The vibrant atmosphere at ODC’s Dance Commons in the Mission district resonates with heartfelt tributes for Consuelo Faust, a cherished dancer and teacher who passed away in May after a long struggle with Parkinson’s Disease.
Faust’s groundbreaking contributions to the dance community began in 1979 when she founded Rhythm & Motion, a unique program that combined high-energy workouts with structured dance routines. Her approach stemmed from a time when she faced criticism for teaching aerobics too similarly to dance.
This year’s Pride parade marked a decade since Rhythm & Motion made its debut, but the loss of Faust adds a layer of poignancy to the performance. “Consuelo’s experience was that students were liking it, and she had a lot of people in class,” noted Dudley Flores, artistic director of Rhythm & Motion. “She was very popular, and there’s value in being a dancer, because the body and mind know.”
Relocating to San Francisco in 1972, Faust became an integral part of the experimental all-women’s dance troupe Tumbleweed, which was contemporaneous with an all-men’s group known as Mangrove. She eventually founded two dance companies of her own. The San Francisco-born Rhythm & Motion, which she co-created with fellow dancer Cathy Herbert, remains her most significant legacy.
Over the span of 35 years, Faust directed the program, establishing a network of teacher training and job opportunities for dancers. Today, Rhythm & Motion employs 24 teachers in San Francisco and has expanded to satellite programs in Berkeley, Santa Cruz, and Portland, Oregon. Flores aims to further this expansion, both within the city and beyond.
By transforming dance into a dynamic workout, Faust made it accessible to a broader audience. Flores referenced her teaching philosophy, likening it to sneaking would-be dancers in through the back window instead of through the front door. “She was an amazing mentor in helping me, and us, shape how we teach people and how we lead,” he stated.
Countless notable figures in the dance world owe a debt of gratitude to Faust and Rhythm & Motion for their beginnings, including Wayne Hazzard, executive director of Dancers’ Group; prominent choreographer Amara Tabor-Smith; and dancer and teacher Kathleen Hermesdorf.
Faust also played a vital role in helping long-term dancers overcome body image issues, fostering a love for dance after traumatic experiences with body shaming. Flores recounted his own journey, noting how disheartening it was to encounter instructors who equated professional viability with unrealistic physical standards.
Both Flores and Faust share a commitment to helping adult dancers feel confident and celebrated in their bodies and artistry. His classes have developed a devoted following akin to Faust’s, attracting an average of nearly 100 participants each Saturday, both in-person and online.
Writer Laura Fraser, who has danced with Rhythm & Motion since 1984, expressed how Faust’s teachings helped her navigate body image challenges stemming from previous ballet experiences. “Consuelo and Rhythm & Motion helped me discover my physicality and realize a dream that I could dance, no matter what size my body,” she shared. Her time in the program has taken her all the way to Cuba, where she is currently studying salsa and Afro-Cuban dance.
This year’s celebration comes amidst various challenges, including reduced corporate funding for the parade and a politically charged atmosphere that feels increasingly hostile to LGBTQ+ communities. “This year feels different because of the struggles going on in the world,” remarked Teri Cahill, a retired nurse who has been part of Rhythm & Motion for over 30 years. Her experience witnessing the AIDS epidemic has given her a profound perspective on the importance of this event.
Despite the uncertainties and somber undertones, participants report a contagious energy during rehearsals. Flores has noted that the atmosphere is both loving and purposeful, echoing the vibrant spirit Faust instilled in the program. Lucy Junus, who has been dancing with Rhythm & Motion since 1984, characterized it as her ‘happy place.’
At 66, she initially considered taking a break from this year’s parade but ultimately decided to join, driven by the joy of community and shared energy. Lynn O’Kelley, a long-time dancer with the program, will participate in the parade for the first time this year, motivated by the recent loss of her friend Garbo Chang, who tragically drowned while attempting to save his dog. “I’m doing it for him,” she said.
The ensemble of dancers in the Pride parade not only represents the LGBTQ+ community but also supports allies, including numerous parents of queer children. The selected songs for three choreographed routines are infused with messages of self-acceptance and love, featuring tracks like Chappell Roan’s “Pink Pony Club,” Keala Settle’s “This is Me,” and David Guetta and Sia’s “Let’s Love.”
Flores emphasized the importance of visibility and presence within the community, stating, “We need to be present, and we need to keep showing up.”
As the dancers gear up for the parade, they carry with them a legacy of love, resilience, and celebration that Consuelo Faust wholeheartedly championed.
image source from：missionlocal
