Podcasts about American Dance Festival

It was such a joy to reconnect with my beautiful friend Elisabeth Mather for episode 131, part 4 of our Belhaven Dance Alumni Series! Elisabeth is a Licensed Mental Health Counselor and Certified Substance Abuse Counselor. With a background as a professional dancer and educator, she brings a unique and impactful perspective to her work as a Counselor.In our conversation, we dive into Elisabeth's journey—from her roots in Hawaii to her pursuit of dance at Belhaven University, her transition from ballet to modern dance, and her recent shift into fully focusing on counseling. We also chat about the complexities of navigating identity, the vital role of the artist in society, and the power of listening and curiosity in our relationships. I love Elisabeth's encouragement to live authentically and that we each have a meaningful place in this world.Several other Belhaven Dance Alumni have shared their stories on the podcast over the years, so we've gathered all the episodes together in a playlist for you! Check out the ⁠⁠playlist on Spotify⁠⁠!. . . . .Welcome to The Creative Impact Podcast, where you will find encouragement to live out your calling as an artist.. . . . .Watch this episode on YouTube! Check out our YouTube Channel and be sure to like and subscribe!⁠http://www.youtube.com/@creativeimpactpodcast⁠Join our Patreon community for behind-the-scenes and bonus content!⁠⁠⁠⁠patreon.com/creativeimpactpodcast⁠⁠⁠⁠Find the show notes and more at ⁠⁠⁠https://creativeimpactpodcast.com/episode-131/⁠⁠⁠Some topics we chat about in today's episode include:Belhaven University, dance, counseling, identity, mentorship, American Dance Festival, self-discovery, mental health, and creativity. . . . .Let's Connect!Instagram & Facebook:⁠⁠⁠⁠@creativeimpactpodcast⁠⁠⁠⁠. . . . .The podcast music was produced by Michael Cash.

Join "Dance Talk” ® with Joanne Carey and special guest Anna SperberIn this episode of  "Dance Talk” ® , host Joanne Carey interviews choreographer Anna Sperber, who shares her journey into the world of dance, her education, and her artistic identity. They discuss her upcoming piece 'Beacons' at the American Dance Festival, the role of the audience in dance, and the creative process behind choreography. Sperber reflects on the influence of motherhood and Martha Graham on her work, the importance of somatics, and her initiative 'Class, Class, Class' aimed at fostering new teaching talent. The conversation culminates in her thoughts on receiving the Bessie Award and her excitement about returning to ADF.Anna Sperber is a Brooklyn-based choreographer and performer. Her work has been described by The New York Times as “immediately compelling” and “wonderfully strange” with “moments of theatrical magic.” Her performances are rooted in the poetic potency of choreography and its potential for perceptual transformation, embodying a tension between formality and chaotic wildness.Sperber received a 2022 New York Dance and Performance “Bessie” award for Outstanding Choreographer / Creator for Bow Echo (2021). Her work has been presented and commissioned by The Kitchen, The Joyce Theater UNLEASHED Series, The Chocolate Factory, Baryshnikov Arts Center, Roulette, Gibney Dance, and Dance Theater Workshop in New York City, as well as by the American Dance Festival in Durham, NC. Sperber has received fellowships and residencies at MacDowell, Yaddo, Bogliasco Foundation in Bogliasco Italy, the Marble House Project, as a Schonberg Fellow at Dance The Yard, Dance Initiative in Carbondale Colorado, Center for Performance Research, Gibney Dance DiP (Dance in Process), Brooklyn Arts Exchange, Lower Manhattan Cultural Council, and Movement Research. Her work has been supported by New Music USA Live Music for Dance, Mertz Gilmore Foundation, The Jerome Foundation, and Brooklyn Arts Council, Cafe Royal Cultural Foundation, and a 2025 NYSCA Grant to Individual Artists. Sperber has collaborated extensively with esteemed experimental composers and live musicians as well as visual designers in New York City. These interdisciplinary collaborations are crucial to the integration of visual and sonic landscapes with the moving body in her work. As a performer, she has worked with many New York-based choreographers including luciana achugar and Juliette Mapp.Sperber was a co-founder of classclassclass, designed to nurture new dance teachers while offering reduced class rates, and has taught as a guest artist at American Dance Festival, Movement Research, Freeskewl, Gibney Dance, Hunter College, George Washington University, and Wayne State University. Sperber founded and ran BRAZIL, a studio and intimate performance space in Bushwick, Brooklyn from 2004 to 2014 and Sunset Space from 2019-2020. More about Annahttps://www.annasperber.com/See the performance at American Dance Festivalhttps://americandancefestival.org/event/anna-sperber/2025-06-25/“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

MDJ Script/ Top Stories for May 30th Publish Date:  May 30th    Commercial: From the BG AD Group Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Friday, May 30th and Happy Birthday to Gayle Sayers I’m Keith Ippolito and here are the stories Cobb is talking about, presented by Times Journal The Avenue West Cobb to Have Summer Vibes KSU dancers selected to participate in prestigious summer workshops Cobb County High School Coalition and Assurant Dedicate First Habitat Home Build of the Year Plus, Leah McGrath from Ingles Markets on local vendors All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!  BREAK: TOP TECH MECHANICAL STORY 1: The Avenue West Cobb to Have Summer Vibes The Avenue West Cobb is hosting **Summer Vibes**, a family-friendly event series from June 9 to July 27. Highlights include: - **Summer Social** (June 13): Games, crafts, and treats like lemonade. - **International Yoga Day** (June 21): Yoga class, healthy drinks, and a giveaway. - **Build Your Own Bouquet** (July 11): Create custom floral arrangements. - **Backyard BBQ Bash** (July 26): Games, food, and a picnic essentials giveaway. Events take place in the Green Space, offering fun for all ages. Visit avenuewestcobb.com/summer-vibes for details! STORY 2: KSU dancers selected to participate in prestigious summer workshops Three Kennesaw State University dancers earned scholarships to prestigious summer programs after standout performances earlier this year. George Chavez will attend the Alvin Ailey School’s Professional Intensive in New York, while Allison Behrend and Charlene Font head to the American Dance Festival at Duke University. Their achievements highlight the strength of KSU’s dance program and the dedication of its faculty. These opportunities will allow the dancers to explore new techniques and grow as artists, further enhancing KSU’s reputation in the dance community. Their success reflects the program’s commitment to nurturing talent and fostering artistic growth. STORY 3: Cobb County High School Coalition and Assurant Dedicate First Habitat Home Build of the Year The Cobb County High School Coalition and Assurant dedicated a new Habitat for Humanity home in Austell to future homeowner David, a hardworking single father and U.S. Postal Service employee. Built by students from five local high schools, this marks the coalition’s 28th Habitat home and the first of 2025. For David, the home represents love, safety, and opportunity for his family. Habitat CEO Kyle Huhtanen praised the coalition’s longevity and Assurant’s continued support. David expressed gratitude to all who made his dream of homeownership a reality. We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.  Break: Ingles Markets 10 STORY 4: Marietta Student Awarded Phi Kappa Phi Study Abroad Grant Martha Frascella of Marietta, a Kennesaw State University student majoring in English and human services, received a $1,000 Study Abroad Grant from The Honor Society of Phi Kappa Phi. She is one of 75 recipients nationwide and will use the grant to study at the European Academy Otzenhausen in Germany. The grant supports undergraduates seeking global academic experiences, with recipients selected based on academic achievement, service, and career goals. Phi Kappa Phi’s grant program, established in 2001, awards over $1 million annually to support students and literacy initiatives. STORY 5: Walmart honors Kennesaw company for Small Business Month Kennesaw-based Beaumont Products Inc., known for its eco-friendly Citrus Magic products, was named a Preferred Georgia Small Business by Walmart during National Small Business Month. This honor highlights Walmart’s commitment to supporting small businesses, which supply 60% of its products. Founded in 1991 by Hank Picken, Beaumont has grown under CEO Jeff Picken, earning over $30 million annually and distributing to major retailers like Walmart, Publix, and Target. Walmart has been a key partner since 2006, boosting Beaumont’s revenue by over 50%. The recognition celebrates Beaumont’s dedication to creating safe, high-quality products. Break: And now here is Leah McGrath from Ingles Markets on local vendors We’ll have closing comments after this. Break: TIDWELL TREES Signoff-   Thanks again for hanging out with us on today’s Marietta Daily Journal Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at mdjonline.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. 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"Dance Talk” ® with Joanne Carey with special guest, Robert Battle, choreographer, artistic director and newly appointed resident choreographer for the Paul Taylor Dance Company.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews Robert Battle. Together they discuss Robert's journey from his early beginnings in dance in Miami, his experiences at Juilliard, and his time as artistic director of the iconic Alvin Ailey Dance Theater. Robert shares insights on the importance of mentorship, the creative process in choreography, and the significance of celebrating humanity through art. The conversation highlights the challenges and triumphs of a career in dance, emphasizing the value of connection and community in the arts.Robert Battle's journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida where he showed artistic talent early and studied dance at a high school arts magnet program. From there he attended Miami's New World School of the Arts and then the dance program at The Juilliard School where he met his mentor Carolyn Adams. He danced with Parsons Dance from 1994 to 2001, and set his choreography on that company starting in 1998. Mr. Battle founded his own Battleworks Dance Company in 2002 which performed extensively at venues including The Joyce Theater, American Dance Festival, and Jacob's Pillow. A frequent choreographer and artist in residence at Ailey Ailey American Dance Theater since 1999, he set many of his works on the Ailey Company and Ailey II. In July 2011 he was personally selected by Judith Jamison to become Artistic Director of Ailey, making him only the third person to head the Company since it was founded in 1958. During his 12 years as Artistic Director he expanded the Ailey repertory with works by artists as diverse as Kyle Abraham, Mauro Bigonzetti, Ronald K. Brown, Rennie Harris, and Paul Taylor. He also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. He stepped down from the position in 2023.For more information about Robert Battle and the Paul Taylor Dance Companyhttps://paultaylordance.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Dance Talk” ® with Joanne Carey and special guest, Artistic Director of Black Label Movement, Carl Flink. In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Carl Flink, dancer, choreographer, and academic, discussing his journey into dance, the philosophy behind his company Black Label Movement, and the upcoming performance 'Battleground,' premiering at American Dance Festival. They explore the intersections of dance and law, the teaching of modern dance, and the thematic depth of Flink's work, particularly in relation to societal issues and the human experience. Carl Flink is an American choreographer, dancer, director and academic based in Minneapolis, MN USA. He is the founder and artistic director of Black Label Movement, a contemporary dance company based in Minneapolis. He is also the Nadine Jette Sween Professor of Dance and director of the dance program at University of Minnesota. Flink was a member of the Jose Limón Dance Company from 1992 to 1998, among other NYC based dance companies including Creach/Koester Men Dancing, Janis Brenner & Dancers and Nina Winthrop & Dancers. He has been a frequent guest artist with Shapiro & Smith Dance. Flink's work is focused in choreography, theatrical movement direction, contemporary dance and partnering technique, and dance/science collaborations. His work as a dancer, choreographer and director has been featured in the media numerous times. Flink's TED talk in 2011 entitled Dance v. PowerPoint has received media recognition. He has been named to the University of Minnesota Theatre Arts & Dance Department Wall of Note and was featured in Dance Magazine in an article entitled "Flying through Space." Flink graduated in Political Science and Women's Studies from University of Minnesota's College of Liberal Arts in 1990. He then earned his Juris Doctor from Stanford Law School in 2001, where he was a Public Interest Law Fellow and a Skadden Fellowship Alternate. Through Black Label, he has created commissions for MADCO (St. Louis, MO), the American Dance Festival Footprints Series (Durham, NC), Same Planet Different World (Chicago, IL) and Company C (San Francisco, CA). He has also created presentations for the 2011 TEDx Brussels, 2012 TED: Full Spectrum (Long Beach, CA), 2013 TEDMED (Washington D.C. and the 2020 TEDx Minneapolis). His residencies for college dance programs include University of Florida-Gainesville Brenau University, University of North Georgia, University of Utah, Utah Valley State, University of Illinois – Urbana Champaign University of Iowa, Mount Holyoke College and Roger Williams University, among others. For Information on Black Label Movement https://www.blacklabelmovement.com/ YOUTUBE https://youtu.be/4sWN9_ttgYw And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠https://dancetalkwithjoannecarey.com/⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Title: Culture Connects Us: Identity and Transformation Do our cultures connect us or drive us apart? Why are our cultures even important? Join Simma Lieberman, The Inclusionist,  in this episode  of Everyday Conversations on Race for Everyday People, to hear how culture can connect us, with guests Jalila Bell, Kwame Gaylon Logan, and Kayla Marin. They explore the importance of using culture to bring people together and share personal experiences. Galen, the founder of Village Connect, shares insights as a father and grandfather of 10. Tune in for an engaging conversation on race, culture, and building inclusive communities.   Shownotes: Have you ever wondered how culture can either unite us or divide us? The creators of the film “Culture Connects Us”, believe that knowing and sharing our cultures can bring us together.  If you think you know what culture is, you need to check out this episode of Everyday Conversations on Race for Everyday People, and listen to these stories.  These three filmmakers of “Culture Connects Us.”.explore the film "Culture Connects Us" and share their personal journeys and the profound impact of cultural identities. Listen to Kwame Gaylon Logan, Jalila Bell and Kayla Marin talk about how our names hold deep significance and often shape our sense of self. Galen's experience in Ghana for a naming ceremony transformed his understanding of his cultural roots, while Jalila's Palestinian name reflects beauty and illumination. Kayla's attachment to her last name, Marin, highlights the importance of family history and identity. Culture goes beyond mere traditions; it embodies the essence of who we are. Understanding and embracing our cultural backgrounds can lead to greater self-awareness and connection with others. As Galen mentioned, love serves as a unifying force that transcends cultural differences. By celebrating our diverse cultures and sharing our stories, we can break down barriers and foster empathy and unity in society. Join us as we delve into the world of culture beyond what is visible, beyond what is assumed and how culture can be used to divide or connect us all.   In this engaging podcast episode, Simma Lieberman, the inclusionist, hosts a conversation with guests Jalila Bell, Kwame Gaylon Logan, Jr., and Kaylah Marin. The discussion revolves around the theme of culture connecting us, exploring the significance of cultural identity and the power of storytelling in bridging differences. The guests share personal stories about their names and cultural backgrounds, highlighting the importance of embracing one's heritage and identity. From naming ceremonies in Ghana to the complexities of cultural integration in America, each guest brings a unique perspective to the conversation. Discover how names hold deep significance and reflect individual journeys towards self-discovery and acceptance. Join the conversation on race, culture, and the transformative power of storytelling in this thought-provoking episode. Don't miss out on the insightful reflections and inspiring narratives shared by the guests as they delve into the essence of culture and connection. Tune in to gain a deeper understanding of the diverse experiences that shape our identities and relationships.   Click here to DONATE and support our podcast   Guests Bio Jalila Bell is a dynamic multi-hyphenate whose talents span a diverse array of disciplines. From her accomplished career in law to her passions for dance, production, film, choreography, visual arts, and yoga, Jalila embodies the spirit of relentless exploration and creative expression. Honing her skills at institutions like the San Francisco's Ruth Asawa School of the Arts and the prestigious American Dance Festival, Jalila has cultivated a rich tapestry of experiences. She holds dual degrees from Mills College and a J.D. from Golden Gate University Law School, reflecting her commitment to both artistic and academic pursuits. As a dancer, Jalila has graced renowned stages with Nyane Khosi Dance NYC, Delucia Benson Dance, and the Vissi Dance Theater, among others. Driven by her passion and fueled by resilience, Jalila infuses every endeavor with creativity and dedication. Through her artistry and expertise, she seeks to ignite curiosity and inspire others to explore the boundless possibilities of self-expression.   A native of San Francisco deeply engaged in social activism, Kaylah has dedicated her career to serving various causes through her work with notable organizations such as the Dolores Huerta Foundation, Base Building For Power, Village Connect, Artist for Literacy, Women of Color Resource Center, Black College Expo, Furthermore, her musical contributions to Ron Dellum's Memorial highlight her ongoing commitment to social justice and activism. In an effort to spotlight Indigenous cultures and land rights, Kaylah collaborated with the Garifuna International Indigenous Film Festival, an endeavor that earned her the title of Ambassador of Music in both 2017 and 2018.   Kwame Osagyefo (Gaylon Logan, Jr.) Kwame is a thought leader, founder and CEO of Village-Connect Inc., an award-winning San Francisco Bay Area community-based organization. A comprehensive integrated system of care that employs transformative coaching as a core approach which paves the way for individuals, families, and communities to heal, grow and achieve social, economic, emotional, and political sustainability. For more than 25 years Kwame served the community as an organizational development consultant, workshop and seminar facilitator, Master CBTC coach, and local/national/international motivational speaker delivering profound perspectives on fatherhood, motivating youth and families towards success.   Simma Lieberman, The Inclusionist helps leaders create inclusive cultures. She is a consultant, speaker, and facilitator. Simma is the creator and host of the podcast, “Everyday Conversations on Race for Everyday People.” Contact Simma@SimmaLieberman.com to get more information, book her for your next DEIB  event, help you become a more inclusive leader, or facilitate dialogues across differences. Go to www.simmalieberman.com and www.raceconvo.com for more information Simma is a member of and inspired by the global organization IAC (Inclusion Allies Coalition)    Connect with me: Instagram Facebook YouTube Twitter LinkedIn Tiktok Website    Previous Episodes Black Modern Elder Academy: Creating a Space for Authenticity and Diverse Experiences Unpacking Identity, Race, and Representation in Crime Fiction A Black Executive Perspective on Race in Corporate America Loved this episode?  Leave us a review and rating  

“Dance Talk” ® with Joanne special guest, Jodee Nimericher, Executive Director of the prestigious American Dance Festival, located at Duke University in North Carolina.  In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest, Jodee Nimericher, Executive Director of the American Dance Festival. Listen as Jodee shares her personal dance journey, from starting dance classes at a young age to discovering her passion for arts administration. The conversation explores the importance of dance in inspiring and connecting people, and the role of the American Dance Festival in promoting and supporting the dance community. This episode highlights the impact of live performances and the need for community engagement in the arts, something ADF is proud to be a leader. Jodee highlights the impact that these powerful performances and programs have on the community as well as on all those working on the fesitval, herself included. Summertime is special in North Carolina! Jodee also shares insights into the process for artists to be represented and encourages dancers to take the initiative to reach out. Check out all the upcoming events and programs at the American Dance Festival. You'll want to be a part of this vibrant art scene in North Carolina that this Executive Director continues to curate with passion and purpose! Jodee Nimerichter is an arts administrator and film producer and currently serves as the executive director of the American dance Festival. She began working for American Dance Festival in 1991 as an intern and in 1997 worked on the production of the festival's documentary series Free to Dance which earned an Emmy nomination in Research. In 2003 she became the festival's associate director, managing dance festivals in South Korea and Russia and building dance exchange programs in South Africa, Poland, Argentina, and the Philippines.  Nimerichter was appointed as the director of the American Dance Festival in 2012 and became executive director in 2016. Since 1934, the American Dance Festival has been a recognized leader in modern dance presenting dance performances, and offering educational opportunities and community programs, while maintaining an international reach. The American Dance Festival (ADF) is thrilled to announce its 2024 season with a full summer performance schedule from June 13 to July 28 and additional performances in April, September, and October. With 49 performances by 24 acclaimed dance companies and choreographers from around the globe, featuring 11 world premieres, 12 ADF commissions, and 12 ADF debuts, ADF celebrates the diversity of modern dance and its community. Tickets go on sale on Tuesday, April 23rd, with prices ranging from $18 to $70 and can be purchased through ADF's website or the Duke University Box Office. More detailed information about performances, venues, tickets, and performing companies, including photos, videos, and press reviews, are available at americandancefestival.org. https://americandancefestival.org/ Follow on Instagram @amerdancefest Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

How do you feel about working with corporate funders. Some people love it, some people head for the hills and try to avoid sponsorship. Suzy Wilcox loves corporate fundraising and the unique partnerships they are engaged in at Evergreen Canada. Suzy has a mix of non-profit, consulting and corporate experience. She loves how fundraising can help bring big, complex ideas to life.  For over twenty-five years she has worked and volunteered with a range of organizations. A common thread throughout her work is building strong partnerships that make a positive difference in and with communities.  After graduating from Princeton University, Suzy worked in Marketing and Development at several US arts organizations, including the American Dance Festival and the John F. Kennedy Center for the Performing Arts. She earned her MBA at the University of Toronto's Rotman School of Management before working in research, project management, and client relations at the renowned Toronto sponsorship agency Arts & Communications. While at Arts & Communications, she analyzed and developed corporate philanthropy and sponsorship programs. She was then recruited by Air Canada to be a Marketing Manager, before moving to Aeroplan in partner relations, primarily with the CIBC Aerogold VISA program. Starting in 2004, Suzy worked for 15 years as a Senior Associate with NetGain Partners. As a NetGain consultant, she had the pleasure of working with a variety of non-profit clients, including MOCA Toronto, Centre of Learning & Development, City of Toronto, and Canada's National Ballet School, helping them with strategic planning and fundraising. Since 2020 Suzy has led Evergreen's fundraising team, working to enable cities that are livable, green and prosperous. When not working, Suzy hangs out with her family, dances, swims, and tends her wild garden. She used to be a mime but decided the rope and the wall could only get her so far. In this episode Suzy shares how her organization is changing the way they build partnerships with corporations, volunteers, staff and community to advance trust based philanthropy. Thank you for joining us. I hope you are inspired to rethink how you build relationships with your funders and your volunteers. Please remember to like, share or review this podcast. Let's keep widening the circle and inviting more people into the conversation.

