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4 episodes with Arthur Mitchell
3 episodes with Arthur Mitchell
2 episodes with Arthur Mitchell
2 episodes with Arthur Mitchell
3 episodes with Arthur Mitchell
Thank you for listening. Send us a text message. In this episode of Intentionally Overheard, I have a conversation with Founding Artistic Director of Dance Happens, Inc, Paula LeVere. Introduced to the art form of ballet 45 years ago, Paula shares her life's journey through the world of dance, and how she is embracing living a life of purpose on purpose. Paula recalls the moment in life areer when she decided move from performing to teaching in order to give Over the course of her career, Paula has studied with some of the well known names of the ballet world: Sylvester Campbell with The Baltimore School for the Arts, Laura Alonzo with the Cuban Ballet Company in Cuba, Arthur Mitchell with Dance Theatre of Harlem, and Fredrick Franklin of the Ballet Russe. Through her intense studies, Paula was able to perform major ballets such as Giselle, TheNutcracker, Swan Lake, Firebird, and other notable ballets. Paula also appeared asa guest soloist on a PBS TV Series, Mr. Roger's Neighborhood.In 1993, she earned a B.A. in dance from Point Park University where she was apositive influence in the lives of toddlers, children, and young adults through herteachings of ballet. Most importantly, Paula has found a love in being a positiverole model to the children she has guided and instructed throughout herprofession, and she has shared her knowledge and passion for the art of balletthrough volunteer work with the inner city.Furthering Paula's accomplishments, she formed a youth ensemble, Union CityYouth Ensemble, for the inner-city kids of New Jersey. Paula's love for dancebrought her back where it all began in Baltimore, Maryland. Prior to creatingDance Happens, Inc., she was given a great opportunity to build the danceprogram at Meade Senior High School where she was Director of the dancecompany. Currently, Paula is Founding Artistic Director of Dance Happens, Inc.,which is a thriving 501c3 nonprofit organization that caters to Baltimore's Citykids.Support the show
Dans cet épisode des Fabuleux Destins nous allons vous parler d'un danseur devenu une véritable icône politique aux États-Unis. La couleur de sa peau lui a attiré la colère de la foule pendant une large partie de sa carrière, mais il n'a jamais cessé de se battre pour les droits des personnes noires. Jusqu'à, finalement, révolutionner le monde du ballet classique. Son nom : Arthur Mitchell. Du quartier de Harlem jusqu'à la Maison Blanche, découvrez son incroyable destin. 1er décembre 1957. Les New-yorkais se pressent dans les rues glacées de Manhattan. Une foule s'est rassemblée autour d'un célèbre centre culturel. À l'intérieur, les coupes de champagne brillent sous les grands lustres du hall d'entrée. Pourtant, ce luxe peine à masquer la terrible réalité politique des États-Unis. Depuis la fin de l'esclavage, une frontière cruelle divise le pays entre les Blancs et les Noirs. Ce soir, deux brillants artistes ont uni leurs talents pour composer un ballet au parfum de révolution : George Balanchine, chorégraphe, et Igor Stravinsky, compositeur. En coulisse, Balanchine pose la main sur l'épaule de son danseur vedette. Malgré la pression, le jeune artiste est détendu. Il sourit à Balanchine, et hoche la tête. Petit à petit, le public remplit la salle et le rideau se lève... Pour découvrir d'autres récits passionnants, cliquez ci-dessous : L'énigmatique Grigori Raspoutine : les premières visions (1/4) L'énigmatique Grigori Raspoutine : la fin de la dynastie Romanov (2/4) L'énigmatique Grigori Raspoutine : de dangereuses rumeurs (3/4) L'énigmatique Grigori Raspoutine : le début de la légende (4/4) Un podcast Bababam Originals Voix : Andréa Brusque Ecriture : Lucie Kervern Production : Bababam (montage Gilles Bawulak, Antoine Berry Roger) Première diffusion le 17 août 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices
