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Billy Siegenfeld

70 Arts Circle Drive
Room 5-177
Evanston, IL 60208

Billy Siegenfeld

Billy Siegenfeld is a former jazz and rock drummer; a present-day vocal-rhythmic theatre- movement artist; the director, musical arranger, and choreographer of the performing-teaching group Jump Rhythm® (; an author of essays and plays; an online instructor of workshops in Standing Down Straight®; and a Charles Deering McCormick Professor of Teaching Excellence in the Department of Theatre at Northwestern University. He has created courses at NU that guide students to use gravity-directed relaxation as a means of working in egalitarian relationships with each other. These include “Standing Down Straight® for Actors”; “Gravity-Directed Swing Dancing as Source of Collaborative Decision-Making”; “Physicalizing Emotion: Rhythmic and Dynamic Approaches to Creating Movement for the Stage”; and “Jump Rhythm®: Community-Directed Full-Bodied Rhythm-Making”; and “American Rhythm Dancing and the African-American Performance Aesthetic.”

His performance work focuses on building what he calls a “theatre of energy” out of primal human behavior. This process turns fusions of rhythm-driven movement, singing, and speech into stories that laugh, cry, rant, and sing about our species’ ongoing condition – i.e., believing that we never have enough; tampering with Nature to get more than enough; and then, when we build more pause into life, accepting that what Nature has already given us is enough.

Springing from this idea is his most recent play, What Do You Want to Be When You Give Up? In 2019 it premiered at the Mark O’Donnell Theater in New York City and the Bathway Theatre in London. In the 2021-22 season, an expanded version is scheduled to be performed in a return engagement at the O’Donnell Theatre as well as in theatres in Berlin, Germany, Toulouse, France and on tour in America.

Also springing from the idea that yielding invites acceptance is his most recent essay, “Democracy’s Energy.” The subtitle suggests its multi-thread narrative: “How the African-American gift to the world called swinging a beat beats back despair; says letting go is better than holding on; says no pedestal works better than the ground we stand on; teaches democracy works best when we practice it on ourselves; and, along the way, relieves lower-back pain.”

Another recent piece of writing on a similar theme is his essay “Standing Down Straight® and The Anatomy of Letting Go.” It presents SDS as an eco-psychological approach to human anatomy that uses gravity-directed relaxation as a source of postural, motional, vocal, and spiritual health.

Both of these essays will appear in a forthcoming book titled Democracy’s Energy: Getting Down to Go Forward.

He received an undergraduate degree in literature from Brown University and a graduate degree in jazz arts from New York University. His thesis title was “Hunting the Rhythmic Snark: The Search for Swing in Jazz Performance.” When living in New York City, he performed with modern dance great Don Redlich; directed the dance program of Hunter College; performed as an actor-dancer-singer in off-off- Broadway shows and the Broadway production of Singin’ in the Rain; studied Meisner-based acting with Tim Philips; and studied “singing-is-only-speaking-in-rhythm” with Joan Kobin. After becoming injured from years of dance training that emphasized pushing body parts into non-natural positions, he discovered an approach to moving that uses gravity-directed relaxation to heal the body: ideokinesis, taught by André Bernard. Bernard – guided by Mabel Ellsworth Todd’s visionary anatomy book The Thinking Body and the ideas of Taoism – helped him learn to sit, stand, and engage in the tasks of everyday living by aspiring to do what our fellow animals are exemplars of: grounding the body in the earth so as to launch forward into life with efficiency, vigor, and acceptance. This nature-directed process led to his creating and developing Standing Down Straight® and Jump Rhythm®, both of which serve as the foundations of his teaching and performing. The two concepts can be described as follows:

  • Standing Down Straight®: an injury-preventive, eco-psychological approach to mind-body integration using gravity-directed relaxation as the source of postural, motional, vocal, and spiritual heath.
  • Jump Rhythm® Technique: a vocalized, jazz-rhythm-based approach to performance training, guided by a combination of 3 ideas: the African-originated concept of full-bodied rhythm-making called ngoma (“drumming and rhythmic song-dancing”); the gravity-directed laws of nature; and the practice of egalitarianism in human relationships, both on the stage and in everyday life.