Frameform was honored an invitation from Jennifer “Scully” Thurston (noted RogueDancer and current Artistic Director of ADF Movies by Movers)  to moderate Q&As following the shorts programs at a weekend of the summer-long dance film institution Movies by Movers at American Dance Festival in Durham, North Carolina in July of 2023.This panel moderated by Clare Schweitzer, Hannah Weber and Scully featured the following artists:Courtney Holbrooks, director of the film IsolateHenry Isiah Graham, director and performer of the film AirChloe Ilene, director and performer of The WardrobeJake Kruty, Jon Rodriguez and Xavier Townsend, co-directors and performer, respectively of Walls Come DownMaggie M. Bailey, director of the feature-length screendance documentary Moving Together Highlighted Dancefilms/Screendances:Moving Together Film PageMoving Together TrailerIsolate dir. Courtney HolbrooksWalls Come Down (excerpt) dir. Jake KrutyThe Wardrobe (still) dir. Chloe IleneCheck out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more.New shorts from Dancinema's 2023 program are LIVE at Dancinema Online! Become a site member (it's free!) to browse festival archives and new selections for this season. Coming soon: Dancinema 10 year Anthology. This is a PDF guide to all of the dancefilms we have screened to date, plus collaborations and projects. Get yours by becoming a Dancinema site member or a Frameform Patreon Subscriber!

Here are some takeaways from the conversation I had with Shaness Kemp who happens to be a performing artist, choreographer, and dance educator. The first takeaway is you need time to replenish. Now this looks different for all of us but it's important to replenish so you can continue to pour out as an artist. Next, versatility is the key to flexibility. If you are versatile it's easier to be flexible and follow the road that unfolds in front of you. And third, that once you let go of the fear of not understanding, or looking silly, or being uncomfortable you will realize how much you can actually do. Shaness D. Kemp Kemp is a native of Nassau, Bahamas and holds both a Bachelor of Fine Arts degree and a Master's of Fine Arts degree from Temple University. She is an Assistant Professor of Dance at the University of Maryland Baltimore County, and continues to work as a freelance dancer, choreographer and dance educator. As Master Teacher of the Umfundalai technique, she has taught at various institutions, festivals and intensives, both nationally and internationally. Kemp has trained and performed with several notable artists and professional dance companies, including Deeply Rooted Dance Theater, Kariamu & Company: Traditions, Kun-Yang Lin/Dancers, Eleone Dance Theatre, Philadanco! The Philadelphia Dance Company, Urban Bush Women, Complexions Contemporary Ballet, Rennie Harris Puremovement, The Katherine Dunham Seminar and The American Dance Festival to name a few. Most recently, she has appeared as a guest performing artist with Tabanka African and Caribbean Peoples Dance Ensemble in Oslo, Norway. Tabanka is Northern Europe's largest all black dance ensemble. Her work has been presented nationally and internationally.  Get in touch:  Shaness Kemp  Instagram: @shaness_d Ayana Major Bey  Website: www.ayanabey.com Instagram: @ayanambey, @theartistpivot  Monthly Newsletter: https://www.ayanabey.com/podcast Show Sponsor: Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot  ******* Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  Part of the Boundless Audio Network

Heralded as “One of the nation's most important institutions” by the New York Times and as “The world's greatest dance festival” by the New York Post, the American Dance Festival's sustained record of creative achievement is indivisible from the history of modern dance. And this year Durham is celebrating the ADF's 90th anniversary. We chatted with the executive director of the American Dance Festival, Jodee Nimerichter.

In this episode, we are highlighting the wonderful Jennifer Scully-Thurston, also known as Rogue Dancer.  Frameform listeners may already know this friend of the podcast and fellow panelist at last year's Screendance Symposium. Enjoy this conversation with Scully and Jen Ray including experiences producing  festivals online and in person, creative approaches to curation and the pursuit of solutions instead of obstacles.  Jennifer Scully-Thurston (Scully) is a choreographer, dance filmmaker, curator, journalist, and video installation artist. She is founder and director of FilmFest by Rogue Dancer, a monthly thematic on-line event devoted to dance. She has curated and adjudicated for EnCore: Dance on Film, James River Film Festival, and Screen Dance International.Her dance films have been featured in Core Dance presents… REEL ART (commission), ADF Movies by Movers, Golden Earth Film Award (Best Female Director 2021), Direct Monthly Online Film Festival (Best Female Director 2019), DepicT! (Special Mention), and numerous other prestigious international festivals. She has been an administrator with Grasshorse (character animation studio), HOU & ATL Core Dance (performance company), and NC Arts in Action (in-school public dance program) and is currently Manager of Studio Programs and Community Engagement at the American Dance Festival.More about Rogue Dancer: We believe dance exists outside the walls of a proscenium stage.  It can exist in the wild with mischievous playfulness.  A person or organization can create work anywhere that wanders and behaves in unusual ways.  The creation and presentation of Dance Film is a great representation of these ideas.  We are dancers who have gone off grid to create work in our own way, with our own rules.–Thank you to Scully for being our first ever Frameform Fan and all of the wonderful support and engagement over the years. We are thrilled to share about your dynamic body of work and we're looking forward to having Frameform be part of ADF's Movies by Movers this season!–Listen to Season 3 Screendance Symposium Panel EpisodeWatch and Submit to FilmFest By Rogue DancerBecome a Rogue Dancer Patreon SupporterAmerican Dance Festival's Movies By Movers Follow on IG @roguedance @amerdancefest –Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

Mariusz Olszewski, ballroom artist, coach and choreographer whose work has been presented at the biggest ballroom venues, dance festivals, theaters and television around the world. He choreographed for the World, American, Polish and Ohio Star Ball Champions and other top ranking ballroom couples including Blackpool Dance Festival American Smooth finalist.Mariusz, moved to Minneapolis in 1996 to join Jazzdance! by Danny Buraczeski and danced with the company for 5 years performing at the most prominent stages and dance festivals such as Kennedy Center, The Joyce Theater, Ordway Center for Performing Arts and The Guthrie Theater as well as  Jacob's Pillow Dance Festival and Bates Dance Festival as well as American Dance Festival among others.Prior to Jazzdance, Mr.Olszewski was a lead dancer and assistant to artistic director of The Silesian Dance Theater, the first professional modern dance company in his native country Poland.During his 5 seasons with The Silesian Dance Theater he had performed and worked with such renown choreographers and dance legends as Anna Sokolow, Gerri Houlihan, Teresa Freedman, Melissa Monteros, Avi Kaiser, Mark Haim, David Dorfman, Wendell Beavers, Stephanie Skura, Risa Jarolow , Sam Costa and company's artistic director Jacek Luminski among others.For his roles created in that company he received Silesia's President's Award for Outstanding Artist in 1995.He is a founding member of Beyond Ballroom Dance Company and served as its Artistic Co-director and Rehearsal Director.Mariusz's work is driven from his modern, jazz ,ballroom dancing and theater experience.He  choreographed and collaborated with Minneapolis prime dancers and companies such as Zenon Dance Comapny, Minnesota  Dance  Theater and  James Sewell Ballet's Sally Rousse , Cathy Young Dances, Robin Stiehm's Dancing People Company.Mariusz graduated from The Institute of Culture Theater Department in Opole, Poland.He was a guest choreographer on popular television show "Dancing With the Stars" and featured choreographer for 8 seasons on "So You Think You Can Dance”/ Poland creating a record number of over 35 routines in contemporary, modern jazz and ballroom dance styles.In 2016 he was invited to choreograph two ballroom shows “ Rhythm Divine” and “Grace” for Hong Kong's biggest Dream Cruise Line. Mariusz is a recipient of 2005 McKnight Artists Fellowship for Dancers.

Our headline roundup includes a plethora of season announcements and the release of Dance Data Project's Gender Equity Index. Alice Robb's book "Don't Think, Dear" and the new season of the podcast "The Turning" have spurred conversations about how ballet training shapes women's psyches. A transcript of this episode is available here: thedanceedit.com/transcript-episode-149Visit/add to the Dance Media Events Calendar: dancemediacalendar.comPodcast listeners can save $5 on a Dance Magazine subscription. Claim the offer here: dancemagazine.com/offerLinks referenced in/relevant to episode 149:-Dance Data Project's Gender Equity Index: dancedataproject.com/gender-equity-index-American Dance Festival's season announcement: americandancefestival.org/2023/03/01/2023-season-Recent ballet company season announcements:independent.co.uk/independentpremium/culture/tamara-rojo-english-national-ballet-carmen-giselle-london-coliseum-b2292191.htmlballetherald.com/national-ballet-of-canada-2023-2024-seasonballetherald.com/joffrey-ballet-2023-2024-seasonballetherald.com/colorado-ballet-2023-2024-season-Pointe magazine interview with Alice Robb about "Don't Think, Dear": pointemagazine.com/alice-robb-chats-about-her-new-book-dont-think-dear-on-loving-and-leaving-ballet-NPR story on "The Turning": wnyc.org/story/turning-room-mirrors-More articles about, inspired by, or excerpted from "Don't Think, Dear":elle.com/life-love/a43102096/adults-rediscovering-balletvogue.com/article/ballet-essay-excerpt-dont-think-deartheatlantic.com/culture/archive/2023/03/ballet-exercise-fitness-mind-body-connection/673249thenation.com/article/society/ballet-alice-robb-ellen-oconnell-whittet

Fascinated by the patterns and politics of crowds, Sarah Friedland choreographed and directed CROWDS, a three-channel video installation. Friedland presented CROWDS as an in-person experience in 2019 at La MaMa Galleria as part of Performa19 and the Ann Arbor Film Festival. Then in 2021, she presented it digitally at the University of Rochester and American Dance Festival.Sydney Burrows reported this episode. UnSequenced is produced and hosted by Stephanie Wolf. Joe Kye composed the UnSequenced theme music. Additional editing by Candice Thompson. CROWDS was produced by Brighid Greene and Sarah Friedland. An Art Factory International Production. Cinematography by Luca Nervegna. Sound Design by Denera James and Assaf Gidron.

"This is who I am. I am a dancer and this is what I have to offer the world." - Gloria McLean Today's guest is Gloria McLean. Gloria is artistic director of LIFEDANCE/Gloria McLean and Dancers.  LIFEDANCE is dedicated to the integration of body, mind and spirit through the creative process. Gloria's dances often collaborate with new music, art, language and the environment.  Her choreography has been presented in NYC and internationally, including the American Dance Festival, festivals in Ireland, Paris, Montreal, Germany, Switzerland, Japan, Korea, and China. She first received acclaim as a leading member of the Erick Hawkins Dance Company from 1982-1993, performing major female roles in the repertory, teaching at the Hawkins School, and touring the U.S. and internationally. Currently McLean is President of the American Dance Guild producing festivals live and online. She teaches and performs from her base in New York City and Andes, NY. For more on this episode: Movers & Shapers: A Dance Podcast Follo us on Facebook and Instagram!

The Durham Performing Arts Center or DPAC has been in Durham since 2008. Starting with a sold-out show with blues legend B.B. King, DPAC has since hosted thousands of shows and millions of patrons for music, comedy, Broadway, and the American Dance Festival. We sat down with Josette Roten, the Assistant Director of Marketing & Sales, and Jacob Holland, Assistant Director of Ticketing to talk about the theater's history, impact on the city, and more.

This week Festival director Anne Morris speaks with ShaLeigh Comerford, founder, and director of ShaLeigh Dance Works, and Jodee Nimerichter, Executive Director of the American Dance Festival (ADF) in Durham, NC. An annual festival bringing students and dance companies from across the US and internationally, the American Dance Festival plays a particular role in providing opportunities for students and audiences to experience the breadth and depth of modern dance. In this conversation, Jodee and ShaLeigh talk about how much can be learned by driving a bus, the kinds of education many artists are missing, and the importance of building and drawing on artistic networks. Links: Connect with ShaLeigh: Instagram: #shaleighdanceworks Twitter: @ShaleighDance Facebook: @shaleighdanceworks Connect with Jodee/American Dance Festival: Instagram: @americandancefest Twitter: @AmerDanceFest Facebook: www.facebook.com/AmerDanceFest Website: americandancefestival.org For information on upcoming NC Dance Festival events, visit our website: danceproject.org/ncdf To make a gift to the Festival Fund, please visit danceproject.org/give Follow us: IG: @danceprojectinc FB: NC Dance Festival

What are you learning this summer?  Over the next few episodes you'll be hearing from music educators about the work they do with specific music approaches and summer workshop opportunities.  In today's episode Monica Dale shares about her approach to teaching movement and music called Musikinesis.  Sign up for the Musikinesis summer workshop at Eastman in the link below! Eastman Musikinesis Summer Workshop Musikinesis Website Monica Dale grew up on the campus of Connecticut College when it was the epicenter for modern dance as host of the American Dance Festival. As a child, she had experimental creative dance classes and was surrounded with modern art and music. She studied dance at Connecticut College and at the suggestion of faculty, left college for New York City where she trained at the Joffrey, Martha Graham and Cunningham Schools.  She later returned to Connecticut and majored in music. Monica pursued Dalcroze Studies to bridge music and dance.  She earned her certificate, license and Master of Music in Piano Performance from Ithaca College and has worked professionally as a dancer, pianist, choreographer, and teacher of pre-school through professional levels. After developing an original curriculum merging music, dance and language, Monica founded MusiKinesis, and has published six books including the three-volume Eurythmics for Young Children and an iBook of illustrated dance stories with original music. Afternoon Ti: Follow me on Instagram @highafternoonti Afternoon Ti Website Afternoon Ti Guide to Teaching Music Book and Journal: Amazon Afternoon Ti Guide to Teaching Music Book and Journal: Fflat Books Intro/Outro Music: Our Big Adventure by Scott Holmes      

Intro Music Credit: Bansure Raga by Doug Maxwell SHOW HIGHLIGHTS (0:01:49) Current Trends in Kathak Research for Academia (0:09:05) How Kathak has picked up movements from other dance forms (0:10:47) The case for the Bengal Gharana (0:23:16) spreading awareness on the Bengal Gharana (0:25:23) How you choose a Taal (0:30:59) Portrayal of Durga (0:40:03) How poeple were affected by the portrayal (0:44:31) How do you teach Abhinaya to your students (0:48:22) The importance of formal education for a career in dance (0:53:46) The 5 types of Student Interactions Amita di has (1:08:27) How to make Kathak more accessible, and build an audience EPISODE LINKS Amita Dutt | Facebook BIO Amita Dutt, Uday Shankar Professor of Dance at Rabindra Bharati University, Kolkata, has been serving the world of Kathak for more than three decades. Groomed in the strictest classical traditions under Pdt. Birju Maharaj, Prof. Bela Arnab, Pdt. Vijay Shankar and other leading maestros of the premier Kathak gharanas, Amita dances with a hypnotic force and subtle sensitivity combining rhythmic virtuosity with delicate expressiveness, commendable, ‘taiyaari' with mastery in ‘abhinayanga'. In her art we find a successful blend of tradition and talent, environmental totality as well as breathtaking dynamism. Her innovative, analytic mind has also constantly encouraged her to experiment with new ideas - thus expanding the boundaries of Kathak. Having her roots in Calcutta, Amita has performed far and wide across three continents. Among her innumerable dance recitals in prestigious dance and music festivals, mention may be made of the Khajuraho Dance Festival, the Konark Festival, Utsav Mahakaleshwar, Rajgir Mahotsav, the Biswa Banga Millennium Festival, the First South Asian Festival of SAARC Countries, the India Festival in USSR, the American Dance Festival, Uday Shankar Festival, Sarat Chandrika Festival, North American Bengali Conference, Nritya Nitya Utsav, the Young Choreographers Festival, Nir Mahal Tourism Festival, Bishnupur Tourism Festival, the India Festival at Singapore entitled Incredible India @ 60, China Kunming International Culture and Tourism Festival and many more. During the Autumn Festival of 1990 at Darjeeling, when the President of India, Sri R. Venkataraman, came as the Chief Guest, the Governor of West Bengal Prof. Nurul Hassan invited Amita to present her traditional dance and choreographic composition Durga. She also performed for the official government function for the Golden Jubilee of Indian Independence at Patna (1997). During the visit of the Prime Minister of Japan Shinzo Abe to Kolkata, Amita performed in the lead with her University troupe in her own choreographic creations on Tagore's songs. She has also popularized her dance by performing at academic conferences and institutions. The Governor of Bengal Sri Narayanan invited her to present her dance before the King of Bhutan HM Jigme Khesar Namgyel Wangchuk at the Raj Bhavan Kolkata on October 5, 2010. In addition to giving solo recitals, Amita has been experimenting with new choreographic patterns blending pure Kathak movements with popular songs and innovative themes and has staged a number of very successful choreographic productions including Durga, Chitra Jhankar, Nazrul nana Chande, Biswa Beena Robey, Bhanusingher Padavali, Geetanjali, East West Encounter, Nrityanajali, Joyodhwani, Amrapali, E ki Madhura Chanda, Swadesh, Mother, Celebrating Light, Dash Avatar, Celebrating Light, Varsha and Basant-Bahar. She has given three recitals for the National Programme of Dance on Doordarshan. Her performances have also been telecast over various channels innumerable times both in India and abroad including USA, Germany, Hungary and the former USSR. Her interviews over the radio and the television in various parts of the world have spread the message of Kathak far and wide. Besides being an excellent dancer Amita is also a brilliant student of English Literature and a Gold Medalist of the Calcutta University. Her academic background has helped her to popularize her dance form through her prolific publications in major books and journals such as Bhakti in Indian Classical Dances (Bharatiya Bhasha Parishad), Desh Binodon 1987 (Special Issue on Dance), The Statesman Festival Number 1990, Special Independence Golden Jubilee Issue of Desh and Dance Specials of Nandan. Papers on major aspects of dance written by her have been published in various departmental Journals of Rabindra Bharati University and Gauhati University and in Rabindra Bharati University Convocation Volumes 2005 and 2006. Amita's Kathak Mahotsav (monograph) was published by Kathak Kendra, New Delhi and she is a regular contributor to the dance sections of The Statesman, Aajkaal and Bartamaan and has written for The Hindustan Times, Sananda, Pratidin, Business Economics, Dainik Statesman, West Bengal and Paribartan. She is a regular columnist for Maashik Basumati with a special page – Prantik - assigned to her for each issue. She has written papers for innumerable journals of major Universities. Her conference paper - The Resurgence of Indian Classical Dance in the Twentieth Century: Colonial Inheritance or Indigenous Self Fashioning? - presented at an international seminar of the Department of English, Calcutta University, has been published in the volume ‘Colonial and Post Colonial Perspectives: Context, Text, Intertext'. Edited by Krishna Sen & Tapati Gupta. (Published by Das Gupta and Co. Pvt. Ltd., Kolkata. 2007.) Her article Bhakti in Indian Dance features in the volume ‘Religion and Art' edited by J.K.Sadani and published by Bharatiya Sahitya Samsad, Jaipur, Ahmedabad and Kolkata. 2007. Her contributions in cultural encyclopedias include ‘Some Indian Dance Forms: Kathaka, Bharata Natyam, Kuchipudi' in Aesthetic Theories and Forms in Indian Tradition Vol. VI Part I (Ed.) Kapila Vatsayan & D.P.Chattopadhyaya - A Project of Indian Science, Philosophy and Culture, Centre for Studies in Civilization, New Delhi, 2009 and three sections: ‘Kathak Dance: Origin and Variations of Gharana', ‘Technique of Kathak Dance' and ‘Hasta Mudras in Indian Dance' in Vol. VI Performing Arts in Indian Culture: Encyclopaedic Survey in Eight Volumes edited by Jaikishandas Sadani, Bharatiya Vidya Mandir, Jaipur & Kolkata, 2008. Amita's moving deliberations in seminars and conferences all over the world in academic conferences and other forums have helped to spread the message of her dance. The Tagore Festival at the University of Illinois at Urbana Champaign, USA featured Amita as the Key-note Speaker (Tagore on Education) as well as the star performer (2004). The Peking University, Beijing, China invited her to perform on Tagore in their conference on “Understanding Tagore” (2010). A dedicated teacher, Amita's students include National and State Scholarship Awardees, University Gold Medalists and successful performers. Amita has been the research advisor of many research scholars including Fulbright scholars. As Artistic Director of Ananda Chandrika, an organization (with a Government Partnership) for research and productions on dance, Amita has choreographed and presented many innovative dance programs and documented many dance productions. Amita has served as Judge and Member of the Jury in important national events such as National Kala Utsav organized by the NCERT, Ministry of Human Resource Development, in National competitions organized by the Ministry of Culture and Pdt. Birju Maharaj ji's Kalashram and in state level competitions organized by the Ministries of Information & Culture and Sports & Youth Affairs, WB. In an attempt to popularize and make available authentic training of Kathak all over the world, Amita has embarked on a program of teaching through the television and the web. She has been the Resource person for 36 episodes on Kathak covering the entire Bachelor of Performing Arts Foundation Course in Kathak as prescribed by the University Grants Commission and produced by the Educational Multi Media Research Centre, Kolkata, for the University Grants Commission - Consortium for Education Communication scheme. This project is still continuing with more episodes under preparation for the Bachelor of Performing Arts 2nd Year, 3rd Year and 4th Year Courses. These courses are available as CDs from the UGC-CEC office at Delhi and are telecast often on the Indian television Doordarshan National and UGC network and on the EMRC website. These programs have received citations in the 19TH UGC-CEC All India Educational Video Competition held at New Delhi in Oct-Nov 2007 in the categories Best Programme in E-content and Best Presenter / Anchor Person. Amita was awarded Lifetime Achievement Award by Prasar Bharti (Doordarshan) in November 2015. She has been the Head of the Department of Dance (2001-2003 & 2014) and the Dean of the Faculty Council of Undergraduate and Post Graduate Studies in Fine Arts (2006-2010) at Rabindra Bharati University, Kolkata. Her associations with other major Universities as Resource Person, Expert, Visiting Fellow and Examiner include Visvabharati (Santiniketan), Indira Kala Sangit Vishwa Vidyalaya (Khairagarh), M.S.University (Baroda), Punjabi University (Patiala), Calcutta University, Banaras Hindua University, North Bengal University, Bhatkhande Music Institute Deemed University, Jadavpur University, Kalyani University, Tripura University, Bharatidasan University (Tiruchirapalli) and University of Burdwan. She has also given Lecture Demonstrations at various Universities in USA including the Universities of Arizona, Duke, Yale, Purdue, Ohio, Miami, Delaware, Fayetteville State, Illinois at Urbana Champaign, Tulsa and Central Florida. Amita has been teaching Online through the Massive Open Online Course titled Foundation Course in Kathak (June to December 2020, July to December 2021) and Junior Course in Kathak (January to June 2021) hosted on MHRD's SWAYAM portal with EMMRC, St. Xavier's College as the Regional Nodal Agency. These courses are supported by the Consortium for Education Communication (CEC) and the University Grants Commission (UGC). Amita was awarded the Shiksha Ratna Award for 2017 by the Government of West Bengal, Department of Education for her contribution to Higher Education and the Parul Shiksha Samman 2017 by the University of Calcutta. She was also awarded the Anupama Award 2017 for her contribution to Women's Empowerment by Turnstone Global. She was invited by the Government of the United States to the prestigious American Dance Festival where she performed, taught in Master Classes and attended an Arts Management Course. Subsequently she has also contributed to her field as an organizer and manager. She was the Convener, Culture of the Bishwa Banga Millennium Festival and the Artistic Director of the Kathak Mahotsav 2000. She has also been the Coordinator for UGC Refresher Courses on Performing &Visual Arts at her University. Amongst the innumerable awards and honours conferred on her, mention may be made of the titles of Singar Mani, Nritya Urvashi, Nritya Sagar, Nritya Jyoti and Nritya Bharati. She has been honoured at the North American Bengali Conference and the Mayor of Cincinnati, USA gave her the Keys to the City thereby making her an Honorary Citizen and also called that day, May 15, 1994, Amita Dutt Day. In November 2004 she received the Governor's Commendation in recognition of her contribution to Art from Brad Henry, Governor of the State of Oklahoma, USA. On May 26, 2014, she was conferred the Uday Shankar Award – Lifetime Achievement Award for Dance - by the Government of West Bengal. Always eager to serve society and the downtrodden, Amita has given innumerable performances for social service causes – both to create awareness and collect funds. She is an active member of the Rotary Club of Calcutta, having served in the capacities of Editor, Director and Chairperson. She is a multiple Paul Harris Fellow and is the wife of the Past District Governor of Rotary International, Dr. Amitava Mookerjee. She is the Founder Director of the Performing Arts Therapy Centre at Rabindra Bharati University where research is conducted and training is given to serve the ailing and the impaired through dance, drama and music. She has been the Chairman of the Special Cell for Women's Issues at Rabindra Bharati University for five years and has taught on issues of Women's Empowerment at various Universities and Institutes. She is the External Expert for Committees on “The Sexual Harassment of Women at Workplace (Prevention, Prohibition & Redressal) Act, 2013” for several divisions of Indian Oil Corporation Limited and La Opala RG Ltd. Scholar, choreographer, danseuse and professor, Amita's main aim is to popularize her dance and she has never turned down an opportunity to spread the message of her art at home or abroad. She has given innumerable performances for academic institutions and conferences and social service causes. Amita's present passion is to establish the Bengal Gharana of Kathak. Over the last 150 years Kathak has become a part of the cultural heritage of Bengal. Innumerable performers, teachers and students of Kathak are spread all over the state. Amita wants to crystallize Bengal's contribution to Kathak - which also features her Kathak creations - and lay the foundations of the Bengal Gharana of Kathak.

