and I had a lot of problems. But when I started dancing, I started meeting people, I started connecting with people, I started socializing with people. I started to focus a little bit on what I was focused on before. When I got there, I started smiling. When I started to smile, I started to feel joy.
Speaker 1:I started to feel happy, so neither the body nor the mind started to relax.
Speaker 2:Relaxation. The relaxation that I received, the smile, the joy that I felt replaced sadness, melancholy, grief, with everything I had in life, and I grew up, grew up, grew up. That's how all my sadness started to disappear.
Speaker 1:So, if I understand correctly, did you establish that in this place. In a way, it was a purpose.
Speaker 2:Exactly, it was a goal, a dream. It was something that I did that the society appreciated, because I know that there are people in Haiti who contributed to the recovery, that is to say, to get out of the Haitian bourgeoisie and to get out into the Aïtian bourgeoisie and to be able to go to the mass in.
Speaker 2:Haiti Because people who are in the bar. I am not the only one who goes to the Carre-Poulikor. I myself go to the Carre-Poulikor. I take Carrefour, carrefour-feuille, I take Léo Gann. I went to almost every school Young girls, high school, marie-jeanne little, seminary, until I even opened the school and went to Africando. I started to have students. When I opened Africando, I had almost 100 students to open Africando. When I left Haiti in 2002, I left the school with more than 300 students.
Speaker 2:So I was dancing, first with Harry Policore, but in 1996 I started with Regine. I did ballet. I did four years with Regine, then Viviane Gauthier did folklore. It wasn't enough. I left Regine in. I'm with Ailin for two years. I left Haiti. I'm doing 2000 to 2002 with Ailin. The last show I did for Ailin was in June 2002. And I was playing the main role, the protagonist, with Régine Mosee Touyo, who was with the police in Petionville. So I spent four years with Harry Grégoire. Harry Grégoire left his studio to create the dance vision. So I spent four years with Harry Grégoire. From the time Harry Grégoire and Afrikan Do two of his studios, I left Haiti in 2002, to go to New York. To go to New York in 2002, I went to a dance spot in Manhattan and it's there that I danced for 22 years. I've been dancing for a year since I came back.
Speaker 1:For 22 years you have not danced. Did you lose or win?
Speaker 2:That's what I lost. I lost my physical appearance Because when I dance I have a good appearance. I am flat Once I have not danced for 22 years I have accumulated.
Speaker 1:You were flat in good Creole or you were thin you are hungry, I am hungry.
Speaker 2:After 22 years, I will have a few layers to add to my diet. You will have 6 packs of meat. So that's it. Let's go start the question we will.
Speaker 1:So you mean that it's a physical and emotional point? Of view yes that's it that you benefit from, or that it has a physical impact.
Speaker 2:And Kunya. Once I returned, I started dancing. I started to lose weight. I lost 22, 23 pounds. Okay, because if you compare the last time I lived in the Shua with Kunya, it's two different lives.
Speaker 1:So no one has ever lost weight in this. I was curious to see who was the one who had the biggest head in the show before. Emotionally. How were you able to dance to your benefit emotionally?
Speaker 2:Emotionally. We talk about emotions, but emotions are a package. There are several layers to them.
Speaker 2:I was in the world as if I was not a child Because, as I explained earlier, I always thought of every woman I knew, every child I had, every child I had, and I found it easier to forgive my mother. I found it easier to forgive my mother easy to get stuck in your mind, in your mind, and when I was in fifth grade at school, I felt like it was not coming to anything, it was not coming to life and I felt like I was in anger for example.
Speaker 2:It's not something that happens that I can't express. It comes to relax more and the frustration that I get.
Speaker 1:So when you say things that you can't express, you come to express them through dance, in your own way and as if people who are in therapy. They are like people who always as if, who have problems. They are always angry. You are always angry, so you always fight. You fight to see if you are punched. And how do you call it again?
Speaker 2:Mutilation.
Speaker 1:No, you fight to see if you are beaten.
Speaker 2:Oh yes, to release anger.
Speaker 1:You have a ball you put it there and you punch box. You are we, please, please, be a your game a bull. I omitted live you do something you punch the punch a close-up to who agree a que ala metagam box, alamo a peep by punch, a punch a ballon, sir okay, I'm gonna la.
Speaker 1:What willis anger women who said who fairman, john, avec la dance, the chakra comes in one. Call a or be a, or even do the same with dance Each time, as if you were angry or angry. Or angry, you go or dance.
Speaker 2:Or dance and the other way around. It's like they come to occupy the spirit in their own way and listen to what they are going to forget about their past. And when they come to think about their past, they come to lose value. They come to lose value and when you think about it, it's not worth it. It's not worth it even with your own situation.
