The Power of Dance...Unlimited!

by Ryan Oliver Hansen
If anyone knows how to rock a stage for a good cause, it’s Gina Hernandez, Director of Dance Unlimited Studios in Reno, Nevada. Last night she hosted her third studio show to benefit Green Eyes in Africa, and it always gets me to thinking about the power of dance and its influence in Green Eyes in Africa’s work.
Gina has organized fundraiser shows, which help Green Eyes in Africa, but her influence actually goes much deeper than these events.
I could go on and on about how much dance has meant to Green Eyes in Africa; I’ll get into that. But first, I have to write about the impact that dance has had on my life and the impact that one person—Gina Hernandez—has had on me, and thus, people in Africa.
Picture it: 1996. I’m a semi-fat fifteen-year-old with braces and low self-esteem. It wasn’t the best of times. I was in High School, planning on graduating in three years instead of four (I did). In order to get my P.E. credits, I had to do a vigorous outside activity. I chose dance, as I had already began taking tap lessons. I arrived at Dance Unlimited Studios, an awkward nobody in my mind.
But I never felt like an awkward nobody under the care of Gina Hernandez. From the moment I stepped into her studio, she made me feel like somebody who could become somebody. As she does with all of her students, she threw me into classes that were above my level and pushed me to my limits. I excelled in tap, jazz, and hip-hop. Hip-hop became my passion (although, I can’t really say it was “hip-hop” because I danced to mostly pop stuff by Will Smith, Janet, and The Backstreet Boys, oh the days!). Unfortunately, because I cared what stupid people thought back then, I never pushed myself to master ballet technique—something I regret to this day.
Gina loved me, I knew it. She was an “outsider” when compared to my narrow circle of friends and family, somebody in the “real world” who I watched with fascination. She had command of everything she did. She was beautiful, strong, and confident. I wanted so much to impress her and make her proud. My home life—which I won’t go into here—was less than perfect, to say the least. Gina became a crucial mentor to me in a time when I could have crumbled and failed.
After incredible performances and competitions, I knew that I had become a real dancer; a somebody. Since my days at Dance Unlimited, I’ve never stopped dancing. I’ve taught dance every year since—whether for fun or professionally. In college in Utah, I rocked hip-hop cardio classes at 24-hour fitness, Gold’s Gym, and other dance studios and gyms. I taught at “Dance America” conventions and had the time of my life. I owe every minute of pride, excitement, and achievement to Gina Hernandez.
Now, flash forward to Ecuador: 2004, my first volunteering experience. I barely spoke Spanish in the first weeks. Communication was terribly hard. But I was instantly able to bond with the orphans and teens by teaching dance classes and arranging performances. Our best memories are of working as a team and hearing loud applause. Those kids will never forget what that was like. Gina—Ryan—Orphans in Ecuador.
Now, Cameroon: 2005. I find myself in the most horrific of circumstances in a corrupt orphanage where I’m being scammed and witnessing awful abuse. I have a plan to get the children out and start a new orphanage. How did we get through the hardest times? Dance. We relieved our fear and our pain through dance. Gina—Ryan—Orphans in Ecuador--Orphans in Cameroon.
Now, Cameroon 2005-2010. I’m in my sixth year of living in Cameroon as Overseas Director of Green Eyes in Africa. I can’t count the hours we’ve spent learning choreographies, performing for visitors, and relieving stress through dance. We’ve even installed mirrors to maintain a regular “studio.” Chinese Professional Ballet Artists, inspired by what they saw on a visit, installed ballet bars (in our former center) and worked with the children. Cameroonian professional dancers came and worked with our kids, impacting them emotionally. Their choreographies would liberate the children in so many ways—allowing them, at times, to express terrible anger and even cry in a dance.
Dance Unlimited and parents of dancers (esp. Deborah Reisinger!) donated tap shoes and costumes that we’ve put to amazing use. Last year, our children put on the Nutcracker for distinguished diplomats in a performance that was as magical as could be. It isn’t even possible to imagine those children forgetting the glory of that evening.
We recently had a child die from malaria. It was agonizing. I was a traumatized mess. To get through the pain, I danced. I sweat. I challenged myself like Gina used to challenge me. I don’t know how I would have gotten through those awful weeks without dance to clear my mind and help me process emotions I never thought I’d face.
Our most recent dance endeavor entails our G.E.I.A. (Green Eyes in Africa) cheer and dance team. The team consists of orphans, refugees from Chad, and many others. One of our girls, Aurelie, 13, recently arrived from war-torn Chad where she lived unimaginable horror. She rocked her first performance, felt applause for the first time, and felt beautiful in her uniform. She was special for the first time.
Never underestimate the power of dance. Never underestimate the impact that one caring individual can have in this world. All that we’ve done through dance I must credit to Gina Hernandez. There’s never been a time when I’ve danced that Gina has not crossed my mind.
Gina Hernandez, thank you for what you’ve done, from all of us.