If you're listening to this show, you're no doubt a keen learner and explorer. We bet you'll love Fabulous Destinies, another Bababam podcast, which takes you on a journey through real-life stories which are incredible but true. Starting from tomorrow and exclusively on Do You Really Know, we'll be sharing our listeners' four favourite Fabulous Destinies episodes! Some are tragic, some mysterious, but all of them are fabulous. Take a moment to let yourself get engrossed in these captivating stories! The first black man to become a ballet star December 1, 1957. New Yorkers hustle through the icy streets of Manhattan. A crowd gathers around a renowned cultural center. Inside, champagne glasses sparkle beneath the grand chandeliers of the entrance hall. However, this luxury struggles to conceal the harsh political reality of the United States. Since the end of slavery, a cruel divide separates the nation between whites and blacks. Tonight, two brilliant artists have joined forces to create a ballet with a scent of revolution: George Balanchine, choreographer, and Igor Stravinsky, composer. Backstage, Balanchine places his hand on the shoulder of his star dancer. Despite the pressure, the young artist remains at ease. He smiles at Balanchine and nods. Slowly, the audience fills the hall, and the curtain rises... Production : Bababam Voice : Fabrice Muracciole Translation of the French script of Lucie Kervern Learn more about your ad choices. Visit megaphone.fm/adchoices
“Companies oftentimes see dancers, especially women, "unable" to have a career, a professional career after they're becoming mothers. And that's also part of the patriarchy because this is not how it works. Having a child and coming back to work, it can potentialize your work in so many ways. It can bring a broader vision for yourself and for others around you. It can change everything.” - Ingrid SilvaIngrid Silva was born in Rio de Janeiro, Brazil, where she began classical ballet training at age eight in the Dançando Para Não Dançar, a program that provided training to young people who could not otherwise afford dance classes.Throughout her childhood, Silva was inspired by Brazilian ballet dancers, Mercedes Baptista and Ana Botafogo. Outside of Baptista, however, she had very few black Brazilian ballet dancers to idolize. Silva's passion for increased Afro Brazilian visibility in ballet, combined with her mother's unwavering support, inspired Silva to be her own role model at a young age.By the young age of 17, Silva was an apprentice at Grupo Corpo, one of the most prestigious dance companies in Brazil. And in 2017, she was accepted into the Dance Theater of Harlem Summer Intensive Program in New York on a full scholarship. The following year, she joined the company's community engagement project, Dancing Through Barriers. In 2013, Silva joined the company full time, where she remains today. She felt affirmed by the Dance Theater of Harlem's celebration of African American culture through performance, community engagement, and arts education programs. Silva has held principal and soloist roles for renowned choreographers, including Arthur Mitchell, Donald Bird, Francesca Harper, and many others.Speaking with Silva at her home in New York, it was a delight to be able to hear her own perspective on this incredible personal journey and how it has intersected with pregnancy and motherhood. We know that you all will really appreciate this conversation today.Follow Ingrid's journey at:@IngridSilvahttp://www.ingridsilvaballet.com/And discover her recent book A bailarina que pintava suas sapatilhas (currently available in Portuguese, and English soon!) here: http://www.ingridsilvaballet.com/booklivro Please subscribe wherever you get your podcasts and give us a rating. This will help us reach more listeners like you who are navigating the joys and pitfalls of artistic and parenting identities.Visit our website: postpartumproduction.com Follow us on Instagram: @postpartumproductionpodcastSubscribe to our podcast newsletter on Substack: https://postpartumproduction.substack.com
The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and the Reclamation of Their Groundbreaking History By: Karen ValbyThe forgotten story of a pioneering group of five Black ballerinas, the first principals in the Dance Theatre of Harlem, who traveled the world as highly celebrated stars in their field and whose legacy was erased from history until now.At the height of the Civil Rights movement, Lydia Abarça was a Black prima ballerina with a major international dance company—the Dance Theatre of Harlem. She was the first Black ballerina on the cover of Dance magazine, an Essence cover star, cast in The Wiz and on Broadway with Bob Fosse. She performed in some of ballet's most iconic works with her closest friends—founding members of the company, the Swans of Harlem, Gayle McKinney, Sheila Rohan, Marcia Sells, and Karlya Shelton—for the Queen of England and Mick Jagger, with Josephine Baker, at the White House, and beyond.Some forty years later, when Lydia's granddaughter wanted to show her own ballet class evidence of her grandmother's success, she found almost none, but for some yellowing photographs and programs in the family basement. Lydia had struggled for