Barbara Dilley,  born on the southern tip of great lake Michigan in 1938, began her dancing path with Audree Estey, founder of the Princeton Ballet Society in Princeton New Jersey.  Helen Priest Rogers, who danced with Martha Graham, was her mentor at Mt. Holyoke College (1960) and encouraged her to go to the American Dance Festival at New London Connecticut, where she met Merce Cunningham.  She was invited to join his company in 1963 and toured extensively until 1968.  She danced with Yvonne Rainer (1966-70) and was part of  the Grand Union, an iconic dance theater improvisation ensemble (1970-1976). In 1974 she was invited to teach at the first summer of Naropa University (then Institute) in Boulder, Colorado.  At the end of the summer the founder, Tibetan meditation master Chogyam Trungpa Rinpoche, invited her to design a dance program  (1975-84).   She served as president of Naropa (1985-93) then returned to the arts faculty.   She has two children, Benjamin Lloyd and Owen Bondurant.Barbara is the author of This Very Moment, teaching thinking dancingResources: The Conversation Project###Your hosts of Are You Waiting for Permission? are Meridith Grundei and Joseph Bennett. They're friends, co-hosts, actors, improvisers, and coaches. She lives in NYC and coaches actors, business professionals, and presenters to fully engage with their audience, and themselves. She also mentors young actors and directors. He lives in San Miguel de Allende, México, and coaches artists and other creative beings about the beautiful business of art — and life. You can find Meridith:Meridith Grundei the performer artist gal Meridith Grundei CoachingYou can find Joseph:Joseph Bennett the artist/coach extraordinaire*Special thanks to Amy Shelley and Gary Grundei of high fiction for letting us use their music for the Are You Waiting for Permission? podcast.And... while the podcast is free, it's not cheap. We'd be thrilled to have your support on PATREONThank you.  

Today's guest is Rosie Herrera. Rosie is a Cuban-American dancer and choreographer working within the fields of modern dance, opera, cabaret, theater and film. She is the artistic director of Rosie Herrera Dance Theater in Miami. Rosie has been commissioned by such groups as The Miami Light Project, The Adrienne Arsht Center for the Performing Arts, Ballet Hispanico, Jose Limon Dance Company, and the American Dance Festival (ADF) in 2010, 2011, 2013, 2016 and 2018.  Her company, Rosie Herrera Dance Theatre, has been presented by the Northrop Dance Series, New World Symphony, Baryshnicov Arts Center, Texas A & M University, Maui Arts and Cultural Center, Dance Place, Contemporary Arts Center New Orleans, The Yard at Marthas Vineyard, Gotham Dance at Skirball and Focus Dance at The Joyce as well as by The American Dance Festival at the Joyce NYC in 2016 and 2018, among others.  Rosie is a 2016 USArtist Sarah Arison Choreographic Fellow, a 2010 and 2018 MANCC choreographic fellow, a 2014 Bates Dance Festival Artist in residence, a 2016 Bessie Schoenberg Fellow and a 2011 and 2016 Miami Dance Fellow. She was awarded a Princess Grace Choreographic Fellowship for her work with Ballet Hispanico in 2013. For more on Rosie and the podcast: Movers & Shapers: A Dance Podcast

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Brooklyn New York based choreographer, Brian Brooks. Brian's work has toured internationally since 2002 with presentations by BAM, the Joyce Theater, Jacob's Pillow, the American Dance Festival, and Works and Process at the Guggenheim Museum, among others. He has developed and toured work with former New York City Ballet prima ballerina, Wendy Whelan, titled Restless Creature and appears in the film by the same name, with Whelan. https://www.bbrooks.org

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Champaign-Urbana, IL-based choreographer, Abby Zbikowski. Abby is the founder of the company Abby Z and the New Utility. She is a 2020 United States Artists Fellow and received the 2017 Juried Bessie Award for her work. She is also a professor of Dance at the University of Illinois and on faculty at American Dance Festival.Strange Tools by Alva Noe https://g.co/kgs/n9FdyjArtist Website:  www.abbyznewutility.orgSandi Scheuber: https://dance.osu.edu/people/hadley.4

Where do you watch dancefilm? On TikTok? In a theatre at a film festival? Maybe a gallery? How do we share and enlighten this form of art? How do festivals or algorithms pick which films to feature on their platforms?On today's episode, curator, writer, filmmaker, and all around great person, Cara Hagan answers such questions on showcasing work as a festival curator and researcher. Hagan, most known as the head of the Movies by Movers program at American Dance Festival, talks about her insights on curating a dynamic showcase for audiences, experimenting with creative outlets to limit disparities amongst communities, and boasting creators outside the academic screendance bubble.Follow Cara Hagan!@mindfulnessresistanceWebsiteOrder Cara's Book from McFarland Books !ARTICLESDance Magazine | 1 2Screendance JournalJuneteenth EventMinifest-Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

"Take care of your instrument." Joe chats with Phakiso and discusses how wellness evolved from a young age for her. Phakiso discusses her earlier years as a track student-athlete and how that shaped her wellness journey. She then discusses her “Slum Village Years” and what that taught her and how she was able to learn to focus on her mental wellness that was rooted in the body, rooted in art, and rooted in sexuality.Phakiso's BioPhakiso “Kiki” Collins is a producer/movement artist/curator and has provided creative vision, leadership, and content to some of the country's top production companies and networks in the span of her 17-year career in production, currently Executive Producer at MTV Entertainment Studios.Homegrown in Greensboro, NC and a proud Alumna of Howard University's School of Communications, this now Brooklyn resident has shot, directed, field and post-produced on multiple projects within Bravo, BET, OWN, FYI, TVOne, MSNBC,Revolt, MTV, and Vh1 recently took a turn to scripted tv/film. Phakiso has centered much of her work in unscripted television on expanding the narrative from which we see and advocating for stories that humanize, entertain and uplift. A multi-talented leader, Phakiso has earned a reputation for her stellar work as a storyteller and innovative manager who creates passion, rigor, cohesive flow, and joy within the sets and teams she oversees. As an independent artist and trained dancer, she's created and curated several dance-video films and live performances allowing her to share work at American Dance Festival, Connecticut College, Howard University along with traveling to Senegal and Ghana. Phakiso is the founder of Breakin' Out!, now co-produced with her sister, Shani Collins (of SNIC Eternalworksdance), which is a movement/ healing initiative that is workshop and performance-based. What started as boisterous, crying, “Oh no they didn't!” living room “parties” for women of color to come together and break the silence around their sexuality has become a series of multi-media productions and performances aiming to liberate, heal, and empower women and young girls in their bodies. She is also the creator of Live Life Juicy, a radical self-care movement with a vision to liberate, heal, and create next level possibilities in the communities of both content creators and Black people. Aiming to create wellness in the midst of a chaotic tv journey she's been driven to explore and train in yoga, reiki, meditation, transformational coaching, erotic empowerment, dance, and most recently herbalism. Her vision is to use all her tools, media, and movement to empower people and herself to liberation and to live OUTRAGEOUSLY in their fullest expression.

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' withWinston-Salem, NC, based choreographer, Helen Simoneau, who was recently recognized with a Guggenheim fellowship for her work which strives to hold space for individual agency and explores power dynamics through dance. A native of Rimouski, Québec, Simoneau is the artistic director of Helen Simoneau Danse and was recently described as “a Choreographer-on-the-rise” by Dance Magazine, and has been commissioned by The Juilliard School, Oregon Ballet Theatre, American Dance Festival, Springboard Danse Montréal among others. General examples of Helen's work: https://vimeo.com/helensimoneaudanseDARLING: https://vimeo.com/446889223Helen's website: https://helensimoneau.org/

A Rádio Guarujá FM 92.9 realizará durante todo o mês de março a campanha "Lugar de mulher é no rádio, lugar de mulher é na Guarujá", visando homenagear personalidades que fazem a diferença em nossa região com sua força e garra na luta por um mundo mais humano. Tendo isso em vista, será realizada uma série de entrevistas com histórias emocionantes com mães, empresárias, donas de casa, profissionais de diferentes segmentos, aposentadas e voluntárias que fazem de onde vivem um lugar melhor para se viver. Neste especial do Papo Empreendedor, Thayni Librelato entrevistará as coautoras da obra "Empreendedorismo Feminino, Inovação e Associativismo", que apresenta a história de 21 mulheres empreendedoras, suas trajetórias pessoal e profissional, que enfrentaram desafios, superaram seus medos e, com coragem, transformaram as suas próprias vidas. No episódio 48, a entrevistada é Mapi Cravo, doutoranda na FMH Lisboa/Portugal, graduada em Artes Plásticas pela UDESC, especialista em Metodologia do Ensino das Técnicas Teatrais: Formação do Ator e em Dança Cênica pela UDESC. Foi professora na UNESC, UNIPLAC e UNOPAR. Palestrou no circuito de palestrantes da PUC/SP com "Corpos que fala". Pesquisadora de dança e moda, coreógrafa e performer. Coreógrafa selecionada no American Dance Festival, nos EUA. No mesmo evento, palestrou sobre o figurino como pele do performer. Atualmente, é diretora cênica e coordenadora do "Festival Escolar de Dança Catarina", o maior festival escolar do estado, em itinerância desde 2004 pela FESPORTE. O programa Papo Empreendedor vai ao ar todas as segundas, quartas e sextas-feiras, às 11h20min, na Rádio Guarujá FM 92.9, e tem apoio da Metalúrgica Spillere, Hyva do Brasil, Usimetal, Magal Representações, Engeplus, Dra. Marilia Tessmann Melo Spricigo, Bluetrade International e Hydro-Jat. Confira! --- Send in a voice message: https://anchor.fm/bate-papo-empreendedor/message

Oroyan is a founding mover and Artistic Associate of Black Label Movement, a company with roots deep in his heart and body. In 2012, in joy and sadness, he moved to Brussels and worked with Ultima Vez for six years, having toured and performed primarily with What the Body Does not Remember and In Spite of Wishing and Wanting. Oroyan, continues to dance in Europe and has been working since 2017 with Emmanuel Gat Dance. His experience also spans Creach/Company, Shapiro & Smith, ARENA DANCES, Zenon, Andrea Miller, and Roberto Olivan. Oroyan has had collaborative works presented at American Dance Festival 2014 (An Unkindness of Ravens, BLM) and Zürich Tanzt 2015 (Borderland w/ Rakesh Sukesh). He presented a solo, Polaroid, in 2016 at P12 Space in Brussels and premiered a duet, Entropia, with Natalia Pieczuro at Dag van de Dans 2017. In February 2018, Eddie was part of The Guest Project in Thessaloniki in co-creation of a new trio, Poetics of Relations. Recently, Oroyan is co-artistic director of the duo project My Homeless Lover, which premiered their first work, Pasta e Lava, in Genova, Italy as part of the 2018 Resistere e Creare festival. For more info check, www.myhomelesslover.com. Eddie is also teaching extensively the practice he continues to research and develop, Animal Mindfulness. After an injury in late 2014, Oroyan began a practice of meditation and observation. Animal Mindfulness came through his search for balance. His performing and studies have long included animal reflex training and proper response, but his new practice has and continues to teach him curiosity and awareness of the more subtle and delicate, the empathetic. After returning to performing and teaching, Oroyan is moved to explore and share these discoveries through the stage and classroom. More recently, with Jessica Eirado Enes, he has been developing an empathic partnering and Ideomotor motor training class they are calling Ouija.

Our twentieth official episode of Meet Me At Mill Mountain: The Podcast features Broadway performer Donald Jones Jr.! Join host Ginger Poole, the Producing Artistic Director of Mill Mountain Theatre, as she talks to Donald about his journey to Broadway and experience as the Director and Choreographer of MMT's 2020 production of "Dreamgirls," canceled due to COVID-19. Donald Jones, Jr. is a Director/Choreographer and Actor originally from New Orleans. He is a graduate of Northwestern State University of Louisiana where he received a B.S. in Theatre and Dance. He has trained with the New Orleans Ballet Academy, New Orleans Ballet Theatre, the American Dance Festival, and Spectrum Dance Theater of Seattle, where he was a company member from 2011-2013. Donald has taught dance both nationally and internationally at Broadway Dance Center of New York, Steps on Broadway, Broadway Classroom, Studio West Dance Center of Colorado, New Orleans Center for the Creative Arts and was a Cultural ambassador with DanceMotion USA where he performed and taught contemporary American dance in Nepal, Bangladesh, and Sri Lanka. He lived in NYC for 7 years where he performed on Broadway in productions of Frozen (OBC), Aladdin (OBC), and CHICAGO. His Off-Broadway credits include: Sweet Charity with The New Group and West Side Story with Carnegie Hall. He has also done a National Tour with The Color Purple Musical. Donald has Directed/Choreographed productions of Dreamgirls at Mill Mountain Theatre, Children's Letters to God with NORD. He is also a guest choreographer for several episodes and advertisements for Nickelodeon's Blue's Clues and You. Follow him on IG @doniejunior. Mill Mountain Theatre strives to inspire, entertain, enrich, educate, and challenge audiences of Southwest Virginia through high-quality, professional theatrical productions and experiences. Meet Me At Mill Mountain: The Podcast explores all of the buzz words in Mill Mountain Theatre’s mission statement.