Billy also works for the environment. As an Openlands® TreeKeeper he helps maintain park trees around Evanston and works with a group of volunteers to ensure the health and preservation of the town’s Clark Street Beach Bird Sanctuary.


MADance, New York University
BALiterature, Brown University

Recent Publications

Billy Siegenfeld is a writer on various subjects, including vernacular-bodied, jazz-rhythm-based performance; teaching to “the person inside the student”; and “Standing Down Straight®,” a gravity-directed, injury-preventive approach to both actor training and everyday behavior. His most recent article, “Performing Energy: American Rhythm Dancing and ‘The Great Articulation of the Inarticulate’,” appears in an anthology of jazz writings, Jazz Dance: A History of the Roots and Branches. His next article, “Democracy’s Energy,” will appear in a text on Jump Rhythm titled Democracy’s Energy: Getting Down to Go Forward.

Recent Awards and Honors

  • Registered Trademark for “American Rhythm Dancing,” granted by the United States Patent and Trademark Office (2014)
  • Tapestry Award, given by Dance Inn for making contributions to the art of tap dancing (2013)
  • Inspiration Award, given by Chicago Tap Theatre for serving the company as its artistic consultant on the company’s story shows (2012)
  • Stone Camryn Lecturer on the History of Dance, conferred by the Newberry Library, Chicago: “The Art of Misbehaving: Jump Rhythm Technique, American Rhythm Dancing, and The Aesthetics of Not Being Good” (2012)
  • Choreographer of the Year Award, given by Dance Chicago Festival and the Cliff Dwellers Arts Foundation, citing three works: “There Never Was A War That Was Not Inward”; “You Do Not Have To Be Good”; The Sumptuous Screech of Simplicity” (2011)
  • Registered Trademark for “Jump Rhythm,” granted by the United States Patent and Trademark Office (2011)
  • Registered Trademark for “Standing Down Straight,” granted by the United States Patent and Trademark Office (2011)
  • European Union/City of Turku Choreographic Commission, funding the site-specific version in Kakserta, Finland of “Sorrows of Unison Dancing” (2011)
  • Emmy Award for his work as performer-choreographer on the PBS documentary Jump Rhythm Jazz Project: Getting There (2007)
  • Ruth Page Award, given by the Ruth Page Foundation, citing “his vibrant dance artistry” and “development of a unique dance vocabulary” (2006)
  • Fulbright Scholar, conferred by the U.S. Fulbright Commission to introduce the theory and practice of Jump Rhythm® Technique to the students of the Arts Academy at Turku University of the Applied Sciences, Finland (2005)
  • Jazz Dance World Congress Award, given by the JDWC for “contributions to the art of jazz dance” (2005)
  • National Performance Network Creation Award, funding the creation of “The News From Poems” and “Sorrows of Unison Dancing” (2003)
  • Charles Deering McCormick Professor of Teaching Excellence (2002)
  • Limón Dance Foundation choreographic commission, funding the creation of “If Winter” for José Limón Dance Company (2000)
  • Outstanding Choreography Award, given by the Ruth Page Foundation, citing two works, “No Way Out But Through” and “Romance in Swingtime” (1997)
  • Gold Leo Award for Outstanding Choreography given by Jazz Dance World Congress, citing “Getting There” (1994)

Recent Grants

In partnership with Jump Rhythm Jazz Project, he has received grants from the Illinois Arts Council, the Elizabeth F. Cheney Foundation, the Gaylord and Dorothy Donnelley Foundation, and the Richard Driehaus Foundation.


  • Jump Rhythm® Technique
  • Jump Rhythm® Tap
  • Standing Down Straight® for Actors
  • SDS-Based Partnered Swing Dancing as Source of Collaborative Decision-Making
  • Choreographing Music: Rhythmic and Dynamic Approaches to Creating Movement for the Stage
  • American Rhythm Singing-Dancing and the African-American Performance Aesthetic