years to reckon with the erasure of her success, as all the Swans had. Still united as sisters in the present, they decided it was time to share their story themselves.Captivating, rich in vivid detail and character, and steeped in the glamor and grit of professional ballet, The Swans of Harlem is a riveting account of five extraordinarily accomplished women, a celebration of their historic careers, and a window into the robust history of Black ballet, hidden for too long. During Covid, five ballerinas met weekly on Zoom and formed the 152nd Street Black Ballet Legacy Council. Karen Valby joined them and wrote their story “Karen Valby's The Swans of Harlem brings to life the stories of Black dancers whose contributions to the world of ballet were silenced, marginalized, and otherwise erased. Karen introduces readers to important figures of our past, while inspiring us to courageously chase our dreams.”Misty Copeland“These five original Dance Theatre of Harlem ballerinas fell in love with an art form that most of America believed was white and should remain so. Upon Arthur Mitchell's founding of an all-Black company in 1969, they eagerly took their places at the barre and challenged themselves to the utmost. They triumphed. They showed that Blacks could not only excel at classical ballet but could also shape the art in their own vibrant image. Karen Valby weaves their stories together as a choreographer would: the women form an ensemble, yet each gets her own riveting solo. It's thrilling to watch as they join forces at last and claim their unique place in American ballet's past, present and future.”—Margo Jefferson152nd Street Black Ballet Legacy FoundationThe 152nd St. Black Ballet Legacy is an independent non-profit organization created by five trailblazing Black ballerinas. Their professional careers began at the founding of Dance Theatre of Harlem, where their sisterhood was born. They have enjoyed and nurtured their sisterhood for over 50 years and continue to thrive for the sake of preserving our their rich history.Lydia Abarca Mitchell is a founding member of the Dance Theatre of Harlem and their first prima ballerina. She danced leading roles in George Balanchine's Agon, Bugaku, Concerto Barocco, Allegro Brillante, Tchaikovsky Pas de Deux, and Swan Lake, Jerome Robbins' Afternoon of a Faun, Ruth Page's Carmen and Jose, William Dollar's Le Combat, and Arthur Mitchell's Ode to Otis, Holberg Suite, and Biosfera. She was featured on the cover of DanceMagazine, in the movie The Wiz, and on Broadway in Bob Fosse's Dancin'. It was a stunning career on the world stage.Karen Valby Author of Welcome to Utopia, and contributor to The New York Times; O, The Oprah Magazine; Glamour; Fast Company; and Entertainment WeeklyDance Theater of HarlemThe Dance Theater of Harlem was founded in 1969, during the Civil Rights movement by Arthur Mitchell and Karel Shook.Harlem School of the ArtsElizabeth Howard, Producer and Host of the Short Fuse Podcast Elizabeth Howard is the producer and host of the Short Fuse Podcast, conversations with artists, writers, musicians, and others whose art reveals our communities through their lens and stirs us to seek change. Her articles related to communication and marketing have appeared in European Communications, Investor Relations, Law Firm Marketing & Profit Report, Communication World, The Strategist, and the New York Law Journal, among others. Her books include Queen Anne's Lace and Wild Blackberry Pie, (Thornwillow Press, 2011), A Day with Bonefish Joe (David Godine, 2015) and Ned O'Gorman: A Glance Back (Easton Studio Press, 2016). She leads reading groups at the Center for Fiction in Brooklyn, New York. @elizh24 on Instagram
Tom in for Nick and joined by Rishi Persad now just four days out from Dubai World Cup night 2024. Rishi argues this is one of the deepest and strongest renewals of the meeting in recent years and we hear fro Charlie Appleby who sends four runners out on Saturday evening including Star Of Mystery under Frankie Dettori. With the news that the EU export ban on South African horses has been lifted, we hear from Cape Racing's Alistair Cohen on what this means for the immediate future of racing and breeding in South Africa. We continue in our series with Laura King looking at those who have shaped racing in Dubai over the last 30 years and we hear from Martin Brassil ahead of Desertmore House's Irish Grand National bid. And it's Tuesday so Timeform's Dan Barber joins us to reflect on the Brocklesby and our regular Weatherbys segment takes us to the Hunter Valley in New South Wales, where Nick's caught up with Arthur Mitchell from Yarraman Stud.