FULL TRANSCRIPT OF EPISODEProvided by Otter.aiEoin Trainor  0:00  The views and opinions expressed in Eye on the Triangle do not represent WKNC or the student media.Good evening Raleigh and welcome to this week's episode of Eye on the Triangle on WKNC 88.1 FM HD one Raleigh, I'm Eoin Trainor. On tonight's episode contributor Elizabeth Esser will sit down with Caroline Rocheleau to talk about the North Carolina Museum of Art's new exhibit on golden mummies. And then a little later contributor Lise Knox will discuss live music during the pandemic with Adam Lindstaedt, owner of the local venue the Pour House. Stay tuned.Elizabeth Esser  0:51  I'm Elizabeth Esser with WKNC 88.1 Eye on the Triangle. Today I am speaking with Caroline Rocheleau, curator of ancient art and Director of Research at the North Carolina Museum of Art to talk about the new golden mummies of Egypt exhibition that opened on March 6. Miss Rocheleau, thank you for joining us on Eye on the Triangle.Caroline Rocheleau  1:11  Well, thank you for inviting me Elizabeth Esser  1:12  To get things started can you just tell us a little bit about yourself and your position at the North Carolina Museum of Art.Caroline Rocheleau  1:19  I am director of research and also curator of ancient art, which is I guess, my primary role at the museum. I take care of all the ancient things from ancient Egypt, to the Mediterranean like Greece and Rome and also the ancient Americas but I have a colleague working with me on those last collections.Elizabeth Esser  1:38  What can visitors expect from golden mummies of Egypt?Caroline Rocheleau  1:42  Well, I'll tell you a little secret. Since I started working at the museum about 15 years ago, people have been asking me, when are we going to have mummies? When are you going to bring an exhibition of mummies because we don't have any in our collection. And the second they found out that I was a trained Egyptologist, they thought, Oh, well, she's the person to get us some mummies. So what they can expect to see in Golden mummies of Egypt is mummies. However, we're focused on a very specific cultural period. And that's the end of Egyptian history, when Egypt was ruled by the Greeks and the Romans, so the mummies are not going to look like King Tutankhamun, for example, that's sort of an image that people have in their mind. So it's not going to be that they're still mummies. But there's cultural and artistic influence at that time that's coming from elsewhere in the Mediterranean, and you will see the Egyptians wearing like Roman hairstyles and togas and things like this. So on the outside, they look different on the inside, they're the same.Elizabeth Esser  2:48  So the exhibition focuses on the Greco-Roman period. So what was unique about this particular period? And how do we see that translated in the exhibition?Caroline Rocheleau  2:59  So Egypt has always been a multicultural environment, because of where it's located, you know, northeast Africa, but attached to Western Asia and like the, what we call today, the Middle East, and with access to the broader Mediterranean, now you really see it even more, because Egypt becomes part of other empires that have even further wider reaches. And if you think of just a Roman Empire, the fact that Roman Egypt is on par with Gaul with Roman France, is sort of mind boggling, you know, insert mind blowing emoji here, when you put that into perspective it's like, wow, other countries are as old as Egypt. And Egypt is now part of a much, much bigger network than it was before. So you do see as I mentioned earlier, those cultural influences coming in, because it's all part of the Empire. The Empire is very diverse. It runs from Western Asia, all the way through Western Europe, and the British Isles. So it's, it's quite bigger than Egypt at its height ever was. So you do see those influences? What does curating an exhibition during a pandemic look like? The curating part was not done by me because we this is a traveling exhibition. So it came. It's an exhibition that is circulated by Nomad Exhibitions based out of Scotland and the collection that is being presented is that of Manchester Museum in the UK. So my colleague there, Campbell Price, and Nomad Exhibitions worked together to curate the exhibition. That being said, installing an exhibition during a pandemic is something that nobody had ever done before. And this was complicated by the fact that people from Nomad and people from Manchester were supposed to come travel to North Carolina to install the cases and put the objects in the cases, because of the pandemic and the travel restrictions, nobody could travel. So it was a whole bunch of zoom meetings, phone calls, we had a WhatsApp, you know messaging group, because we're, they're basically helping us remotely put the cases together things we'd never put together before. The material that's you handle any material the same way. So that's not so much of an issue but it was trying to do all of this by ourselves when we were originally supposed to assist. So it was a lot trickier and you're in there with your mask, and you're putting in the objects and you're you're trying to stay six feet apart. That's impossible. So it's very nerve wracking at the same at the same time, but we pulled through, and it looks absolutely fabulous. But it was quite a challenge.Elizabeth Esser  6:06  I understand that the triangle area is celebrating this exhibition along with the museum. Can you tell us a little bit about the community collaborations with the Golden Mummies of Egypt,Caroline Rocheleau  6:16  We actually have a few goodies in various restaurants. And so we have places in Raleigh and Chapel Hill, for example, good day, good night at Origin Hotel in Raleigh. They have a cocktail called Gold of Egypt. There's another one called a golden goddess cocktail that's in Chapel Hill at Honeysuckle Lakewood, there's a bunch of different things. We even have chocolate, custom packaged sea salt chocolate, available at our museum, or I should say, our exhibition store, which is as you come out of the exhibition, it's it's right there, that's Videri Chocolate Factory, and they sell it at their store as well. Even in the store, we do have some goodies related to this bartending cocktail mix that we have. And we also have a candle that where the scent was made exclusively for us. And it's inspired by golden mommies. So that's actually kind of fun. Like you don't really see that in like exhibition stores something custom made like a candle. For example, Honeysuckle Tea House has Egyptian sunset tea made with chamomile, lemon balm, fall gold, ginkgo leaf, gingerroot, and oatstraw. That just kind of sounds nice, actually. So those are the kinds of partnerships that we have with local places like restaurants and tea houses and chocolates, like what could be better a cocktail, some chocolates after you visit the exhibition. That's awesome to me.Elizabeth Esser  7:47  What is your favorite part of the exhibition?Caroline Rocheleau  7:50  Goodness, I have lots of it's like asking for my favorite child. There's lots of different things that I like about the exhibition. I like that we are that we have mummies that people can finally see mummies, like I mentioned, we do not have any in our own collection. But I like also that the exhibition is more than just about mummies that we talk about multiculturalism, we still talk about, what is mummification? Has it changed or not during the Roman period? And a little bit you see this hinted in the exhibition, but there's a catalog also that accompanies it. And we dive into other themes like colonialism as well, because the discovery was made at the height of the British Empire. So how does that play how the objects that were discovered in Egypt ended up in Manchester Museum, for example. And that's one of the reasons I mean, I've been looking for a mummy exhibition for a little while. This one really caught my interest because it was more than just about mummies, but it was also about bringing transparency to how collections have been formed. And that sort of thing. So it was sort of hitting multiple boxes on the best mummy exhibition to bring to the the NCMA. Elizabeth Esser  9:04  Finally, is there anything else that you would like listeners to know about Golden Mummies of Egypt?Caroline Rocheleau  9:09  Well, it is awesome, first of all, so that's the first point. And what I like to our marketing team, we have this little more I'm going to call it a little ad that said that says mummies wear masks too, because you will see a lot of masks and portraits in the exhibition. And yes, these do identify like, Oh look, this is a human mummy. But these are also used as protection, just like the layers of wrapping around the mummy that's for protection. So those mummy masks that you see in the exhibition to offer protection. So wear your mask, do like the mummies, and come see golden mummies of Egypt. Elizabeth Esser  9:47  Golden mummies of Egypt is open from now until July 11. Tickets are $20 for non member adults $17 for seniors and $14 for youth ages 7 to 18 students get in free with their college ID Every Friday from 3 to 5pm with a reserved ticket which can be received through contacting help@NCArtmuseum.org reporting for Eye on the Triangle. This is Elizabeth Esser.Lise Nox  10:15  The views and opinions expressed during Eye on the Triangle do not represent WKNC or student media.Hi, this is Lise Knox, and you're listening to Eye on the Triangle. After spending all of 2020 without seeing live music because of the COVID pandemic the emblematic Raleigh music venue the Pour House House Music Hall started hosting live shows again as of March 2021, I went to one of their COVID safe concerts to see the Latin rock band Tumbao play live on the fifth of March 2021. And I ended up writing about my experience for WKNC's blog, in an article called "I went to a COVID safe concert after one year without any live shows." Adam Linstaedt, owner of the Pour House Music Hall and record shop read my article and thought it would be interesting for him to talk more in depth about what it's really like for a music venue to be hosting COVID safe shows while Raleigh is still affected by the pandemic. I'm really glad we're having this conversation today because I wrote an article a few weeks ago that apparently you've read about me going to a COVID concert at Pour house, which is a very weird experience but really cool experience. So today we're going to be talking about what it's like to be hosting these kind of shows in the middle of a pandemic, because for a lot of people, it can seem kind of weird to be, you know, going to concerts. But before we dive into this very specific topic, I just wanted to like know how it was like for you guys to be going through this pandemic as a venue, you know, like a local business, how are you guys able to survive the pandemic in the first place,Adam Linstaedt  11:51  It was extremely stressful. It still is we're only partially back at this point. But it was just from day one, watching the money in our bank account just dwindle on a daily basis for a venue like ours when we're closed completely not doing anything, the lights are off, it cost $500 a day. And we were closed for 355 days without doing shows. So for all you math majors out there, you know, you can figure that out really quickly of how much we lost. We had nowhere near that amount when we went into the pandemic either we relied heavily on donations, on grants from the city and state and other organizations we've taken out several loans. So yeah, I mean, we've acquired another $400,000 of debt since this time last year just to stay afloat to make sure we don't go anywhere. And now there's some light at the end of the tunnel knock on wood. The venue grant that passed in December through Congress is becoming available the applications opening on April 8, which will be a huge Lifeline not just for us, but for all independent music venues across the country. It'll basically help bring us back to close to zero, which is way better than being a large negative number. There has been days over this last year where it's like, Alright, we got this, we got to figure it out. We're gonna do this, this and that. And then the next day you're like curled up in a corner crying like what the hell am I doing? Why am I doing this? Oh my god, this is such a terrible idea. So it's definitely been an emotional roller coaster, us more than other venues, we're in a slightly better position. So in November of 2019, we converted the second level of the music venue into a record shop. So we've had that open the whole time. Once we closed down, we converted all of our inventory to try selling online the first couple weeks, you know, we basically just had an Excel spreadsheet that we made public that people would tell us what they wanted, they would come to curbside pickup we delivered to their houses, ship it in the mail. And after a few weeks of doing that it was really confusing for everyone and not terribly accurate on our end, since it was like a panic mode. Like we got to do this now. So we can stop the bleeding a little bit. So we launched the true website. It's still active, Pourhouserecordshop.com, and we released new stuff every Friday new and used. And we really developed a great online following and are now selling nationally to all 50 states and several countries as well. So that's been huge for us. It's basically helped sustain us, it's definitely not making us money, but it's you know, making the losses every month a lot less. The intention of the record shop was never to pay for a 5500 square foot building and prime real estate of downtown. There's a reason you don't see places like that very much across the country anymore. It was really a way to provide more services to our customers be open more and use our square footage in a better way. I guess, rather than only using the building at night for a few hours. You know, we wanted to try to use it, you know, 16 hours a day and we had the record shop open. We got a full bar up there. We were doing shows free shows on Saturday and Sunday three to five sets every Saturday and Sunday afternoon up in the record shops. It was really becoming a great thing and then the shutdown happened and everything got wiped out. And really in order for us to get back to doing those types of things. Again, we're going to have to be back with no restrictions whatsoever because it's a pretty small space up there even right now with the show that you went to and that we've been Running on Fridays and Saturdays, it's running at 19% capacity, we normally hold 289 people, we're now letting 54 people in at a time into a big space. They're seated shows, I'm personally bringing everybody in and bringing them to their table, giving them the rundown of how shows are running the expectations that this is a seated show that you should really think of this as going to a movie or a comedy club, you're sitting back and enjoying the show, we're bringing everything to you, there's no reason for you to be up wandering around anything like that, unless you're using the restroom or needing to step outside for whatever reason. Otherwise, if people are just starting to wander around, they see friends at different tables, we talked to them, if they continue to not follow the rules, we kick them out without a refund. Luckily, that hasn't had to happen yet, I'd say 95% of people have been great. And they understand they're, you know, following our protocols, no problem, there's a small group of people that don't want to wear masks, they'll come in, you know, the moment they get inside, they're taking it off. And because you're inside now that COVID is gone, it doesn't make sense. So we are enforcing the mask rule more strictly than say, like a restaurant or a store, we're requiring people to keep it on the entire time, the only time they can take it off is you know, for a drink, they can pull it down, take a sip of their drink, then put it back on. And if people aren't doing that, we ask them to comply. And if they continue to cause a problem, we ask them to leave. We've had a couple people leave on their own, and on their way out calling me a mask Nazi and all this fun stuff. So like cool, like you can have a great day, you know,Lise Nox  16:24  it's like we've been independent for over a year. Now, you should know you're supposed to wear your mask. It's like, you know, basic guidelines for COVID.Adam Linstaedt  16:31  Yeah, there's this strange dichotomy happening because the Pour houses in other music venues are considered private clubs. So like your regular bar that doesn't serve food, it's not part of a brewery, not part of a hotel, not part of the winery, we've been the only classification of bars in the state that hasn't been able to be open, all the other ones have been open since May of last year. So a lot of people have been going out for 10 months at this point. And all those places, you know, you go into a brewery, you go into a restaurant, you wear your mask in, and then you sit down and then you can take it off for two hours and not have to put it back on, getting those people used to the fact that they have to keep it on it feels they feel like they're getting their rights or whatever squashed, blah, blah, blah, but it's our house our rules. And really what the mandate says is, if you're not drinking, you have to be wearing a mask. And we interpret that as if you're not physically drinking, not just sitting there with a drink in front of you that's not drinking, you got to have a mask on. And we're keeping the show short right now to reduce the amount of time that people are in room lessen the exposure risk. So normally, we would have anywhere between two and four bands every night, we're now running one band playing one set for 60 minutes. So people are in and out pretty quickly. And then we turn the house do a deep clean and then do a second show with the same artist. So we're not you know, having multiple bands sharing the stage and having to do deep cleans of the equipment for the artists in between sets. And we've got, you know, plastic shields on all the microphones for when singers are singing, it provides extra protection from them spraying their spit out into the audience. And you know, we're doing everything we possibly can in our powers to do it right and make sure it is a safe experience. In my opinion. I've heard it from countless people that have been to shows already, they felt safer coming to a show with us than going to the grocery store or going to a restaurant or going to this place or that place because the rules are so strictly enforced. Lise Nox  18:15  Yeah, as someone who actually went to a show, I could tell that the venue really looked empty. But at the same time, I was like, I'm glad I have enough space around me to you know, not feel like someone's going to infect me with COVID or something I felt safe. And it was really weird. When my friend told me Oh, actually my partner plays the bass in a band. Do you want to go see him play live? I was like, why would I ever go to a concert like that seems like that most unsafe thing to do. And when I was actually at Pour House, I was like, everything is so much safer than me going to like the grocery store or any other place. So you guys have been doing a really great job of keeping everyone safe props to you guys like that.Adam Linstaedt  18:50  Thank you very much. Yeah, safety and experience for not only the patrons for the bands and my staff as well have always been top priority even before COVID. You know, obviously, it looked different before but the mentality was always there in trying to make it as fun as possible for everyone involved in as safe as possible for everyone involved. And that's just really carried over. I mean, we had these plans in place ready to go in at the beginning of April 2020. We knew what we had to do in order to put on a safe show. Because you know, in the beginning it was it was like on a three week rolling basis. It's like you might be able to open in three weeks. So get ready and then three weeks would come we're like okay, it's another three weeks and kept snowballing on and on and on and on. And then by the time we got to after Halloween into November the numbers were going crazy. So I was like, you know, I'm stopping I can't keep replanning and retooling everything every couple weeks its driving me crazy. I'm getting pretty grey now and I wasn't before. But you know, and then all of a sudden Cooper made the announcement that we could open. It kind of blindsided us we weren't exactly ready for it. And honestly, we didn't think that it was the appropriate time but also at the same time we felt we had safe plans and places have been open for 10 months except 1000 businesses in the entire state. So we felt we could do it safely and properly and provide that Pour House experience, even though in a different fashion, we felt we could do it in a safe and enjoyable way.Lise Nox  20:11  And it was probably even safer at Pour House than any other bar, because I remember going to bar once. And just like you said, People usually tend to like take off their mask to drink. And for two hours, they don't put it back on, we're just not wearing our mask and drinking beers at a bar so. We're just like, not in a pandemic anymore, you know, feels like we're not Adam Linstaedt  20:31  Totally yeah, and you know, there was so much language early on, like concerts are the most dangerous thing you could possibly do on the face of Earth anymore. And everyone's like, concerts. It's the devil's play right there. You can't, you can't mess around with it. And at the same time, during the pandemic, there's comedy shows, and there was concerts happening at places that serve food, it was okay if there was food, so you had to have your mask off and flap your mouth more so more spits flying out into the air that was safer rather than people just sitting down paying attention to what's happening in front of them with a mask on so I mean, the the way it was cut up felt extremely unfair. I do feel like we did our part in doing everything we could to step back and you know, alleviate any sort of pressure that's put on the system for people getting sick. Obviously, that's the last thing we want for anybody. We want this to just go away and nobody else gets infected. But that's not the reality we live in. And but it also got to a point where it's like we were the first ones to jump back into the you know, from the quote unquote, true music venue side of things in the area, we were the first ones to just jump back in. I feel like we've set the bar for expectations for people coming to concerts and what it needs to look like in order to feel safe and comfortable.Lise Nox  21:38  Yeah, cuz it really looks like you guys had been like preparing for COVID safe shows for a long time, because you were able to do it in a way that felt safe professional, and you didn't forget about any detail. I mean, when it comes to COVID guidelines, so that was really impressive to be able to adapt that quickly. You know, like I've seen many record labels and artists have online shows for their audience to watch. Is this something you've ever done with bands who usually play at Pour House during 2020? Adam Linstaedt  22:05  Yeah, for sure. We did probably 20 or 25 live streams over the last year. The first one we did was very early on. Right after John Bryant passed away. We did a tribute to John Bryant with that's when people were still on full lockdown and they're still at their houses. Nobody was coming to the Pour House. We had 8 different acts like BJ Barnum from American aquarium, Kate Rhudy, John Howard Jr, who's playing tonight at the Pour House and a bunch of other really great acts that are influenced by John Bryant. And they each played three songs, nobody replicated songs and we switched myself and one other person we controlled the stream from the Pour house and you know tuned into John Howard's house and over to BJs house then over to Kate's house, and it was like a continuous thing. And it was a really beautiful tribute and you know, tons of people tuned in at that time we were doing it as a fundraiser for the Raleigh music venue employee fund that we started to try to get some dollars in the pockets of all the people that work at Pour House, Lincoln's, Slim's, Kings, and Wicked Witch raised some good money during that for the crews. And then over time, we started doing more in person like Arson Daily and Jack the Radio and Shame did something and a bunch of other artists, Reese McHenry, and over time like as the pandemic ticked on, more and more, the number of people tuning in started going down, I definitely feel like there was like a live stream fatigue happening. I've spoken with several other event producers around the country. And they've seen very similar things. It seems that the most successful live streams are from bands that have a much larger national or international fan base. They're doing it on their own. They're not necessarily streaming from a place for this specific reason. They're just connecting with their, their audience, it was never really an intention for us to make money from it, it was more of a way to be like, Hey, we're going to be gone for a year. Don't forget about us. We're still here. Like, we're still doing these things over here. And we're ready for you when when this is all over. So it was really just a way to try to stay fresh in people's minds. Lise Nox  24:00  Yeah, I feel like the one positive thing that we can all kind of get from this entire pandemic is how we've all kind of learned how to use technology in new ways. You have online shows, which is something you've never would have thought of before the pandemic because if you're going to go to a concert, you're going to go in person, like why would you watch music through computer in the first place? Yeah. And also Yeah, about the, like livestream fatigue. I feel like a lot of people have spent their entire 2020 working from home on their computer, you know, having zoom calls all day. No, the last thing you want to do after an entire day seated at your computer at your desk is watch the live stream again at night. I don't think I've watched any live stream during the pandemic because I was really I wasn't really up to date with everything that was going on, like this, but I think I would have watched one if I kind of knew because I was so caught up in like work and you know, trying to survive a pandemic, I guess but yeahAdam Linstaedt  24:52  it just gets pushed so far down the priority list of things going on in your life and nobody's to fault for that because I mean, everyone's experienced with this last year has been wild. And I mean, nobody's experience has been the same. So I've heard, you know, some artists complaining, like, Oh, so and so these people aren't supporting us anymore. Like, it feels like this isn't worth it anymore. It's like, I get that I understand why you're feeling that. But you also have to put yourself in that in their shoes and understand why they're not. I mean, maybe they had a death in the family from COVID. Maybe they're sick themselves, maybe they're just like losing their damn minds, and just don't know what to do anymore. I had several people approach me over this last year that like, we really need to convert audiences into getting used to watching live streams, because this is going to be the new reality. And like this, and that we can do all these different things to make it more engaging. And at the end of the day, the people that were pitching these ideas weren't even watching or paying for the live streams themselves, they might like tune into a free one. But the moment like the artists can really monetize that and use it as a source of income is they got to charge just like a concert. When concerts are free artists in the venue, make very little money, when there's a cover charge, they're still making very little money, but it's better. And then you have the opportunity to sell merch and actually connect with the fans and get them to come back and multiply those crowds as time goes on the in person interaction that being in the same room with others. And experiencing the highs and lows of a musical set are the things that bond that group together. And all of a sudden, you've got 300 people in a room that are strangers that are all experiencing the same thing in the same way. And you know, they're high fiving each other and hugging and kissing on the way out, obviously pre COVID. ButLise Nox  26:33  definitely, you mentioned earlier that people you are trying to like adapt to the pandemic in the first few weeks or month by kind of selling more records online. And I just think it's really great that people were actually trying to support you guys, just like you mentioned, we've all been kind of struggling in our own ways during the pandemic. So I know that my first priority during this entire year wasn't to buy records or watch concerts online. And also, I feel like it's going to be a great opportunity for you guys to kind of expand your activity, because you mentioned that was a national kind of thing, you know, like selling records all around the country. Like are you going to keep doing this kind of thing after COVID is over?Adam Linstaedt  27:10  Oh, yeah, I mean, in November of 2019, we completely remodeled the second level, turned it into a record shop. So we are open up there from 11am till 7pm, seven days a week, and then we would convert over to shows at night. Right now we're open just Thursday through Sunday from 12 to six. So we're starting to ramp up towards getting back to more normal hours and get more activity going up up in there. And you know, it was it was really a really great scene, having people you know, browsing records peeking their head around the stacks, watching, you know, falling in love with a new act that they'd never heard of easy for them to see it because it's a free admission type show got a full bar people are hanging out, it was like a really cool, really cool scene. And then after four months of doing that it got stripped away completely. And it's like, okay, we had this great thing going on, we still have this record shop, we've got 30,000 records that we are just sitting on now we got to start selling online, and the online stuff has been really great. And we've developed a lot of relationships and deepen relationships with people that were already our customers. And now that we're starting to come back, we're keeping the online and we're trying to get more in person stuff going as people become more comfortable and get vaccinated and start venturing out of their cubby holes that they've been in for the last year. It seems like at this point with the way that vaccines are rolling out. And the way the numbers are starting to go down a little bit. It's very possible July or August, we might see things fully open. And we're back to full capacity shows and shoulder to shoulder and splitting and sweating it out with strangers like we did in the past.Lise Nox  28:35  Yeah, are you guys going to kind of try to make the shows evolve aggressively until the summer because I know you guys are only opened at 19% capacity right now. Do you see yourself like having 30% capacity shows? Because I know it's the maximum percentage, right?Adam Linstaedt  28:48  Well the maximum is up to 50% now yeah. So when you came to the show, we were allowed to be at 30%. But with going to a show, just like if you went to a movie, for example, and you got a seat where you couldn't see the screen, it wouldn't be a terribly enjoyable experience, right? So we could, in theory, put more people on the second level of the venue and push them back where they can't see the stage, but you can't see the stage and you're paying to see a show. So that kind of defeats the purpose. So in order to maintain distancing by our standards, which is a little bit provide a little bit more distance than the six feet that's mandated between tables to just provide that extra comfort level and a stage view. So looking at those two factors together, the maximum we can get to is 19%. So now we're allowed to be a 50% and getting all sorts of bands and booking agents hitting me up like alright, I heard 50% let's do this, you can do 140 people now is like, Well, no, because social distancing is still part of the mandate. And that's the reason until social distancing is not a revenue requirement anymore. We're going to keep operating in the way that we are once we are making plans for about a month and a half from now, to start extending the length of the shows a little bit like to show that you came to for Tumbao, those were 60 minute shows with one act, we're going to extend each show to 90 minutes. So basically add a second act with very minimal change over. So most of the time, it'll be a full band as a headliner, and maybe a solo or a duo act as an opener for 30 minutes, we can get them off stage very quickly, they're set up in front of the band already. So we don't have any big change overs, bringing gear down into the crowd and getting too close to customers or anything like that. And then we can just, you know, within two to three minutes, move on to the next band. So it's now a 90 minute show, instead of a 60 minute show.Lise Nox  30:33  It's really crazy as someone who was part of the audience, how I never like I know how much it takes to you know, keep everyone safe when you're trying to have this kind of event. But I never realized how many small details you have to think about to make sure that every single thing you do is safe. And you've been telling me about cleaning after every band and only choosing to have like one band at a time. So many things you have to think about because I mean, when I went to see Tumbao at Pour House at the beginning of March 2021, it felt weird to have like the venue being almost empty but at the same time. I'm pretty shy person. So if you tell me in the first place, like Oh, you're not allowed to dance or like, you know, jump around, I'm gonna be like, it's fine with me. I wasn't planning on dancing. If I just began my table, and like just enjoying the music and doing my thing, but yeah, no, I didn't mind having to follow all of those right, very strict rules that you guys have been implementing for the past few weeks.Adam Linstaedt  31:23  I mean, we can continue to wait until things are fully open, and then just dive back in at 100% go full force, or we could take some baby steps and get you out in front of that computer screen and actually get you back into the room feeling the music because going to show is more about feeling than anything you can see it on the screen, you can see it in person, it's the feeling that you get when you're in the room, the bass hitting you in the chest, and you know, the vibes that are just going on in the room, feeding off the energy of the other people, whether you're paying attention to them or not its in the air. And that's what that's why we do what we do is that experience of being in the room and collectively going through a moment of time that's memorable with others. And that's the baseline of what this whole experience of live music is all about to us.Lise Nox  32:05  Yeah, clearly. But since you guys were having so little people inside the venue, would you say it was easier for you to have the show since you had to, like, you know, take care of less people at the same time.Adam Linstaedt  32:15  No, because we're running things extremely differently. You know, I mean, we've always been high volume quick service bar, so customers would come to the bar to order their drinks. Now we're going to their tables and taking their order, we have paper menus at each table, people mark down the items that they want, they put it in a little metal stand. And when we see that little paper waving in the air, that's our sign to come and pick up their order. So we come and grab, grab it, bring it back to the bar, prepare those drinks, and then carry it out on a tray. I mean, we've never, we don't have cocktail service with what we run, people are coming up to us. And we're usually struggling to hear what they're trying to order. And then we make their drink as fast as possible and move on to the next one. Because there's you know, lots of people trying to get drinks, and we're doing band merch the same way. So to minimize the number of interactions that the band is having with customers, we're selling it for them. Since myself and our bartenders are already interacting with the crowds, it made better sense for us to sell their merch as well. So they're on each table, just like the bar menu, there's a little menu with the band merchandise and people can select what they want, put in a little metal stand. And when we see that we add it to their tab and bring them their t shirts and CDs and records and whatever it is that they wanted less work on the band's and more income for them because they're selling merchandise, we're not taking any sort of cut of that. So we're providing that service to just minimize the risk of getting anybody else potentially sick. And you know, that coupled with me personally seating every single person that comes through the venue explaining the rules to them. And once that's done and everyones sat I get up on stage and make an announcement and reiterate the rules say what is acceptable, what's not introduce the band, get back down start bartending and helping and clearing dishes and you know, the whole nine yards. It's exhausting. And then, you know, once that Show's over, we do it again and do a deep clean of the entire 5500 square foot venue in between the two shows, but it is really nice. I'm thankful that I had some formal theater training in the past, I used to work at Playmakers in Chapel Hill and I worked at the Old Globe Theatre in San Diego before I moved to Raleigh and American Dance Festival and Carolina theater for a little bit I really learned about how other types of live events run not everyone's like come in party, do what you want be on your phone, talk loud, most other forms of art you come in, you sit down and shut up and pay attention. Like I wrote, I had that experience and I was used to enforcing those things from the past. And we're already used to enforcing rules at the Pour House too. So it was just another layer of rules that were different than everyone was used to. So it's definitely been interesting getting folks in tune with that with this new flow of operations and I can guarantee what's gonna happen by the time everyone's like, Oh, Okay, I get it, then everything's gonna change and open back up. And we're not going to be doing things like this anymore. But at the same time, we've always had shows in the past that have lent themselves better to a seated environment, whether it's a an acoustic songwriter where silence is golden, or a jazz show or a folk show, something that is just more mellow, or maybe would attract a crowd that is a little bit older, and they appreciate the seats. So now we've got the operations down to accommodate those things, and we can amplify it a little bit more, maybe not have tables so spread out and bring in additional ones, and run shows in the same way that we are right now. So it's definitely forcing us to be more dynamic. And I think it's only going to be beneficial down the road for us to adapt how we present things based on what it is we're presenting.Lise Nox  35:35  Yeah, cuz I was gonna ask like, Once COVID is over, and you don't have to worry about masks or social distancing, or cleaning up the entire venue after every, like every set, I was gonna ask, are you going to do anything differently going forward, and it seems like you guys are gonna have more opportunities to have, you know, just like you said, lighter shows or like more intimate shows.Adam Linstaedt  35:57  Usually, when we've done seated shows in the past, we've done it more like rows of chairs, without tables, more of like a theater style seating. So we'll bring in 100 chairs or something like that, for the ground floor, maybe some standing room behind it with a few tables, and then general admission behind that at the bar. So people are still able to be fluid. But when you do shows like that, especially when you're in a row of 10 people, and you're in the middle and you want to get up and go get a drink, you're gonna probably question yourself, whether you should do that and interrupt all these seven people that you got to walk past in front of and then come back and how many times you actually going to get up and down. But with doing it with the tables like this, so it's kind of more like a jazz club or a comedy club type approach? I think it works really well. You know, we started a series with NC State live in 2019, we did a handful, maybe three or four shows with them in partnership, and something Those were all seated shows with the sporadic seating and row seating that I was speaking of before, but I was talking to Sharon, who runs the program over there yesterday, actually, like you should really come check out what we're doing now. I think it's gonna lend itself perfectly for the NC State live shows. And she's like, yeah, that's gonna sounds great, we should totally come and check that out. And it just, you know, people are always more comfortable with things they're familiar with. And certain crowds are more familiar with certain types of approaches than others. And it's a way to reflect what the crowd wants. That's our job as a venue is to make it comfortable for people and make it as fun for those people that are there that night. And I think having those seated shows like that is going to continue to be a thing in the future, we might lay off it a little bit for a while and just party as hard as we can, and you know, throw all the ragers. But whenever that whenever that happens, whenever it's safe. It's looking like the later this year, late summer, maybe in the fall, we should be back to rocking and rolling.Lise Nox  37:45  Do you have unless you don't want to talk about it? Because it's a surprise, or, you know, do you have anything planned for when things are gonna go back to normal to kind of celebrate, you know, venue being able to reopen normally?Adam Linstaedt  37:56  No, not at this point. Because if I've learned anything over this last year is the more you put plans down into place and start moving on them, you're going to have to change them. So we know how to run shows like that we're ready for it. It's when it's going to be it might be a Tuesday randomly, it might be a Friday night, a couple of weeks after we get the announcement that we can do things like that as we ride out things that are already in place on the calendar, since we know typically booked further out than this weekend, you know, we've got things on the calendar all the way up to January right now of stuff that was rescheduled from last yearLise Nox  38:28  really seems like the pandemic has kind of taught us all how to be more spontaneous and flexible with our time with our energy our plans, just like you said, Every time you as of right now every time you're going to plan something for the future, you're always going to think in the back of your mind, maybe its is not going to happen. Or maybe everything's gonna change or like my entire world is going to fall apart in like two months from now. So adapt to be changes really quick. It's what we've all been doing for all of 2020Adam Linstaedt  38:53  Yeah, early on in the pandemic, I was talking to someone I don't remember who you know, you seem to really be on top of things and like getting things rescheduled and getting things on the calendar, blah, blah, blah. I was like, Yeah, but you know, at the same time, I'm really trying to look at this, like we're a startup business, when you're a startup business, you don't really you might have a date planned for when you're going to open but there's always going to be surprises that pop up, you have to have this extra permit or you have to have this extra inspection or the plumbing inspector is making you move your toilet over a quarter inch to fall into compliance. So being flexible, having a plan and being able to adapt it in real time is key for everyone right now to maintaining sanity really Lise Nox  39:30  I think the positive things we can remember from this pandemic is like how we've all been able to evolve into new people or you know, just like or new ways to run our businesses, I guess.Adam Linstaedt  39:39  Yeah, hopefully it sticks for a lot of people because typically people tend to forget things very quickly and move on and fall back into old habits. So hopefully it is been long enough that there is a greater good that comes out of this all this downtime we've all had. Lise Nox  39:52  I can say even though you guys had to set really strict rules for your show. I remember having a great time. So thank you so much for making this possible because I'm a really big fan of like music. So spending an entire year without going to a concert and also having started the year 2020 thinking, Okay, this year is the year where I will be going to one concert per month. That's the thing I wanted to do for my 2020 and then having to spend the entire year locked up in my room and be like, not going to happen. Definitely not gonna happen. I just remembered that. So I moved to Raleigh a few months ago. And I remember the first time I went to Pour House, I had no idea what it was in the first place. Like my friend told me, Hey, we should go to pourhouse. I was like, yeah, sure, whatever that is. And she took me to the record shop upstairs. And at the time, I had no idea that you guys were actually hosting live shows, usually, you know, pre pandemic. And she's the one who showed me the stage. And she was like, Oh, my partner usually plays there. And I was like, wow, there's a venue here. Like, that's awesome and at the time, I was like, well, we're, you know, with COVID. and stuff, I'm never going to be able to see a concert anyways, like, good thing to know. But I'm probably going to beAdam Linstaedt  40:58  Thanks for rubbing it in.Lise Nox  41:00  Like, I'm glad to know this information, but I'm not going to be able to do anything about it. And fast forward two months later, I'm seeing a live show of her partner playing the bass on stage. And I'm like, Oh, it was just really, really fun to notice the evolution because we're kind of seeing the light at the end of the tunnel right now know, people are getting more and more vaccinated.Adam Linstaedt  41:18  I think its starting April 6th, or 7th anyone over 16 in North Carolina can get it. You can get it next week. Lise Nox  41:26  Oh, wow. That's, that's coming really quickly. Yeah, cuz I'd like to get vaccinated. And I, for some reason, for obvious reasons, I couldn't. But yeah, it's good to know. So yeah, Adam Linstaedt  41:36  They've fast tracked a lot of things. And yeah, I believe it's the sixth or the seventh, anyone over the age of 16 is eligible. Okay, yeah, I got my second shot on Wednesday, and my wife just got her second shot this morning. That's great. So we're moving, we're moving towards it. And you know, once everyone that works for the venue, is vaccinated, and we're past that two week after, after getting your second shot time period, we are going to be a little bit more flexible with the masks, we're obviously still going to encourage people to keep them on the entire time they're inside the building, but we're gonna fight with them less about it. So if someone feels the need to sit down and take their mask off, and stay in their spot and follow all the other rules, keep their mask off while they're drinking, we're going to allow it at that point in time. But right now, if any of us get sick we had 17 employees when we closed down, and now we're we have 4, so if any of us get sick, we're gonna have to cancel shows for the next month, which is putting all these bands out of work, putting them out of work, we're just doing everything, we can definitely not make that happen. So we'll feel a little bit more comfortable with it once everyone's got their vaccinations fully in their systems. And, you know, hopefully everyone else follows suit and gets their shots as well. And we can get back to this sooner than later since I mean, it's the floodgates are opening next week,Lise Nox  42:53  it definitely matters more than anything that your team is safe first, because for people running the shows, like did you have to let go that many people because of like the debt?Adam Linstaedt  43:02  Well, I mean, that's how many people we need to run shows right now. Okay, so I've got my sound engineer, our door person, and two people working behind the bar plus myself managing so there's four people working than me managing and we're able to make it work with 54 people in the room, that's a fine number for us to deal with. So as things ramp up, we're going to start bringing back more folks, I have a separate person that's running a record shop during the daytime for those hours, technically five people back of the 17 that we had when we closed down initially,Lise Nox  43:34  okay, yeahAdam Linstaedt  43:34  But yeah I mean, we were we had the record shop opened 56 hours a week, we're doing shows seven nights a week with multiple bands, you know, often we would have four or five bartenders on any night, sometimes additional security on the floor, always a manager on duty. So just the need for more people right now isn't there and it wouldn't be fair to bring back more people and cut everyone's money down and then go, we should have stayed on unemployment, we would have been making more money that way, even though people want to get back to work. So it's been a balancing act for sure. We definitely have more folks that we're ready to bring back once restrictions get loosened a little bit. And we're able to bring more bodies in and justify the cost and having more people workingLise Nox  44:13  if you only have to deal with like 40 people like 44 people at the same time, it seems you know, reasonableAdam Linstaedt  44:18  Right, normally, in the before times, if we had a show where you know, 40 or 50 people showed up, that would be a one bartender night because they're not having to go out and run all over the place and cocktail and get their bills. 20,000 steps in in a couple hours. They're behind the bar, people are coming to them, which is a lot more easy to manage than it is with this other process. But yeah, that's where we're at right now. And I have full intentions of getting back to bigger and better places than we were before.Lise Nox  44:42  Hopefully by this summer 2021. That would be awesome. The rebirth of Pour House. Finally,Adam Linstaedt  44:47  yeah, it's coming.Lise Nox  44:49  Yes, it definitely is. I think I've covered pretty much everything I wanted to talk about. Is there anything else you want to add?Adam Linstaedt  44:56  Just let folks know that we're announcing new concerts every Tuesday at noon. So if you pay attention to our social media on Facebook or Instagram, or you get our newsletter that we send out, those are the main places that we're announcing those shows on the record shop side of things, we put out new and used releases every Friday at 10am. online at pourhouserecordshop.com they're obviously available in shop starting at noon, and just kind of keep an ear out for us. Because we're always adding more things, we're always announcing more events. And hopefully soon we're going to announce that things are changing for the better. And we're moving in the direction of not having to be so strict and we can loosen up because at the end of the day, people come and hang out with us to cut loose from life not to follow more rules their here to have fun were very much ready to get back to that. So in the meantime, we're just going to make this as fun as we possibly can and as enjoyable as we possibly can, with the hope of being able to shift back to how things were before and being more fluid of an experience.Lise Nox  45:56  Yeah, and I feel like this interview and the article I wrote, are going to be pretty good proof for people that their shows are safe. So if you want to have fun, if you want to forget about the pandemic for an hour, one night, you can you're not going to get sick with COVID, it's fine, you can go to a concert, like with a clear conscience,Adam Linstaedt  46:14  Right totally. And on that same on that same note we've got, because we're largely selling all of our tickets in advance. So we have contact information for at least one person in every single group that's coming to the venue. And we've asked in all of our terms, hey, if you or anyone in your group gets sick with COVID, within two weeks of being here, let us know. So we can let everyone that was at that show know. So they can, you know, squash it and you know, isolate and do the things that they're supposed to do to help slow the spread of this thing. The answer is to slowing it down are just so painfully obvious. And it's so hard to watch everything happen that are just flying in the face of it and flying in the face of logic. It's really frustrating. We could have been back to rocking and rolling a long time ago if everyone just you know, did what they were supposed to do and were responsible but that's not the world we live in unfortunately.Lise Nox  47:03  Definitely not thank you so much for taking the time to talk to me about this this the kind of information that I think a lot of people are going to be benefiting from people are going to know what it's like with you telling us about Pour house and everything had to go through and how you're running the shows right now. Like it's just really great information. So thank you so much for taking the time to talk about this with me.Adam Linstaedt  47:22  Yeah, absolutely. I appreciate you putting it at the forefront and letting folks know and if anyone has any questions or concerns or hesitations about coming out to a show or coming to the shop you know we're an open door people can email me my email is adam@The-Pour-House.com You can also reach out to Nick his emails the same but it's Nick you can reach out to Lacey the same but L A C I E, our phone numbers 919-821-1120. Call us we're happy to talk and ease your mind a little bit. And if we can't convince you that it's safe now we hope that you come back when you feel more comfortable.Lise Nox  47:59  Thank you so much for listening to this episode of Eye on the Triangle. This is Lise Knox for WKNC 88.1. My guest was Adam Linstaedt from Pour House Music Hall, and he did a really great job in explaining what it's really like to be hosting COVID safe shows in the middle of a pandemic. Thank you so much for listening once again and I guess I'll see you soon. Take careTranscribed by https://otter.ai