Speaker 1:So for you, it's safe. For you, yes, it's safe for everyone, because everyone is different. Okay, next question for you who does stress management in the home better improve their mental health? Normally we just answer, but this is a question for two parts. The second part is can we understand or discuss the role of dance in cultural heritage or in our community?
Speaker 2:Let's take comp KOMPA, for example. And KOMPA, can you explain to me? It's a cultural heritage that has passed from generation to generation and if we look back to the years of 1952, when the Mont-Jean-Baptiste created the KOMPA, and look back to more than 70 years later, we still have the Kompas. 70 years later, Kompas still exists. And for those who have heritage, it's teaching the little ones and not the little ones and it's valu, value this culture and to sell this culture on the international market so that other people can take it.
Speaker 1:Ok, that's it. The important thing is that, from a cultural point of view, whatever it is that you have in this culture, that it is a thing that we must not lose it, we must value it and we must pass it from generation to generation. And well, I think there are other questions, but before we finish, I know that there are many studios down there where we encourage people every week to play, to play with the audience, to play with them, and that you have a distraction in the activities.
Speaker 2:This is the activity we do in the Kalize restaurant located in Brooklyn, which is in the street, and then number 1778, ralph Abue, who is facing South Shore High School, or who is sticking with Key Food. So it's an activity that we have gained because our mission is to make the Haitian community in Cape Verde, the United States, live in joy, without stress, without grief, as Jeanne said, and then connect us together to join together, and not only that, while we, as we are, connected socially and build up, we are three as a community.
Speaker 1:So you mean to help them relieve stress or live without stress? Well, live without stress, live without stress.
Speaker 2:And it's good that you are the one who does it. Let's say it like that To be able to help them with stress. And it's good that you're the only one who does it let's say it like that and to be able to help them with stress, because we can't live in a country where we are always stressed. I come from an Haitian country. I live in the United States. Most often, it's at work, at school, at church, only At work, at school, at church. That's it, even on vacation.
Speaker 2:You can't go and look at all the people who are going to dance in Haiti. When you come here, they all come to dance, but once we have created space for them, who are in this village? When you come to this village, you meet people who meet other people and who say oh, where are you from? Where did you go? It's where people come to see each other. We didn't come from far away and two blocks were there, and it happens. It happens. It happens when you create a social activity, when you are able to do it that activity is every Thursday, every Thursday Evening Evening we started at 8 o'clock and we did a free workshop, that is to say, did a free workshop, free lessons.
Speaker 2:I didn't pay for lessons. And then the social started at 10pm.
Speaker 1:Oh, okay.
Speaker 2:The social, I paid $20.
Speaker 1:And from what time did we finish? We finished at 1am Thursday like. No, and we didn't come. We didn, they come. Do we have plans for the next day, like on Friday or Saturday?
Speaker 2:For the school the students choose the time of day, I say everything before social life, or maybe it comes on Friday or Saturday. So he takes the time he wants.
Speaker 1:And if sometimes I come to you I'm interested, I say, well, when it comes, I come to learn to dance. How can I contact the school?
Speaker 2:917, 982, 96, 98. We have several numbers, but this number is the first one. This is the main number that we have.
Speaker 1:If you are interested in learning to dance to reduce stress, anxiety and even depression, you can call the number 5 to make your deal.
Speaker 2:That's it. It's 917-982-9688.
Speaker 1:And if you have any, we need you.
Speaker 2:And on WhatsApp too on Facebook.
Speaker 1:And if you need an email, what is the email address?
Speaker 2:Well, the email address is payvillawsoncom.
Speaker 1:Okay, payvillawsoncom. That's the email address is payvillawsonyahoocom. Okay, payvillawsonyahoocom is the email address.
Speaker 1:If you think you need to contact us. Before we finish, Pierre, I want to say a big thank you for the trip we made this afternoon, for coming to Chita, for making us embrace the idea of importance in these winners, not only in terms of mental health, not only in terms health of the people, not only for the physical condition of the people, but also for all the benefits that people can have while they are dancing, whether it is at the social level, whether it is at the cultural level, even in the church. You know, I myself, when I dance in the church, when I have activities, I feel being there with us today. Thank you, thank you very much. Before we go, one last word for the public. And how do you want to encourage the public to take them out of the cage to dance? And the last word for the public is take them out of the cage to dance.
Speaker 2:And the last word for the public is that not only the benefits that dance gives to the people, not only 24 hours a day in the cage and think that there is a class reserved for you, but also for camping, walking or dancing. No more discrimination of weight, no matter how fat you are or how old you are, you can dance. And I would like to invite you all, every Thursday at Carlisle Restaurant, to go to Brooklyn. 1778, raph Av Avenue, brooklyn, new York.
Speaker 1:Okay, so that's the end of the show. I promise myself that next Thursday I will have a dance with you, so invite us all to meet and dance with Pierre.
Speaker 2:We all do.
Speaker 1:See you next time.