For decades, dancers of colour at classical ballet companies have used makeup to dye their pink pointe shoes a darker shade to match their skin tone. My guest this week, award-winning ballerina Cira Robinson, tells me about the day she got tired of ‘pancaking' and asked the renowned shoemaker Freed of London to make a pair of brown pointe shoes for her. What we discuss in this episode:Cira's experience with the Dance Theatre of Harlem under the legendary Arthur MitchellHer move to London to join Ballet BlackThe role pointe shoes play in a dancer's life and the need for customisationHow she worked with Freed and Ballet Black to create inclusive pointe shoes and the impact they've hadIf you liked this episode, it would be great if you could leave a 5-star review on Apple Podcasts or Spotify to help others discover the show. This is the first of two episodes on inclusive pointe shoes. Be sure to subscribe so you don't miss my interview with Cassa Pancho, founder of Ballet Black, in a few weeks! ---About Cira Robinson Born in Cincinnati, Ohio, Cira began her ballet career as an apprentice with the Dance Theatre of Harlem's Dancing Through Barriers Ensemble. After a few months, she became a full member and danced many works from the DTH repertoire under the guidance of Arthur Mitchell.She joined Ballet Black in London in 2008 and in 2013 was nominated for Outstanding Classical Female at the Critics Circle National Dance Awards. While at Ballet Black, Cira worked with the company and with Freed of London to create the first Brown and Bronze pointe shoe for dancers of colour. After retiring in 2022, she took up a new role as Director of the Yorkshire Ballet Seminars.Follow Cira on Instagram: @ciraoslynn---Connect with Made for UsShow notes and transcripts: https://made-for-us.captivate.fm/ LinkedIn: https://www.linkedin.com/company/madeforuspodcast Instagram: https://www.instagram.com/madeforuspodcast/
In this episode of Fabulous Destinies, we will delve into the story of a dancer who evolved into a true political icon in the United States. The color of his skin drew the ire of the crowd for a significant part of his career, yet he never ceased to fight for the rights of black individuals. Eventually, he revolutionized the world of classical ballet. His name: Arthur Mitchell. From the streets of Harlem to the White House, explore his incredible journey. The first black man to become a ballet star December 1, 1957. New Yorkers hustle through the icy streets of Manhattan. A crowd gathers around a renowned cultural center. Inside, champagne glasses sparkle beneath the grand chandeliers of the entrance hall. However, this luxury struggles to conceal the harsh political reality of the United States. Since the end of slavery, a cruel divide separates the nation between whites and blacks. Tonight, two brilliant artists have joined forces to create a ballet with a scent of revolution: George Balanchine, choreographer, and Igor Stravinsky, composer. Backstage, Balanchine places his hand on the shoulder of his star dancer. Despite the pressure, the young artist remains at ease. He smiles at Balanchine and nods. Slowly, the audience fills the hall, and the curtain rises... Production : Bababam Voice : Fabrice Muracciole Translation of the French script of Lucie Kervern Learn more about your ad choices. Visit megaphone.fm/adchoices
Former Dance Theatre of Harlem Artist, Christopher Charles McDaniel, talks to us about his experiences in the studio as one of Arthur Mitchell's last students. Additional Resources: Arthur Mitchell Footage Arthur New York Times Article Arthur Agon Sweatshirt Podcast Merch Disclosure: Some of the links are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through the link and finalize a purchase.