FULL TRANSCRIPT OF EPISODEProvided by Otter.aiEoin Trainor  0:00  The views and opinions expressed in Eye on the Triangle do not represent WKNC or the student media.Good evening Raleigh and welcome to this week's episode of Eye on the Triangle on WKNC 88.1 FM HD one Raleigh, I'm Eoin Trainor. On tonight's episode contributor Elizabeth Esser will sit down with Caroline Rocheleau to talk about the North Carolina Museum of Art's new exhibit on golden mummies. And then a little later contributor Lise Knox will discuss live music during the pandemic with Adam Lindstaedt, owner of the local venue the Pour House. Stay tuned.Elizabeth Esser  0:51  I'm Elizabeth Esser with WKNC 88.1 Eye on the Triangle. Today I am speaking with Caroline Rocheleau, curator of ancient art and Director of Research at the North Carolina Museum of Art to talk about the new golden mummies of Egypt exhibition that opened on March 6. Miss Rocheleau, thank you for joining us on Eye on the Triangle.Caroline Rocheleau  1:11  Well, thank you for inviting me Elizabeth Esser  1:12  To get things started can you just tell us a little bit about yourself and your position at the North Carolina Museum of Art.Caroline Rocheleau  1:19  I am director of research and also curator of ancient art, which is I guess, my primary role at the museum. I take care of all the ancient things from ancient Egypt, to the Mediterranean like Greece and Rome and also the ancient Americas but I have a colleague working with me on those last collections.Elizabeth Esser  1:38  What can visitors expect from golden mummies of Egypt?Caroline Rocheleau  1:42  Well, I'll tell you a little secret. Since I started working at the museum about 15 years ago, people have been asking me, when are we going to have mummies? When are you going to bring an exhibition of mummies because we don't have any in our collection. And the second they found out that I was a trained Egyptologist, they thought, Oh, well, she's the person to get us some mummies. So what they can expect to see in Golden mummies of Egypt is mummies. However, we're focused on a very specific cultural period. And that's the end of Egyptian history, when Egypt was ruled by the Greeks and the Romans, so the mummies are not going to look like King Tutankhamun, for example, that's sort of an image that people have in their mind. So it's not going to be that they're still mummies. But there's cultural and artistic influence at that time that's coming from elsewhere in the Mediterranean, and you will see the Egyptians wearing like Roman hairstyles and togas and things like this. So on the outside, they look different on the inside, they're the same.Elizabeth Esser  2:48  So the exhibition focuses on the Greco-Roman period. So what was unique about this particular period? And how do we see that translated in the exhibition?Caroline Rocheleau  2:59  So Egypt has always been a multicultural environment, because of where it's located, you know, northeast Africa, but attached to Western Asia and like the, what we call today, the Middle East, and with access to the broader Mediterranean, now you really see it even more, because Egypt becomes part of other empires that have even further wider reaches. And if you think of just a Roman Empire, the fact that Roman Egypt is on par with Gaul with Roman France, is sort of mind boggling, you know, insert mind blowing emoji here, when you put that into perspective it's like, wow, other countries are as old as Egypt. And Egypt is now part of a much, much bigger network than it was before. So you do see as I mentioned earlier, those cultural influences coming in, because it's all part of the Empire. The Empire is very diverse. It runs from Western Asia, all the way through Western Europe, and the British Isles. So it's, it's quite bigger than Egypt at its height ever was. So you do see those influences? What does curating an exhibition during a pandemic look like? The curating part was not done by me because we this is a traveling exhibition. So it came. It's an exhibition that is circulated by Nomad Exhibitions based out of Scotland and the collection that is being presented is that of Manchester Museum in the UK. So my colleague there, Campbell Price, and Nomad Exhibitions worked together to curate the exhibition. That being said, installing an exhibition during a pandemic is something that nobody had ever done before. And this was complicated by the fact that people from Nomad and people from Manchester were supposed to come travel to North Carolina to install the cases and put the objects in the cases, because of the pandemic and the travel restrictions, nobody could travel. So it was a whole bunch of zoom meetings, phone calls, we had a WhatsApp, you know messaging group, because we're, they're basically helping us remotely put the cases together things we'd never put together before. The material that's you handle any material the same way. So that's not so much of an issue but it was trying to do all of this by ourselves when we were originally supposed to assist. So it was a lot trickier and you're in there with your mask, and you're putting in the objects and you're you're trying to stay six feet apart. That's impossible. So it's very nerve wracking at the same at the same time, but we pulled through, and it looks absolutely fabulous. But it was quite a challenge.Elizabeth Esser  6:06  I understand that the triangle area is celebrating this exhibition along with the museum. Can you tell us a little bit about the community collaborations with the Golden Mummies of Egypt,Caroline Rocheleau  6:16  We actually have a few goodies in various restaurants. And so we have places in Raleigh and Chapel Hill, for example, good day, good night at Origin Hotel in Raleigh. They have a cocktail called Gold of Egypt. There's another one called a golden goddess cocktail that's in Chapel Hill at Honeysuckle Lakewood, there's a bunch of different things. We even have chocolate, custom packaged sea salt chocolate, available at our museum, or I should say, our exhibition store, which is as you come out of the exhibition, it's it's right there, that's Videri Chocolate Factory, and they sell it at their store as well. Even in the store, we do have some goodies related to this bartending cocktail mix that we have. And we also have a candle that where the scent was made exclusively for us. And it's inspired by golden mommies. So that's actually kind of fun. Like you don't really see that in like exhibition stores something custom made like a candle. For example, Honeysuckle Tea House has Egyptian sunset tea made with chamomile, lemon balm, fall gold, ginkgo leaf, gingerroot, and oatstraw. That just kind of sounds nice, actually. So those are the kinds of partnerships that we have with local places like restaurants and tea houses and chocolates, like what could be better a cocktail, some chocolates after you visit the exhibition. That's awesome to me.Elizabeth Esser  7:47  What is your favorite part of the exhibition?Caroline Rocheleau  7:50  Goodness, I have lots of it's like asking for my favorite child. There's lots of different things that I like about the exhibition. I like that we are that we have mummies that people can finally see mummies, like I mentioned, we do not have any in our own collection. But I like also that the exhibition is more than just about mummies that we talk about multiculturalism, we still talk about, what is mummification? Has it changed or not during the Roman period? And a little bit you see this hinted in the exhibition, but there's a catalog also that accompanies it. And we dive into other themes like colonialism as well, because the discovery was made at the height of the British Empire. So how does that play how the objects that were discovered in Egypt ended up in Manchester Museum, for example. And that's one of the reasons I mean, I've been looking for a mummy exhibition for a little while. This one really caught my interest because it was more than just about mummies, but it was also about bringing transparency to how collections have been formed. And that sort of thing. So it was sort of hitting multiple boxes on the best mummy exhibition to bring to the the NCMA. Elizabeth Esser  9:04  Finally, is there anything else that you would like listeners to know about Golden Mummies of Egypt?Caroline Rocheleau  9:09  Well, it is awesome, first of all, so that's the first point. And what I like to our marketing team, we have this little more I'm going to call it a little ad that said that says mummies wear masks too, because you will see a lot of masks and portraits in the exhibition. And yes, these do identify like, Oh look, this is a human mummy. But these are also used as protection, just like the layers of wrapping around the mummy that's for protection. So those mummy masks that you see in the exhibition to offer protection. So wear your mask, do like the mummies, and come see golden mummies of Egypt. Elizabeth Esser  9:47  Golden mummies of Egypt is open from now until July 11. Tickets are $20 for non member adults $17 for seniors and $14 for youth ages 7 to 18 students get in free with their college ID Every Friday from 3 to 5pm with a reserved ticket which can be received through contacting help@NCArtmuseum.org reporting for Eye on the Triangle. This is Elizabeth Esser.Lise Nox  10:15  The views and opinions expressed during Eye on the Triangle do not represent WKNC or student media.Hi, this is Lise Knox, and you're listening to Eye on the Triangle. After spending all of 2020 without seeing live music because of the COVID pandemic the emblematic Raleigh music venue the Pour House House Music Hall started hosting live shows again as of March 2021, I went to one of their COVID safe concerts to see the Latin rock band Tumbao play live on the fifth of March 2021. And I ended up writing about my experience for WKNC's blog, in an article called "I went to a COVID safe concert after one year without any live shows." Adam Linstaedt, owner of the Pour House Music Hall and record shop read my article and thought it would be interesting for him to talk more in depth about what it's really like for a music venue to be hosting COVID safe shows while Raleigh is still affected by the pandemic. I'm really glad we're having this conversation today because I wrote an article a few weeks ago that apparently you've read about me going to a COVID concert at Pour house, which is a very weird experience but really cool experience. So today we're going to be talking about what it's like to be hosting these kind of shows in the middle of a pandemic, because for a lot of people, it can seem kind of weird to be, you know, going to concerts. But before we dive into this very specific topic, I just wanted to like know how it was like for you guys to be going through this pandemic as a venue, you know, like a local business, how are you guys able to survive the pandemic in the first place,Adam Linstaedt  11:51  It was extremely stressful. It still is we're only partially back at this point. But it was just from day one, watching the money in our bank account just dwindle on a daily basis for a venue like ours when we're closed completely not doing anything, the lights are off, it cost $500 a day. And we were closed for 355 days without doing shows. So for all you math majors out there, you know, you can figure that out really quickly of how much we lost. We had nowhere near that amount when we went into the pandemic either we relied heavily on donations, on grants from the city and state and other organizations we've taken out several loans. So yeah, I mean, we've acquired another $400,000 of debt since this time last year just to stay afloat to make sure we don't go anywhere. And now there's some light at the end of the tunnel knock on wood. The venue grant that passed in December through Congress is becoming available the applications opening on April 8, which will be a huge Lifeline not just for us, but for all independent music venues across the country. It'll basically help bring us back to close to zero, which is way better than being a large negative number. There has been days over this last year where it's like, Alright, we got this, we got to figure it out. We're gonna do this, this and that. And then the next day you're like curled up in a corner crying like what the hell am I doing? Why am I doing this? Oh my god, this is such a terrible idea. So it's definitely been an emotional roller coaster, us more than other venues, we're in a slightly better position. So in November of 2019, we converted the second level of the music venue into a record shop. So we've had that open the whole time. Once we closed down, we converted all of our inventory to try selling online the first couple weeks, you know, we basically just had an Excel spreadsheet that we made public that people would tell us what they wanted, they would come to curbside pickup we delivered to their houses, ship it in the mail. And after a few weeks of doing that it was really confusing for everyone and not terribly accurate on our end, since it was like a panic mode. Like we got to do this now. So we can stop the bleeding a little bit. So we launched the true website. It's still active, Pourhouserecordshop.com, and we released new stuff every Friday new and used. And we really developed a great online following and are now selling nationally to all 50 states and several countries as well. So that's been huge for us. It's basically helped sustain us, it's definitely not making us money, but it's you know, making the losses every month a lot less. The intention of the record shop was never to pay for a 5500 square foot building and prime real estate of downtown. There's a reason you don't see places like that very much across the country anymore. It was really a way to provide more services to our customers be open more and use our square footage in a better way. I guess, rather than only using the building at night for a few hours. You know, we wanted to try to use it, you know, 16 hours a day and we had the record shop open. We got a full bar up there. We were doing shows free shows on Saturday and Sunday three to five sets every Saturday and Sunday afternoon up in the record shops. It was really becoming a great thing and then the shutdown happened and everything got wiped out. And really in order for us to get back to doing those types of things. Again, we're going to have to be back with no restrictions whatsoever because it's a pretty small space up there even right now with the show that you went to and that we've been Running on Fridays and Saturdays, it's running at 19% capacity, we normally hold 289 people, we're now letting 54 people in at a time into a big space. They're seated shows, I'm personally bringing everybody in and bringing them to their table, giving them the rundown of how shows are running the expectations that this is a seated show that you should really think of this as going to a movie or a comedy club, you're sitting back and enjoying the show, we're bringing everything to you, there's no reason for you to be up wandering around anything like that, unless you're using the restroom or needing to step outside for whatever reason. Otherwise, if people are just starting to wander around, they see friends at different tables, we talked to them, if they continue to not follow the rules, we kick them out without a refund. Luckily, that hasn't had to happen yet, I'd say 95% of people have been great. And they understand they're, you know, following our protocols, no problem, there's a small group of people that don't want to wear masks, they'll come in, you know, the moment they get inside, they're taking it off. And because you're inside now that COVID is gone, it doesn't make sense. So we are enforcing the mask rule more strictly than say, like a restaurant or a store, we're requiring people to keep it on the entire time, the only time they can take it off is you know, for a drink, they can pull it down, take a sip of their drink, then put it back on. And if people aren't doing that, we ask them to comply. And if they continue to cause a problem, we ask them to leave. We've had a couple people leave on their own, and on their way out calling me a mask Nazi and all this fun stuff. So like cool, like you can have a great day, you know,Lise Nox  16:24  it's like we've been independent for over a year. Now, you should know you're supposed to wear your mask. It's like, you know, basic guidelines for COVID.Adam Linstaedt  16:31  Yeah, there's this strange dichotomy happening because the Pour houses in other music venues are considered private clubs. So like your regular bar that doesn't serve food, it's not part of a brewery, not part of a hotel, not part of the winery, we've been the only classification of bars in the state that hasn't been able to be open, all the other ones have been open since May of last year. So a lot of people have been going out for 10 months at this point. And all those places, you know, you go into a brewery, you go into a restaurant, you wear your mask in, and then you sit down and then you can take it off for two hours and not have to put it back on, getting those people used to the fact that they have to keep it on it feels they feel like they're getting their rights or whatever squashed, blah, blah, blah, but it's our house our rules. And really what the mandate says is, if you're not drinking, you have to be wearing a mask. And we interpret that as if you're not physically drinking, not just sitting there with a drink in front of you that's not drinking, you got to have a mask on. And we're keeping the show short right now to reduce the amount of time that people are in room lessen the exposure risk. So normally, we would have anywhere between two and four bands every night, we're now running one band playing one set for 60 minutes. So people are in and out pretty quickly. And then we turn the house do a deep clean and then do a second show with the same artist. So we're not you know, having multiple bands sharing the stage and having to do deep cleans of the equipment for the artists in between sets. And we've got, you know, plastic shields on all the microphones for when singers are singing, it provides extra protection from them spraying their spit out into the audience. And you know, we're doing everything we possibly can in our powers to do it right and make sure it is a safe experience. In my opinion. I've heard it from countless people that have been to shows already, they felt safer coming to a show with us than going to the grocery store or going to a restaurant or going to this place or that place because the rules are so strictly enforced. Lise Nox  18:15  Yeah, as someone who actually went to a show, I could tell that the venue really looked empty. But at the same time, I was like, I'm glad I have enough space around me to you know, not feel like someone's going to infect me with COVID or something I felt safe. And it was really weird. When my friend told me Oh, actually my partner plays the bass in a band. Do you want to go see him play live? I was like, why would I ever go to a concert like that seems like that most unsafe thing to do. And when I was actually at Pour House, I was like, everything is so much safer than me going to like the grocery store or any other place. So you guys have been doing a really great job of keeping everyone safe props to you guys like that.Adam Linstaedt  18:50  Thank you very much. Yeah, safety and experience for not only the patrons for the bands and my staff as well have always been top priority even before COVID. You know, obviously, it looked different before but the mentality was always there in trying to make it as fun as possible for everyone involved in as safe as possible for everyone involved. And that's just really carried over. I mean, we had these plans in place ready to go in at the beginning of April 2020. We knew what we had to do in order to put on a safe show. Because you know, in the beginning it was it was like on a three week rolling basis. It's like you might be able to open in three weeks. So get ready and then three weeks would come we're like okay, it's another three weeks and kept snowballing on and on and on and on. And then by the time we got to after Halloween into November the numbers were going crazy. So I was like, you know, I'm stopping I can't keep replanning and retooling everything every couple weeks its driving me crazy. I'm getting pretty grey now and I wasn't before. But you know, and then all of a sudden Cooper made the announcement that we could open. It kind of blindsided us we weren't exactly ready for it. And honestly, we didn't think that it was the appropriate time but also at the same time we felt we had safe plans and places have been open for 10 months except 1000 businesses in the entire state. So we felt we could do it safely and properly and provide that Pour House experience, even though in a different fashion, we felt we could do it in a safe and enjoyable way.Lise Nox  20:11  And it was probably even safer at Pour House than any other bar, because I remember going to bar once. And just like you said, People usually tend to like take off their mask to drink. And for two hours, they don't put it back on, we're just not wearing our mask and drinking beers at a bar so. We're just like, not in a pandemic anymore, you know, feels like we're not Adam Linstaedt  20:31  Totally yeah, and you know, there was so much language early on, like concerts are the most dangerous thing you could possibly do on the face of Earth anymore. And everyone's like, concerts. It's the devil's play right there. You can't, you can't mess around with it. And at the same time, during the pandemic, there's comedy shows, and there was concerts happening at places that serve food, it was okay if there was food, so you had to have your mask off and flap your mouth more so more spits flying out into the air that was safer rather than people just sitting down paying attention to what's happening in front of them with a mask on so I mean, the the way it was cut up felt extremely unfair. I do feel like we did our part in doing everything we could to step back and you know, alleviate any sort of pressure that's put on the system for people getting sick. Obviously, that's the last thing we want for anybody. We want this to just go away and nobody else gets infected. But that's not the reality we live in. And but it also got to a point where it's like we were the first ones to jump back into the you know, from the quote unquote, true music venue side of things in the area, we were the first ones to just jump back in. I feel like we've set the bar for expectations for people coming to concerts and what it needs to look like in order to feel safe and comfortable.Lise Nox  21:38  Yeah, cuz it really looks like you guys had been like preparing for COVID safe shows for a long time, because you were able to do it in a way that felt safe professional, and you didn't forget about any detail. I mean, when it comes to COVID guidelines, so that was really impressive to be able to adapt that quickly. You know, like I've seen many record labels and artists have online shows for their audience to watch. Is this something you've ever done with bands who usually play at Pour House during 2020? Adam Linstaedt  22:05  Yeah, for sure. We did probably 20 or 25 live streams over the last year. The first one we did was very early on. Right after John Bryant passed away. We did a tribute to John Bryant with that's when people were still on full lockdown and they're still at their houses. Nobody was coming to the Pour House. We had 8 different acts like BJ Barnum from American aquarium, Kate Rhudy, John Howard Jr, who's playing tonight at the Pour House and a bunch of other really great acts that are influenced by John Bryant. And they each played three songs, nobody replicated songs and we switched myself and one other person we controlled the stream from the Pour house and you know tuned into John Howard's house and over to BJs house then over to Kate's house, and it was like a continuous thing. And it was a really beautiful tribute and you know, tons of people tuned in at that time we were doing it as a fundraiser for the Raleigh music venue employee fund that we started to try to get some dollars in the pockets of all the people that work at Pour House, Lincoln's, Slim's, Kings, and Wicked Witch raised some good money during that for the crews. And then over time, we started doing more in person like Arson Daily and Jack the Radio and Shame did something and a bunch of other artists, Reese McHenry, and over time like as the pandemic ticked on, more and more, the number of people tuning in started going down, I definitely feel like there was like a live stream fatigue happening. I've spoken with several other event producers around the country. And they've seen very similar things. It seems that the most successful live streams are from bands that have a much larger national or international fan base. They're doing it on their own. They're not necessarily streaming from a place for this specific reason. They're just connecting with their, their audience, it was never really an intention for us to make money from it, it was more of a way to be like, Hey, we're going to be gone for a year. Don't forget about us. We're still here. Like, we're still doing these things over here. And we're ready for you when when this is all over. So it was really just a way to try to stay fresh in people's minds. Lise Nox  24:00  Yeah, I feel like the one positive thing that we can all kind of get from this entire pandemic is how we've all kind of learned how to use technology in new ways. You have online shows, which is something you've never would have thought of before the pandemic because if you're going to go to a concert, you're going to go in person, like why would you watch music through computer in the first place? Yeah. And also Yeah, about the, like livestream fatigue. I feel like a lot of people have spent their entire 2020 working from home on their computer, you know, having zoom calls all day. No, the last thing you want to do after an entire day seated at your computer at your desk is watch the live stream again at night. I don't think I've watched any live stream during the pandemic because I was really I wasn't really up to date with everything that was going on, like this, but I think I would have watched one if I kind of knew because I was so caught up in like work and you know, trying to survive a pandemic, I guess but yeahAdam Linstaedt  24:52  it just gets pushed so far down the priority list of things going on in your life and nobody's to fault for that because I mean, everyone's experienced with this last year has been wild. And I mean, nobody's experience has been the same. So I've heard, you know, some artists complaining, like, Oh, so and so these people aren't supporting us anymore. Like, it feels like this isn't worth it anymore. It's like, I get that I understand why you're feeling that. But you also have to put yourself in that in their shoes and understand why they're not. I mean, maybe they had a death in the family from COVID. Maybe they're sick themselves, maybe they're just like losing their damn minds, and just don't know what to do anymore. I had several people approach me over this last year that like, we really need to convert audiences into getting used to watching live streams, because this