Jazz/Contemporary Choreographer Sonya Tayeh
Tayeh Sonya is a Brooklyn born dancer. She is the youngest of three female siblings. Tayeh's parents divorced when she was still a toddler. Tayeh's Lebanese mother decided to move with her and her siblings to Dearborn Heights, where she remarried a man by the name Marty Mangino. He raised the children as his own. Meanwhile, Tayeh had to wait until she was 12 years to set her eyes on her biological father. Marty died soon after this meeting.
Her early music influences included Arabic tunes and Motown style music. Tayeh is reported to have been rocking her crib whenever she heard music playing. Sonya Tayeh is, currently, a choreographer, jazz and dance instructor in Detroit. She is, however, best known from her role in the choreography TV series "So You Think You Can Dance." She got a nomination in 2013 for Emmy Awards, for her role in Season 9 (Schwartz and Childs 31).
Tayeh took time to step on the formal dancing scene. She was largely a house dancer in her teen years. However, when she clocked 18 and joined Wayne State University, she began her ascend to the heights of formal dancing scene. Soon after her graduation, Tayeh relocated to California and led a dance company in San Francisco, and came up with her unique choreography style, she called combat jazz.
A talent agent saw Sonya and picked her in 2007. The agent from McDonald Selznick Associates saw Tayeh perform at the Carnival Choreographer's Ball. Sonya signed with the agent and soon booked her role on the "So You Think You Can Dance." "
Tayeh has had her fair share of working with great music and dance stars, including Florence and Machine, Madonna, and Martha Graham Dance Company, The Los Angeles Ballet and at the San Jose repertory theater. Tayeh also has other side performing art activities outside her theater preoccupation. She is a jazz and contemporary choreography freelance trainer.
The Types of Dances by Sonya Tayeh
In the presentation of her form, Sonya has clearly etched tattoos on her arms and a unique haircut. She strikes her patrons as a tough forward and assertive character with a bold unique dance to boot. The dance style exudes a level of aggression; as she confirms in one of the interviews. The dance is a rather heartrending mix of stops, pauses and sudden spasms of coordinated body movement. The hairstyle stands out as striking and unique, but rather peripherally outlandish and exotic. It's a mix of fresh charm and surprise on the dance scene. The style is not exactly unseen or unheard of on the music and entertainment scene. It is typical of the fancy rebellious trendy form from the 70s; popularly referred to as funky pop. It is anchored on the central driving theme of being different from the rest of the crew. This is the main inspiration behind the striking unconventional styles that Tayeh Sonya has adopted. The styles are overtly different from the common trends. She does not hesitate to try out new haircuts and even hair colors. In the process, Sonya, like her predecessors in this nonconformist group of artists, seeks to set a conspicuous and assertive example.
Indeed, one of the bold haircuts that the radical fashion setters of the time bequeathed the world is punk (Foster 29). The style soon found its way into conservative quarters and the community in general. The style became a favored innovation among the youth, and it was consequently taken up by fashion magazines, which helped hype its wacky and slanted looks. In fact the more unconventional it was, the better and lovelier it became among the peers of those who first donned it. There was the cheery feel that came with the style and similar rebellious fashion antics.
Tayeh's dances and choreographic styles embrace similar electric ignition tactics of the earlier era when she was still a child. Her work has baffled friends and foes. It has been described as dynamic, unique and even tending towards excesses. She is vigorous and seeks excellence and energy from her dance trainees. She inspires all under her dance and choreographs instruction to push it beyond the norm to achieve starling effect. Thus, her famous mantra that a dancer's body can handle more than the mind figures is in line with her dance objectives and style. The controlling…