is going to be the new reality. And like this, and that we can do all these different things to make it more engaging. And at the end of the day, the people that were pitching these ideas weren't even watching or paying for the live streams themselves, they might like tune into a free one. But the moment like the artists can really monetize that and use it as a source of income is they got to charge just like a concert. When concerts are free artists in the venue, make very little money, when there's a cover charge, they're still making very little money, but it's better. And then you have the opportunity to sell merch and actually connect with the fans and get them to come back and multiply those crowds as time goes on the in person interaction that being in the same room with others. And experiencing the highs and lows of a musical set are the things that bond that group together. And all of a sudden, you've got 300 people in a room that are strangers that are all experiencing the same thing in the same way. And you know, they're high fiving each other and hugging and kissing on the way out, obviously pre COVID. ButLise Nox  26:33  definitely, you mentioned earlier that people you are trying to like adapt to the pandemic in the first few weeks or month by kind of selling more records online. And I just think it's really great that people were actually trying to support you guys, just like you mentioned, we've all been kind of struggling in our own ways during the pandemic. So I know that my first priority during this entire year wasn't to buy records or watch concerts online. And also, I feel like it's going to be a great opportunity for you guys to kind of expand your activity, because you mentioned that was a national kind of thing, you know, like selling records all around the country. Like are you going to keep doing this kind of thing after COVID is over?Adam Linstaedt  27:10  Oh, yeah, I mean, in November of 2019, we completely remodeled the second level, turned it into a record shop. So we are open up there from 11am till 7pm, seven days a week, and then we would convert over to shows at night. Right now we're open just Thursday through Sunday from 12 to six. So we're starting to ramp up towards getting back to more normal hours and get more activity going up up in there. And you know, it was it was really a really great scene, having people you know, browsing records peeking their head around the stacks, watching, you know, falling in love with a new act that they'd never heard of easy for them to see it because it's a free admission type show got a full bar people are hanging out, it was like a really cool, really cool scene. And then after four months of doing that it got stripped away completely. And it's like, okay, we had this great thing going on, we still have this record shop, we've got 30,000 records that we are just sitting on now we got to start selling online, and the online stuff has been really great. And we've developed a lot of relationships and deepen relationships with people that were already our customers. And now that we're starting to come back, we're keeping the online and we're trying to get more in person stuff going as people become more comfortable and get vaccinated and start venturing out of their cubby holes that they've been in for the last year. It seems like at this point with the way that vaccines are rolling out. And the way the numbers are starting to go down a little bit. It's very possible July or August, we might see things fully open. And we're back to full capacity shows and shoulder to shoulder and splitting and sweating it out with strangers like we did in the past.Lise Nox  28:35  Yeah, are you guys going to kind of try to make the shows evolve aggressively until the summer because I know you guys are only opened at 19% capacity right now. Do you see yourself like having 30% capacity shows? Because I know it's the maximum percentage, right?Adam Linstaedt  28:48  Well the maximum is up to 50% now yeah. So when you came to the show, we were allowed to be at 30%. But with going to a show, just like if you went to a movie, for example, and you got a seat where you couldn't see the screen, it wouldn't be a terribly enjoyable experience, right? So we could, in theory, put more people on the second level of the venue and push them back where they can't see the stage, but you can't see the stage and you're paying to see a show. So that kind of defeats the purpose. So in order to maintain distancing by our standards, which is a little bit provide a little bit more distance than the six feet that's mandated between tables to just provide that extra comfort level and a stage view. So looking at those two factors together, the maximum we can get to is 19%. So now we're allowed to be a 50% and getting all sorts of bands and booking agents hitting me up like alright, I heard 50% let's do this, you can do 140 people now is like, Well, no, because social distancing is still part of the mandate. And that's the reason until social distancing is not a revenue requirement anymore. We're going to keep operating in the way that we are once we are making plans for about a month and a half from now, to start extending the length of the shows a little bit like to show that you came to for Tumbao, those were 60 minute shows with one act, we're going to extend each show to 90 minutes. So basically add a second act with very minimal change over. So most of the time, it'll be a full band as a headliner, and maybe a solo or a duo act as an opener for 30 minutes, we can get them off stage very quickly, they're set up in front of the band already. So we don't have any big change overs, bringing gear down into the crowd and getting too close to customers or anything like that. And then we can just, you know, within two to three minutes, move on to the next band. So it's now a 90 minute show, instead of a 60 minute show.Lise Nox  30:33  It's really crazy as someone who was part of the audience, how I never like I know how much it takes to you know, keep everyone safe when you're trying to have this kind of event. But I never realized how many small details you have to think about to make sure that every single thing you do is safe. And you've been telling me about cleaning after every band and only choosing to have like one band at a time. So many things you have to think about because I mean, when I went to see Tumbao at Pour House at the beginning of March 2021, it felt weird to have like the venue being almost empty but at the same time. I'm pretty shy person. So if you tell me in the first place, like Oh, you're not allowed to dance or like, you know, jump around, I'm gonna be like, it's fine with me. I wasn't planning on dancing. If I just began my table, and like just enjoying the music and doing my thing, but yeah, no, I didn't mind having to follow all of those right, very strict rules that you guys have been implementing for the past few weeks.Adam Linstaedt  31:23  I mean, we can continue to wait until things are fully open, and then just dive back in at 100% go full force, or we could take some baby steps and get you out in front of that computer screen and actually get you back into the room feeling the music because going to show is more about feeling than anything you can see it on the screen, you can see it in person, it's the feeling that you get when you're in the room, the bass hitting you in the chest, and you know, the vibes that are just going on in the room, feeding off the energy of the other people, whether you're paying attention to them or not its in the air. And that's what that's why we do what we do is that experience of being in the room and collectively going through a moment of time that's memorable with others. And that's the baseline of what this whole experience of live music is all about to us.Lise Nox  32:05  Yeah, clearly. But since you guys were having so little people inside the venue, would you say it was easier for you to have the show since you had to, like, you know, take care of less people at the same time.Adam Linstaedt  32:15  No, because we're running things extremely differently. You know, I mean, we've always been high volume quick service bar, so customers would come to the bar to order their drinks. Now we're going to their tables and taking their order, we have paper menus at each table, people mark down the items that they want, they put it in a little metal stand. And when we see that little paper waving in the air, that's our sign to come and pick up their order. So we come and grab, grab it, bring it back to the bar, prepare those drinks, and then carry it out on a tray. I mean, we've never, we don't have cocktail service with what we run, people are coming up to us. And we're usually struggling to hear what they're trying to order. And then we make their drink as fast as possible and move on to the next one. Because there's you know, lots of people trying to get drinks, and we're doing band merch the same way. So to minimize the number of interactions that the band is having with customers, we're selling it for them. Since myself and our bartenders are already interacting with the crowds, it made better sense for us to sell their merch as well. So they're on each table, just like the bar menu, there's a little menu with the band merchandise and people can select what they want, put in a little metal stand. And when we see that we add it to their tab and bring them their t shirts and CDs and records and whatever it is that they wanted less work on the band's and more income for them because they're selling merchandise, we're not taking any sort of cut of that. So we're providing that service to just minimize the risk of getting anybody else potentially sick. And you know, that coupled with me personally seating every single person that comes through the venue explaining the rules to them. And once that's done and everyones sat I get up on stage and make an announcement and reiterate the rules say what is acceptable, what's not introduce the band, get back down start bartending and helping and clearing dishes and you know, the whole nine yards. It's exhausting. And then, you know, once that Show's over, we do it again and do a deep clean of the entire 5500 square foot venue in between the two shows, but it is really nice. I'm thankful that I had some formal theater training in the past, I used to work at Playmakers in Chapel Hill and I worked at the Old Globe Theatre in San Diego before I moved to Raleigh and American Dance Festival and Carolina theater for a little bit I really learned about how other types of live events run not everyone's like come in party, do what you want be on your phone, talk loud, most other forms of art you come in, you sit down and shut up and pay attention. Like I wrote, I had that experience and I was used to enforcing those things from the past. And we're already used to enforcing rules at the Pour House too. So it was just another layer of rules that were different than everyone was used to. So it's definitely been interesting getting folks in tune with that with this new flow of operations and I can guarantee what's gonna happen by the time everyone's like, Oh, Okay, I get it, then everything's gonna change and open back up. And we're not going to be doing things like this anymore. But at the same time, we've always had shows in the past that have lent themselves better to a seated environment, whether it's a an acoustic songwriter where silence is golden, or a jazz show or a folk show, something that is just more mellow, or maybe would attract a crowd that is a little bit older, and they appreciate the seats. So now we've got the operations down to accommodate those things, and we can amplify it a little bit more, maybe not have tables so spread out and bring in additional ones, and run shows in the same way that we are right now. So it's definitely forcing us to be more dynamic. And I think it's only going to be beneficial down the road for us to adapt how we present things based on what it is we're presenting.Lise Nox  35:35  Yeah, cuz I was gonna ask like, Once COVID is over, and you don't have to worry about masks or social distancing, or cleaning up the entire venue after every, like every set, I was gonna ask, are you going to do anything differently going forward, and it seems like you guys are gonna have more opportunities to have, you know, just like you said, lighter shows or like more intimate shows.Adam Linstaedt  35:57  Usually, when we've done seated shows in the past, we've done it more like rows of chairs, without tables, more of like a theater style seating. So we'll bring in 100 chairs or something like that, for the ground floor, maybe some standing room behind it with a few tables, and then general admission behind that at the bar. So people are still able to be fluid. But when you do shows like that, especially when you're in a row of 10 people, and you're in the middle and you want to get up and go get a drink, you're gonna probably question yourself, whether you should do that and interrupt all these seven people that you got to walk past in front of and then come back and how many times you actually going to get up and down. But with doing it with the tables like this, so it's kind of more like a jazz club or a comedy club type approach? I think it works really well. You know, we started a series with NC State live in 2019, we did a handful, maybe three or four shows with them in partnership, and something Those were all seated shows with the sporadic seating and row seating that I was speaking of before, but I was talking to Sharon, who runs the program over there yesterday, actually, like you should really come check out what we're doing now. I think it's gonna lend itself perfectly for the NC State live shows. And she's like, yeah, that's gonna sounds great, we should totally come and check that out. And it just, you know, people are always more comfortable with things they're familiar with. And certain crowds are more familiar with certain types of approaches than others. And it's a way to reflect what the crowd wants. That's our job as a venue is to make it comfortable for people and make it as fun for those people that are there that night. And I think having those seated shows like that is going to continue to be a thing in the future, we might lay off it a little bit for a while and just party as hard as we can, and you know, throw all the ragers. But whenever that whenever that happens, whenever it's safe. It's looking like the later this year, late summer, maybe in the fall, we should be back to rocking and rolling.Lise Nox  37:45  Do you have unless you don't want to talk about it? Because it's a surprise, or, you know, do you have anything planned for when things are gonna go back to normal to kind of celebrate, you know, venue being able to reopen normally?Adam Linstaedt  37:56  No, not at this point. Because if I've learned anything over this last year is the more you put plans down into place and start moving on them, you're going to have to change them. So we know how to run shows like that we're ready for it. It's when it's going to be it might be a Tuesday randomly, it might be a Friday night, a couple of weeks after we get the announcement that we can do things like that as we ride out things that are already in place on the calendar, since we know typically booked further out than this weekend, you know, we've got things on the calendar all the way up to January right now of stuff that was rescheduled from last yearLise Nox  38:28  really seems like the pandemic has kind of taught us all how to be more spontaneous and flexible with our time with our energy our plans, just like you said, Every time you as of right now every time you're going to plan something for the future, you're always going to think in the back of your mind, maybe its is not going to happen. Or maybe everything's gonna change or like my entire world is going to fall apart in like two months from now. So adapt to be changes really quick. It's what we've all been doing for all of 2020Adam Linstaedt  38:53  Yeah, early on in the pandemic, I was talking to someone I don't remember who you know, you seem to really be on top of things and like getting things rescheduled and getting things on the calendar, blah, blah, blah. I was like, Yeah, but you know, at the same time, I'm really trying to look at this, like we're a startup business, when you're a startup business, you don't really you might have a date planned for when you're going to open but there's always going to be surprises that pop up, you have to have this extra permit or you have to have this extra inspection or the plumbing inspector is making you move your toilet over a quarter inch to fall into compliance. So being flexible, having a plan and being able to adapt it in real time is key for everyone right now to maintaining sanity really Lise Nox  39:30  I think the positive things we can remember from this pandemic is like how we've all been able to evolve into new people or you know, just like or new ways to run our businesses, I guess.Adam Linstaedt  39:39  Yeah, hopefully it sticks for a lot of people because typically people tend to forget things very quickly and move on and fall back into old habits. So hopefully it is been long enough that there is a greater good that comes out of this all this downtime we've all had. Lise Nox  39:52  I can say even though you guys had to set really strict rules for your show. I remember having a great time. So thank you so much for making this possible because I'm a really big fan of like music. So spending an entire year without going to a concert and also having started the year 2020 thinking, Okay, this year is the year where I will be going to one concert per month. That's the thing I wanted to do for my 2020 and then having to spend the entire year locked up in my room and be like, not going to happen. Definitely not gonna happen. I just remembered that. So I moved to Raleigh a few months ago. And I remember the first time I went to Pour House, I had no idea what it was in the first place. Like my friend told me, Hey, we should go to pourhouse. I was like, yeah, sure, whatever that is. And she took me to the record shop upstairs. And at the time, I had no idea that you guys were actually hosting live shows, usually, you know, pre pandemic. And she's the one who showed me the stage. And she was like, Oh, my partner usually plays there. And I was like, wow, there's a venue here. Like, that's awesome and at the time, I was like, well, we're, you know, with COVID. and stuff, I'm never going to be able to see a concert anyways, like, good thing to know. But I'm probably going to beAdam Linstaedt  40:58  Thanks for rubbing it in.Lise Nox  41:00  Like, I'm glad to know this information, but I'm not going to be able to do anything about it. And fast forward two months later, I'm seeing a live show of her partner playing the bass on stage. And I'm like, Oh, it was just really, really fun to notice the evolution because we're kind of seeing the light at the end of the tunnel right now know, people are getting more and more vaccinated.Adam Linstaedt  41:18  I think its starting April 6th, or 7th anyone over 16 in North Carolina can get it. You can get it next week. Lise Nox  41:26  Oh, wow. That's, that's coming really quickly. Yeah, cuz I'd like to get vaccinated. And I, for some reason, for obvious reasons, I couldn't. But yeah, it's good to know. So yeah, Adam Linstaedt  41:36  They've fast tracked a lot of things. And yeah, I believe it's the sixth or the seventh, anyone over the age of 16 is eligible. Okay, yeah, I got my second shot on Wednesday, and my wife just got her second shot this morning. That's great. So we're moving, we're moving towards it. And you know, once everyone that works for the venue, is vaccinated, and we're past that two week after, after getting your second shot time period, we are going to be a little bit more flexible with the masks, we're obviously still going to encourage people to keep them on the entire time they're inside the building, but we're gonna fight with them less about it. So if someone feels the need to sit down and take their mask off, and stay in their spot and follow all the other rules, keep their mask off while they're drinking, we're going to allow it at that point in time. But right now, if any of us get sick we had 17 employees when we closed down, and now we're we have 4, so if any of us get sick, we're gonna have to cancel shows for the next month, which is putting all these bands out of work, putting them out of work, we're just doing everything, we can definitely not make that happen. So we'll feel a little bit more comfortable with it once everyone's got their vaccinations fully in their systems. And, you know, hopefully everyone else follows suit and gets their shots as well. And we can get back to this sooner than later since I mean, it's the floodgates are opening next week,Lise Nox  42:53  it definitely matters more than anything that your team is safe first, because for people running the shows, like did you have to let go that many people because of like the debt?Adam Linstaedt  43:02  Well, I mean, that's how many people we need to run shows right now. Okay, so I've got my sound engineer, our door person, and two people working behind the bar plus myself managing so there's four people working than me managing and we're able to make it work with 54 people in the room, that's a fine number for us to deal with. So as things ramp up, we're going to start bringing back more folks, I have a separate person that's running a record shop during the daytime for those hours, technically five people back of the 17 that we had when we closed down initially,Lise Nox  43:34  okay, yeahAdam Linstaedt  43:34  But yeah I mean, we were we had the record shop opened 56 hours a week, we're doing shows seven nights a week with multiple bands, you know, often we would have four or five bartenders on any night, sometimes additional security on the floor, always a manager on duty. So just the need for more people right now isn't there and it wouldn't be fair to bring back more people and cut everyone's money down and then go, we should have stayed on unemployment, we would have been making more money that way, even though people want to get back to work. So it's been a balancing act for sure. We definitely have more folks that we're ready to bring back once restrictions get loosened a little bit. And we're able to bring more bodies in and justify the cost and having more people workingLise Nox  44:13  if you only have to deal with like 40 people like 44 people at the same time, it seems you know, reasonableAdam Linstaedt  44:18  Right, normally, in the before times, if we had a show where you know, 40 or 50 people showed up, that would be a one bartender night because they're not having to go out and run all over the place and cocktail and get their bills. 20,000 steps in in a couple hours. They're behind the bar, people are coming to them, which is a lot more easy to manage than it is with this other process. But yeah, that's where we're at right now. And I have full intentions of getting back to bigger and better places than we were before.Lise Nox  44:42  Hopefully by this summer 2021. That would be awesome. The rebirth of Pour House. Finally,Adam Linstaedt  44:47  yeah, it's coming.Lise Nox  44:49  Yes, it definitely is. I think I've covered pretty much everything I wanted to talk about. Is there anything else you want to add?Adam Linstaedt  44:56  Just let folks know that we're announcing new concerts every Tuesday at noon. So if you pay attention to our social media on Facebook or Instagram, or you get our newsletter that we send out, those are the main places that we're announcing those shows on the record shop side of things, we put out new and used releases every Friday at 10am. online at pourhouserecordshop.com they're obviously available in shop starting at noon, and just kind of keep an ear out for us. Because we're always adding more things, we're always announcing more events. And hopefully soon we're going to announce that things are changing for the better. And we're moving in the direction of not having to be so strict and we can loosen up because at the end of the day, people come and hang out with us to cut loose from life not to follow more rules their here to have fun were very much ready to get back to that. So in the meantime, we're just going to make this as fun as we possibly can and as enjoyable as we possibly can, with the hope of being able to shift back to how things were before and being more fluid of an experience.Lise Nox  45:56  Yeah, and I feel like this interview and the article I wrote, are going to be pretty good proof for people that their shows are safe. So if you want to have fun, if you want to forget about the pandemic for an hour, one night, you can you're not going to get sick with COVID, it's fine, you can go to a concert, like with a clear conscience,Adam Linstaedt  46:14  Right totally. And on that same on that same note we've got, because we're largely selling all of our tickets in advance. So we have contact information for at least one person in every single group that's coming to the venue. And we've asked in all of our terms, hey, if you or anyone in your group gets sick with COVID, within two weeks of being here, let us know. So we can let everyone that was at that show know. So they can, you know, squash it and you know, isolate and do the things that they're supposed to do to help slow the spread of this thing. The answer is to slowing it down are just so painfully obvious. And it's so hard to watch everything happen that are just flying in the face of it and flying in the face of logic. It's really frustrating. We could have been back to rocking and rolling a long time ago if everyone just you know, did what they were supposed to do and were responsible but that's not the world we live in unfortunately.Lise Nox  47:03  Definitely not thank you so much for taking the time to talk to me about this this the kind of information that I think a lot of people are going to be benefiting from people are going to know what it's like with you telling us about Pour house and everything had to go through and how you're running the shows right now. Like it's just really great information. So thank you so much for taking the time to talk about this with me.Adam Linstaedt  47:22  Yeah, absolutely. I appreciate you putting it at the forefront and letting folks know and if anyone has any questions or concerns or hesitations about coming out to a show or coming to the shop you know we're an open door people can email me my email is adam@The-Pour-House.com You can also reach out to Nick his emails the same but it's Nick you can reach out to Lacey the same but L A C I E, our phone numbers 919-821-1120. Call us we're happy to talk and ease your mind a little bit. And if we can't convince you that it's safe now we hope that you come back when you feel more comfortable.Lise Nox  47:59  Thank you so much for listening to this episode of Eye on the Triangle. This is Lise Knox for WKNC 88.1. My guest was Adam Linstaedt from Pour House Music Hall, and he did a really great job in explaining what it's really like to be hosting COVID safe shows in the middle of a pandemic. Thank you so much for listening once again and I guess I'll see you soon. Take careTranscribed by https://otter.ai

Today we continue our nonprofit highlights with Rebecca Bliss and Susan Saenger.  We will learn more about their unique nonprofit business model and set up. They offer free PD exercise classes in Durham, NC through the Parkinson’s Movement Initiative, which operates under the American Dance Festival.  With this setup they are able to provide free classes to their community, which has been really effective for their mission of improving access to care.  It is a collaborative model where the parent organization greatly helps with outreach and other administrative challenges that smaller groups face.  Our guests discuss their time commitment as they both work full time outside of the program.  They operate under grant funding and talk about the outcomes used for funding, as well as how a therapist interested in working in the community like this could get started. Learn more about their clases at https://www.americandancefestival.org/community/parkinsons-movement-initiative/ Follow: NC Dance for Parkinson’s Facebook Reach out at: ncdanceforparkinsons@gmail.com

Maria Schneider's music has been hailed by critics as “evocative, majestic, magical, heart-stoppingly gorgeous, imaginative, revelatory, riveting, daring, and beyond categorization.” Blurring the lines between genres, her varied commissioners stretch from Jazz at Lincoln Center, to The Saint Paul Chamber Orchestra, to the American Dance Festival, and include collaboration with David Bowie. She is among a small few to receive GRAMMYS in multiple genres, having received the award in jazz and classical, as well as for her work with David Bowie. At the 63rd GRAMMY Awards, held March 14, Maria was honored with twice: Best Large Jazz Ensemble Album for “Data Lords,” and Best Instrumental Composition for “Sputnik.”

Steffen Fuchs is the ballet director and choreographer at Theater Koblenz. Since 2011, he has created both reinterpretations of classics such as “Giselle”, “Romeo and Juliet” and “The Seven Deadly Sins”, as well as symphonic ballets including “Korngold 2nd String Quartet” and “Sergei Rachmaninov Suite for Two Pianos”. He is also responsible for choreographies in theater and musical theater productions at the Theater Koblenz. Fuchs first began choreographing in 1998. Since then, he has choreographed for the Leipzig Ballet, the Palucca School Dresden, the Palucca Dance Studio, Svenska Balettskolan Göteborg (Sweden), the TANZPLAN Dresden, and the Tanzfonds Heritage, as well as the state theaters in Gera (“The Last Journey of Robert Scott”), Cottbus (“Come, Sweet Death”), Nordhausen (“Romeo and Juliet” and “Sleeping Beauty”) and Koblenz. His work has been presented at festivals throughout Germany, Amsterdam, Zurich, the United States and Russia. Fuchs completed his postgraduate studies at the Palucca School in Dresden, attaining a masterclass for choreography “with distinction”. Additionally, he received a scholarship as “International Choreographer in Residence” for the “American Dance Festival” at Duke University. A native of Halle (Saale), he received his ballet education from 1984 to 1992 at the Staatliche Ballettschule Berlin. At the Leipzig Ballet, he danced as a soloist from 1992 to 2002.

For episode 34, I am joined by my friend Tiffany Schrepferman. Tiffany is a freelance Production Stage Manager and Lighting Designer with a background as a professional dancer. She and I have been friends since college, and it was super fun catching up with her! I loved getting to hear more about how Tiffany got started in dance and how her passion for production and lighting design developed into a full-time career in the production side of dance.Tiffany shares about her experiences working with various companies nationally and internationally, as well as working as Production Stage Manager at the American Dance Festival for the past twelve summers.I appreciate Tiffany’s vulnerability as she opens up about the challenges she has faced and the lessons she has learned along the way. One of my favorite parts of our conversation is when Tiffany shares about the importance of purpose and calling in our lives.Check out our website http://creativeimpactpodcast.com for the full show notes that include Tiffany's biography and links mentioned in this episode. You can be sure not to miss a Creative Impact conversation by subscribing through your favorite podcast app. We are so grateful to have you as a part of the Creative Impact community and would love it if you would share the show with your friends!Support the show (https://www.patreon.com/creativeimpactpodcast)

This week, we’re bringing you a conversation with Helen Simoneau, artistic director and choreographer of Helen Simoneau Danse. As part of our NC Dance Festival activities this season, we hosted a virtual Community Conversation with Helen on October 23, titled “Finding Your Own Way through the Dance Industry.” During this community conversation on Zoom, we discussed Helen’s beginnings in dance, how to create your own opportunities in the dance world, how the pandemic has shifted Helen’s way of working, and the powerful nature of collaborations in the creative process. You’ll hear questions from some of our attendees and Helen’s advice and insight. In the live conversation, we also had the opportunity to view a short excerpt of Helen’s most recent dance, DARLING. You can view an excerpt here. We had such a great time talking with Helen, and wanted to share this conversation more widely. We’ll have more community conversations on other topics throughout the spring of 2021. Be sure to join our mailing list from our website at danceproject.org and follow Dance Project on social media to keep up with upcoming Festival events and other Dance Project news. More about Helen: Helen Simoneau, a native of Rimouski, Québec, is the artistic director and choreographer of Helen Simoneau Danse. Described as “a Choreographer-on-the-rise” by Dance Magazine, Simoneau creates work that exists at the intersection of intent and impact. Her commissions include The Juilliard School, Oregon Ballet Theatre, the American Dance Festival, UNC School of the Arts, The Yard, Springboard Danse Montréal, The Ailey School, the University of the Arts (PA), and the Swiss International Coaching Project (SiWiC) in Zurich. Simoneau was a resident artist at Baryshnikov Arts Center, NYU/Tisch, Bates Dance Festival, New York Dance Lab, The National Choreographic Center in Akron, the University of Buffalo via the Creative Arts Initiative, and has received fellowships from The NYU Center for Ballet and the Arts, the Bogliasco Foundation, and twice from the North Carolina Arts Council. Her work has been presented nationally and internationally at The Guggenheim Museum (NYC), Dance Place (DC), Joyce SoHo (NYC), Tangente (Montréal), The Aoyama Round Theatre (Tokyo), the L.I.G. Art Hall Busan (South Korea), Jacob’s Pillow Inside/Out (MA), PACT-Zollverein in Essen (Germany), Athens International Dance Festival (Greece), and the Shanghai Dance Festival (China). Simoneau was awarded 1st place for Choreography at the Internationales Solo-Tanz-Theater Festival in Stuttgart, Germany. She was recently a Fellow at Ailey’s New Directions Choreography Lab and is the current Choreography Fellow at New York City Center. Follow Helen on social media: Facebook - https://www.facebook.com/helensimoneaudanse Instagram - https://www.instagram.com/helensimoneaudanse

Murielle Elizéon and Tommy Noonan — partners in life, art and business — both have lengthy resumes that list an impressive array of dance, choreography and teaching projects with august companies from Mexico and Argentina to Australia and Slovakia. At first glance, it is therefore surprising that in 2014 they chose the small unincorporated village of Saxapahaw, NC (pop. 1,418 in the 2010 census) as the home of their latest artistic venture, Culture Mill, a performing arts laboratory. As Murielle and Tommy explain in this conversation with Pier Carlo Talenti, however, Saxapahaw was the perfect place in which they could engender their vision: an organization whose artmaking was woven inextricably into the fabric of its geographic home. In their first full year of operation, for instance, Culture Mill launched “Trust the Bus,” an experience in which audiences boarded a 44-seat Bluebird biodiesel school bus and were then driven to an assortment of interdisciplinary performances throughout rural Alamance County. Since then Culture Mill has welcomed many noted international artists in various disciplines to Saxapahaw for lengthy residencies; offered countless free or low-cost workshops and arts events to the community; and become a regular fixture at the prestigious American Dance Festival in Durham, NC, which commissioned one of their latest pieces, “They Are All,” a dance work created in collaboration with people living with Parkinson’s Disease, many of whom performed in its world premiere in 2019.   Murielle and Tommy spoke with Pier Carlo from Culture Mill’s studio, several weeks into the COVID-19 lockdown. http://culturemill.org/ https://indyweek.com/culture/stage/rethinking-revenue-based-arts-Culture-Mill/

Murielle Elizéon and Tommy Noonan — partners in life, art and business — both have lengthy resumes that list an impressive array of dance, choreography and teaching projects with august companies from Mexico and Argentina to Australia and Slovakia. At first glance, it is therefore surprising that in 2014 they chose the small unincorporated village of Saxapahaw, NC (pop. 1,418 in the 2010 census) as the home of their latest artistic venture, Culture Mill, a performing arts laboratory. As Murielle and Tommy explain in this conversation with Pier Carlo Talenti, however, Saxapahaw was the perfect place in which they could engender their vision: an organization whose artmaking was woven inextricably into the fabric of its geographic home. In their first full year of operation, for instance, Culture Mill launched “Trust the Bus,” an experience in which audiences boarded a 44-seat Bluebird biodiesel school bus and were then driven to an assortment of interdisciplinary performances throughout rural Alamance County. Since then Culture Mill has welcomed many noted international artists in various disciplines to Saxapahaw for lengthy residencies; offered countless free or low-cost workshops and arts events to the community; and become a regular fixture at the prestigious American Dance Festival in Durham, NC, which commissioned one of their latest pieces, “They Are All,” a dance work created in collaboration with people living with Parkinson’s Disease, many of whom performed in its world premiere in 2019.   Murielle and Tommy spoke with Pier Carlo from Culture Mill’s studio, several weeks into the COVID-19 lockdown. http://culturemill.org/ https://indyweek.com/culture/stage/rethinking-revenue-based-arts-Culture-Mill/

Danny Buraczeski, is Professor Emeritus of Dance at Southern Methodist  University. At SMU, he taught classic jazz dance technique, composition and choreography. A classic jazz stylist for over three decades, his work has traced a clear and deep investigation of jazz, its sources and its ongoing evolution. After a career on Broadway appearing in such musicals as MAME with Angela Lansbury and THE ACT with Liza Minnelli, he founded the original New York City based JAZZDANCE in 1979. Based in the Twin Cities of Minneapolis/St. Paul from 1992-2005, the company performed at leading concert halls and festivals in more than 35 states, in Europe, Russia and the Caribbean.Buraczeski’s choreography has been commissioned by the Walker Art Center, the Joyce Theater, the Library of Congress, the American Dance Festival, the Bates Dance Festival and the Jacob’s Pillow Dance Festival. Buraczeski was named Artist of the Year in 2000 by the Minneapolis StarTribune. He has received multiple fellowships from the National Endowment for the Arts, for whom he is now a regular panelist/consultant.

Angie Hauser is a choreographer, performer and teacher. Since 2000, Hauser has been a member of the Bebe Miller Company, receiving a BESSIE Award for her creative work with the company. Her work is featured in the online score “TWO” as part of MotionBank a Forsythe Company project (http://scores.motionbank.org/two/#/set/sets) and in the 2015 eBook “Dance Fort.” Other choreographic projects include collaborations with gifted dance artists including Chris Aiken, Jennifer Nugent, K.J. Holmes, Darrell Jones, Kathleen Hermesdorf, and musicians Mike Vargas, Jesse Manno, Tigger Benford, and Andre Gribou & Roger Baum. Her long time collaboration with Chris Aiken has yielded multiple grants and work presented at national and international venues. In addition to her long-time relationship as a teaching artist at Bates Dance Festival, Hauser has also taught dance technique, choreography, contact improvisation, and improvisation for many other national and international festivals/organizations including American Dance Festival, SaltFest, Earthdance, International Contact Festival (Freiburg), Transformation Danse (Montreal), and La Escuela Profesional de Danza (Mazatlan). She is currently an Assistant Professor at Smith College in the Department of Dance. www.batesdancefestival.org

Leneé Braxton has been dancing since she learned how to walk. Born in Los Angeles, CA (a worldwide dance hub) and raised in Durham, NC (home of the American Dance Festival), movement is a part of Leneé’s spirit. In 1996, Leneé made history as the youngest captain for the Inaugural NFL Carolina Panthers Cheerleader Squad. In August of 2000, after experiencing paralysis on the left side of her body, Leneé received a heartbreaking diagnosis of Multiple Sclerosis. Grateful to utilize her dance and Kinesiology education, Leneé regained mobility and strength in what her doctors deemed "record timing". During one of the most challenging times in her life, Leneé discovered that dance and therapeutic exercise would be instrumental for her continued well-being. Leneé Braxton has a Bachelor's Degree in Dance, a Master's Degree in Exercise Science with a concentration in Sport Psychology, and is currently working on her Ph.D. in Mind-Body Medicine specializing in Ayurvedic Medicine, Energy Medicine, and Hypnosis for Optimal Performance. She is a member of the International Association For Dance Medicine & Science, the Association for Applied Sport Psychology, a NASM® Certified Performance Enhancement Specialist. Mrs. Braxton is comprehensively trained in Barre, Pilates, Indoor Cycling, and Yoga. She was twice nominated as "Best Barre Instructor" in Best Self Atlanta Magazine and served as a Featured Contributor/Writer for Best Kept Self Magazine. Leneé is passionate about sharing the life changing benefits of therapeutic exercise and mental skills training with others, especially those facing illness, injury, or body image challenges. Leneé currently resides in Atlanta, GA with her husband and daughter.  To learn more about Lenee:  www.holisticperformancecenter.com  https://www.linkedin.com/in/leneebraxton/  FB:  https://www.facebook.com/holisticperformancecenter/  IG: @holisticperformancecenter

On this episode your co-host YeaJean interviews dance artist, scholar, and educator, Ray Eliot Schwartz, based in Puebla, Mexico. Ray Eliot Schwartz received his BFA from Virginia Commonwealth University and his MFA from University of Texas-Austin. He is the co-founder of Performática: Foro Internacional de Danza Contemporánea y Artes del Movimiento and a consultant and teaching artist for ArcDanz International Dance Workshop. He has been a guest artist for diverse populations in the U.S., South East Asia, South America, and Mexico. He has served on the faculty of the American Dance Festival, Bates Dance Festival, MELT, the ZMP Summer Dance Intensive, the Colorado College Summer Dance Festival and SFADI, among others. His somatic studies include certifications in Body-Mind Centering® and the Feldenkrais Method®. He is a research associate at the Center for Mind Body Movement. He is a published scholar who writes about the interface of somatic movement education and contemporary dance practice, and he served as Academic Coordinator of the Dance Program of the University of the Americas-Puebla in México from 2008-2018. On this episode, we talk about social media as the economy for attention, pros/cons of internet based technologies in the classroom, an inside look at the hiring process for university dance programs, using the digital space to create an international dance forum, and using a somatic-model to inform dance making.

Today's guest is Zvi Gotheiner.  Born and raised in kibbutz Mesilot in northern Israel, Zvi began his artistic career as a violinist and began dancing at age seventeen, joining the Bat-Sheva Dance Company after serving in the army. Zvi arrived in New York in 1978, and founded ZviDance in 1989, creating more than twenty-five works for his company.  Zvi is a highly regarded ballet teacher, described by the New York Times as the “Zen Dance Master of New York.” Most recently, Zvi received distinguished teaching awards from the American Dance Festival and the Kaatsbaan International Dance Center’s Playing Field. For more info on this episode: themovingarchitects.org/podcasts

Leneé Braxton has been dancing since she learned how to walk. Born in Los Angeles, CA (a worldwide dance hub) and raised in Durham, NC (home of the American Dance Festival), movement is a part of Leneé’s spirit. In 1996, Leneé made history as the youngest captain for the Inaugural NFL Carolina Panthers Cheerleader Squad. In August of 2000, after experiencing paralysis on the left side of her body, Leneé received a heartbreaking diagnosis of Multiple Sclerosis. Grateful to utilize her dance and Kinesiology education, Leneé regained mobility and strength in what her doctors deemed "record timing". During one of the most challenging times in her life, Leneé discovered that dance and therapeutic exercise would be instrumental for her continued well-being. Leneé Braxton has a Bachelor's Degree in Dance, a Master's Degree in Exercise Science with a concentration in Sport Psychology, and is currently working on her Ph.D. in Mind-Body Medicine specializing in Ayurvedic Medicine, Energy Medicine, and Hypnosis for Optimal Performance. She is a member of the International Association For Dance Medicine & Science, the Association for Applied Sport Psychology, a NASM® Certified Performance Enhancement Specialist. Mrs. Braxton is comprehensively trained in Barre, Pilates, Indoor Cycling, and Yoga. She was twice nominated as "Best Barre Instructor" in Best Self Atlanta Magazine and served as a Featured Contributor/Writer for Best Kept Self Magazine. Leneé is passionate about sharing the life changing benefits of therapeutic exercise and mental skills training with others, especially those facing illness, injury, or body image challenges. Leneé currently resides in Atlanta, GA with her husband and daughter. To learn more about Lenee: www.holisticperformancecenter.com https://www.linkedin.com/in/leneebraxton/ FB:  https://www.facebook.com/holisticperformancecenter/ IG: @holisticperformancecenter

Karen L. Arceneaux is a dancer, choreographer, personal trainer and fitness coach. Karen trained at the American Dance Festival in North Carolina, the Martha Graham School of Contemporary Dance and the Alvin Ailey School. Currently her Elite Physique 247 Fitness Class has taken Long Island by storm. Read more about Karen. Read more about The Passionistas Project.

“Creativity is something we all possess and tapping into it helps us live our best lives.” Princess Mhoon is truly a wonder-leader: an award-winning choreographer, educator, entrepreneur and scholar all in one! Her artistic brilliance was sought out by the While House and Michele Obama; her work commissioned by the Kennedy Center and she’s been called "A visionary of her generation!" In this dynamic, enlightening interview you’ll hear her amazing story of growing up in Chicago as the daughter of artists and granddaughter of entrepreneurs; how she artfully integrates art and business; her insights for dealing with the the most challenging circumstances and people with grace, respect and power; and so much more! What you'll learn A wonderful story of how growing up as a daughter of artists in Chicago influenced Princess’s personality, artistic life and professional direction as an adult How her trailblazing, financially savvy grandparents helped develop her entrepreneurial side Artful (pun intended!) ways Princess utilizes and integrates both parts of her experience - artist and entrepreneur – in her life and work Inspiring story of how Princess redefined her identity and self-value after a difficult divorce Obstacles she has faced as a double minority - an African American woman - in business and ways she has learned to overcome them How Princess balances love, respect, grace and assertiveness when dealing with difficult people and situations Her aspiration to find a managing director (do apply within) to run her art organization to focus on being an artistic director Valuable advice to young entrepreneur, women and leaders facing challenges And so much more! Links & Resources Princess Mhoon Dance Institute – link to Princess’s amazing organization Leadership Greater Washington - fantastic organization for leaders in the D.C. area Books we discussed and recommended in this episode Emotional Intelligence by Daniel Goleman How to Think Like Leonardo Da Vinci by Michael Gelb Seven Habits of Highly Effective People by Stephen Covey  About Princess Mhoon Princess Mhoon is a choreographer, producer, educator, and scholar recognized in 2015 by HUFFINGTON POST as one of 26 Female Choreographers "You Should Know" and Dance Magazine's 2006 "Top 25 to Watch" in the world for the Women's Choreography Project titled This Woman's Work.  Mhoon is a second generation artist and entrepreneur who has set her sights on enhancing the artistic landscape of the Nation’s Capitol. In 2016 she was invited to participate as one of the region's leading dance leaders by First Lady Michelle Obama during her Celebration of Black Women in Dance; she also served as a panelist for The White House Initiative on Educational Excellence for African Americans during Women's History Month. Mhoon is also a 2015 Helen Hayes Award Nominee for Best Choreography in a Musical, a Helen Hayes winner for Best Musical, and one of 37 International artists invited to Lusaka, Zambia for solo performance and master classes at the 2015 Barefeet Theatre Festival for vulnerable youth sponsored by UNICEF. She is also a 2016 class member of Leadership Greater Washington. With work commissioned by the Kennedy Center for the Performing Arts and the DC Jazz Festival, Princess Mhoon has been called "A visionary of her generation." She is the Founder and Director of the Princess Mhoon Dance Institute with locations in DC and Maryland. Mhoon has served on faculty at Howard University, where she received a Bachelor of Fine Arts degree in Dance and a Master of Arts degree in Public History. Her research focuses on Dance History and the African-American experience in dance. In 2015, she was awarded the Owen Dodson DISTINGUISHED ALUMNI award from her Alma Mater. A native of Chicago, Illinois, she began her training with Alyo Children's Dance Theatre, Joseph Holmes Dance Studio, and Muntu Dance Theatre of Chicago. Mhoon Cooper has received numerous awards and scholarships for her excellence in dance, including recognition from the American Dance Festival, Dance Magazine, Howard University, Career Transitions for Dancers, and the Kennedy Center for the Performing Arts. She has performed and toured with the world-renowned Ronald K. Brown/Evidence Dance Company, Rennie Harris Puremovement, The Chuck Davis African American Dance Ensemble, Nathan Trice Rituals, and Deeply Rooted Productions. She is the founder of DANCING FEET, an integrated arts program that includes classes and workshops for schools and outreach institutions. The opening of PMDI is the continuation of a life long commitment to the field of dance.  

Forty years ago, the American Dance Festival moved to Durham, NC. Every summer since, one of America’s most important dance institutions has attracted choreographers, dancers and audiences from all over the world to the heart of North Carolina for a six week-long modern dance festival. The North Carolina Arts Council was an avid supporter of ADF from the very beginning. In this episode, Nancy Trovillion, the North Carolina Arts Council's Deputy Director, and Jodee Nimerichter, ADF’s Executive Director, reflect on the festival’s roots in North Carolina and its longstanding relationship with the Arts Council. This episode features The Force by The Monitors, a recording ffeatured on the North Carolina Arts Council's African American Music Trails of Eastern North Carolina CD.

Stuff to do in Raleigh June 2-4, 2017   Weather Should be an awesome weekend in the City of Oaks, with highs in the mid-80’s Friday - Sunday. Slight chance of rain Sunday afternoon.   Conventions in Town The U.S. Foods Service Summer Scoop General Sales Meeting will take place at the Raleigh Marriott City Center, June 1-2, with 250 attendees. The Veterans of Foreign Wars N.C. Ladies Auxiliary Meeting will take place at the Embassy Suites Raleigh-Durham/Research Triangle, June 1-4, with 250 attendees. Races Ironman 70.3 - Sunday   Festivals First Friday in Downtown Raleigh. First Friday is a free self-guided art tour through downtown Raleigh's galleries, retailers, restaurants, and other exhibitionists. Each month, venues stay open late to welcome thousands of art-seeking enthusiasts downtown. PNC Movie Series in City Plaza - Robin Hood - Men in Tights   Music Pour House Friday Night: FOOTHILLS FREE FIRST FRIDAY FEATURING FREDFIN WALLABY W/ WEATHER, and WHITE VIOLET Saturday Night: URBAN SOIL with Unaka Prong     Lincoln Theater Friday Night: Beatlesque & Mojo Rising Saturday Night: Delta Rae Sunday Night: PULSE: Electronic Dance Party Slim’s Friday Night: Rock and Roll Party -  Vibekillers, Richard Bachuss and the Luckiest Girls, MSRP and Karbuncle. This is gonna be pretty nutso. Saturday Night: Axattack, Paladin (ATL), Thundering Herd, Antenora (Metal, metal, metal) Museums and Marbles North Carolina Museum of Art: Glory of Venice: Renaissance Paintings 1470-1520 is on display  through Sun., June 18. The exhibit features 50 works, many which have never been on view to the public. NC Museum of Art: Family Renaissance Fair, Sunday, June 4, Noon–4 pm Marbles Kids Museum Saturday: Project Dance with American Dance Festival     Come Visit the House of Swank Clothing Company. House of Swank makes the raddest North Carolina, Raleigh, and Southern themed tshirts on the planet. Come visit the shop in BEAUUUTiFUL downtown Raleigh at 315 S. Bloodworth St (3 blocks from Fayetteville St) , or check them out online at www.HouseofSwankClothing.com. Make sure to use the coupon code Raleigh and get a Five Dollars off your first order.

In our third installation of "Offstage and Unbound," The Music Center's President and CEO Rachel Moore chats with Hope Boykin of the Alvin Ailey American Dance Theater. She joined the company in 2000 and has choreographed three stunning works for the company. They include Acceptance In Surrender in 2005, in collaboration with fellow Ailey company members Abdur-Rahim Jackson and Matthew Rushing; Go in Grace in 2008 with music by the award-winning singing group Sweet Honey in the Rock; and her most recent piece, r-Evolution, Dream, which was inspired by the speeches and sermons of Dr. Martin Luther King, Jr., with original music by Ali Jackson. Hope is a three-time recipient of the American Dance Festival’s Young Tuition Scholarship and received a New York Dance and Performance (Bessie) Award.

In this first episode of season two, we get acquainted with Anouk van Dijk, the Artistic Director of Melbourne based Chunky Move. Anouk originates from Holland, where she started to seriously pursue dance in her late teens, after watching a dancer called Ian- a man she has never met or seen since. Watching Ian move across the space was captivating: “I will never forget…Ian filled the room. He filled the room with energy, with his passion, with his power. That was it. I was sold […] I wanted to be a dancer”. As a dancer, Anouk danced for Werkcentrum Dans, the Nieuwe Dansgroep, the Rotterdance Dance Company and Amanda Miller’s Pretty Ugly Dance Company. In 1998, Anouk formed her own company, anoukvandijk dc, based in Amsterdam. The company toured extensively including performing at Festival d’Avignon, MASS MoCA, Dance Triennale Tokyo, American Dance Festival and Festival TransAmériques. It also toured to Australia, performing at Adelaide Festival, Sydney Opera House and Perth International Arts Festival, but never to Melbourne, a place Anouk would later call home. After Chunky Move founder Gideon Obarzanek (interviewed in season one) stepped down in 2012, Anouk was offered the job of taking Chunky Move into their next chapter. Anouk certainly had no small task ahead of her, replacing someone held in such high regard. However, since her appointment, Anouk has done just that, creating her own diverse range of works for the company, with themes around identity and place and has solidified her place in landscape of Australian dance. Australia has become home! Works Anouk has created for Chunky Move • An Act of Now • 247 Days • Embodiment 1:1:1 • gentle is the power • Complexity of Belonging • Depth of Field • Rule of Thirds • L U C I D Anouk was rehearsing for the upcoming show ANTI—GRAVITY when we recorded this interview. ANTI—GRAVITY is an Asia TOPA Commission that will be premiered as part of Dance Massive 2017. A collaboration with multimedia artist Ho Tzu Nyen, ANTI—GRAVITY is an exploration of clouds: “the yearning for this lightness….not being earth bound, completely”. The conversation covered everything from: the process of making a work, collaborations, clouds, home, inspiration and Countertechnique (a system that helps dancers throughout their careers).

Gerri Houlihan is an accomplished dancer, a beloved teacher, and a pleasure to speak with. I met up with Gerri at this summer's American Dance Festival, in Durham, North Carolina. Original music by Ethan Stern and DJ Plie!

Dave Hurlbert is Executive Director of the Marigny Opera House, a "Church of the Arts" in the Marigny neighborhood near New Orleans' French Quarter. We actually met up in Durham, North Carolina, where Dave is on the board of the American Dance Festival! (Like so many modern dance enthusiasts, I was once a student of ADF.) Special thanks to Festival musician Andy Hasenpflug for today's music!

Greetings from beautiful Durham, North Carolina! And happy birthday, show. This time we're talking to Diana Hoffmaster. She is the Director of Grants and Development Operations at the American Dance Festival. We talk about the festival, the funding life, and how a passion for dance can make all the difference in finding support. Listen up, listeners: the world needs good grant writers! If you can't do, podcast. Original music by Ethan Stern!

North Carolina leads the southeast in solar power generation. High Cotton Bow Ties is crafting high fashion while creating local jobs. Jodee Nimerichter talks about the annual American Dance Festival in Durham. And we visit Ocracoke Village.

Gabrielle Lamb is a native of Savannah, Georgia and was trained at the Boston Ballet School. She joined Les Grands Ballets Canadiens de Montreal in 2000 and was promoted to soloist in 2003. In 2009 moved to New York City and began working with choreographer Pontus Lidberg, as well as Morphoses, then under the direction of Christopher Wheeldon. Her repertoire as a performer also includes principal roles in works by George Balanchine, Jiri Kylian, Mats Ek, Ohad Naharin, Nacho Duato, Luca Veggetti and Shen Wei. She won the 2009 National Choreographic Competition of Hubbard Street Dance Chicago and in 2013 won first prizes in both Milwaukee Ballet's International Choreographic Competition and Western Michigan University's National Choreographic Competition. During the 2013-2014 season her work will be performed by BalletX, Milwaukee Ballet, Ballet Memphis, and Ballet Austin. Ms. Lamb is also a self-taught video artist and animator, and her dance films have been presented by Dance on Camera at Lincoln Center, the American Dance Festival, Jacob's Pillow Dance Festival, and Dance Theatre of Harlem, among others.

How the former Loray Mill textile facility is set to be renovated for commercial & residential use. The Dilworth Tennis club offers inclusive fun & exercise to all participants. And Jodee Nimerichter gives us a preview of this year's American Dance Festival.

This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.

This week's show takes us to Charlotte's 7th Street Public Market, previews the American Dance Festival, goes to Burgaw for the NC Blueberry Festival, visits Laurel Gray Vineyards in Hamptonville, and Bob Garner samples the amazing food at LuLu's Wine and Dine in Charlotte.

Daisha Michelle Graf was born in Columbia, Maryland where the arts played a significant role in her development. From a very early age she began training in all different disciplines of dance including ballet, modern, tap and jazz. At the age of 5 she began taking private piano lessons and was involved in school chorus and plays. Daisha knew at a young are that she had a passion for performing and would sing and dance in front of her family with a fake microphone in hand. Daisha grew up with music playing throughout ther household and was pleasantly exposed to all different types of sounds ranging from Bach to the Beatles, Jazz, international music and Motown. Nurtured by summer arts camps in music and prestigious dance programs such as The Ailey School in New York City and American Dance Festival at Duke University, her dream of becoming an artist grew into an insatiable need. Daisha continued her training by receiving a BA in Dance from Hofstra University (Long Island, NY). While in school she performed with the student organization, Imani Dance Ensemble, and was immediately taken by the world of hip-hop. She would catch the train to Manhattan several times a week to take classes from recognized hip-hop choreographers such as Rhapsody James, Luam Keflezgy and Jermaine Brown and became a member of Rhapsody The Company. Music had always been a part of Daisha’s life, and dance was the perfect medium for exposing her to the professional music industry. Even before graduating, Daisha landed her first big dance engagement with pop star, Rihanna for her European tour of “A Girl Like Me”. When she returned, she signed with the agency, Clear Talent Group and continued performing with world-renowned artists such as Diddy, Ryan Leslie, Chris Willis and Beyonce. She also had the opportunity to dance in the blockbuster hits, Step Up 2 and Step up 3D. Surrounded by the music industry, a new love for singing and writing music resurfaced. Under the tutelage of vocal trainers, Craig Derry and Clurel Henderson, Daisha honed her craft and shaped her sound and style. Writing and recording her first song, “Love Set Me Free,” confirmed that being a musical artist would be more than a hobby – it would be her life’s work. With a strong work ethic and a naturally captivating stage presence, Daisha has already performed her music at various venues in New York City and in Trinidad opening for artist Annya-Li. She has a unique style that she coins, “alternative R&B,” a sound that combines soul, jazz and alternative music. Daisha’s talent continues to grow, as does her infinite love of music. She is excited about the future before her.