Cet été, nous avons sélectionné les meilleurs épisodes des "Fabuleux Destins" . (Re)découvrez les épisodes qui ont fait battre le cœur des auditeurs et auditrices ! Pour les fans de Harry Potter, Nicolas Flamel est un ami de Dumbledore, et aurait inventé la "pierre philosophale", pierre qui transformerait le plomb en or et assurerait la vie éternelle. Dans le premier tome de la saga, il est âgé de 665 ans ! Mais le personnage de roman est directement inspiré du vrai Nicolas Flamel, un notable parisien du 14ème siècle. Qui était-il vraiment ? A-t-il réellement inventé la pierre philosophale ? Ecoutez la suite de cette histoire incroyable dans ce podcast. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Arthur Mitchell, le premier homme noir devenu danseur étoile Gilles Garnier, l'un des derniers loup-garous français Les sirènes, femmes-oiseaux ou femmes-poissons ? Ecriture : Hélène Vézier Réalisation : Célia Brondeau, Antoine Berry Roger Voix : Andréa Brusque Learn more about your ad choices. Visit megaphone.fm/adchoices
Dans cet épisode des Fabuleux Destins nous allons vous parler d'un danseur devenu une véritable icône politique aux États-Unis. La couleur de sa peau lui a attiré la colère de la foule pendant une large partie de sa carrière, mais il n'a jamais cessé de se battre pour les droits des personnes noires. Jusqu'à, finalement, révolutionner le monde du ballet classique. Son nom : Arthur Mitchell. Du quartier de Harlem jusqu'à la Maison Blanche, découvrez son incroyable destin. 1er décembre 1957. Les New-yorkais se pressent dans les rues glacées de Manhattan. Une foule s'est rassemblée autour d'un célèbre centre culturel. À l'intérieur, les coupes de champagne brillent sous les grands lustres du hall d'entrée. Pourtant, ce luxe peine à masquer la terrible réalité politique des États-Unis. Depuis la fin de l'esclavage, une frontière cruelle divise le pays entre les Blancs et les Noirs. Ce soir, deux brillants artistes ont uni leurs talents pour composer un ballet au parfum de révolution : George Balanchine, chorégraphe, et Igor Stravinsky, compositeur. En coulisse, Balanchine pose la main sur l'épaule de son danseur vedette. Malgré la pression, le jeune artiste est détendu. Il sourit à Balanchine, et hoche la tête. Petit à petit, le public remplit la salle et le rideau se lève... Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Gilles Garnier, l'un des derniers loup-garous français RuPaul, la drag queen la plus influente du monde Le crash du vol Malaysia Airlines 370, le drame aérien le plus mystérieux de notre époque Un podcast Bababam Originals Voix : Andréa Brusque Ecriture : Lucie Kervern Production : Bababam (montage Gilles Bawulak, Antoine Berry Roger) Learn more about your ad choices. Visit megaphone.fm/adchoices
The RAD's flagship event, the Margot Fonteyn International Ballet Competition, gives young dancers a chance to learn from top professionals. This year's coaches include Endalyn T Outlaw – dancer, educator, choreographer and Dean of the School of Dance at the University of North Carolina. Endalyn's career is incredibly varied – she performed with the Dance Theatre of Harlem and in the original Broadway cast of The Lion King, she's restaged ballets and developed a philosophy of dance teaching that is focused on helping dancers bring their whole selves to the stage.Endalyn T Outlaw – dancer, choreographer and educator – is dean of the School of Dance at UNCSA. She was previously director of Dance Theatre of Harlem School in New York – a company she joined in 1984, becoming a principal dancer in 1993 – and director of the Cambridge Summer Art Institute, Massachusetts. She has created an eclectic body of choreographic works and excels at restaging ballets, having worked with luminaries including Arthur Mitchell, Alonzo King, Agnes de Mille and Garth Fagan. She has performed on Broadway and internationally, including in the original casts of The Lion King and Aida.Find out more about the work of the RADFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
Our special two-part episode of Hear the Dance continues with former Principal Dancers Allegra Kent and Jared Angle exploring Kent's career at New York City Ballet, zeroing in on two key roles: the Sleepwalker in La Sonnambula, and the lead in Agon. Kent shares that she was coached extensively by Balanchine for La Sonnambula—the first ballet Kent saw onstage, and immediately fell in love with—but perhaps learned most from an impromptu session with originating dancer Alexandra Danilova at a bus stop. Beginning as an understudy for Principal Dancer Diana Adams, Kent performed Agon, which she describes as “astonishing,” with Arthur Mitchell and other partners for many years. (41:47) Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Agon (1953-56) by Igor Stravinsky Based on themes from operas by Vincenzo Bellini, including La Sonnambula, Il Puritani, Norma and I Capuleti e i Montecchi (1830-1835) by Vittorio Rieti The Unanswered Question (1908) by Charles Ives Symphony No. 1 in C major (1855) by Georges Bizet All music performed by the New York City Ballet Orchestra
C'est une première en 350 ans d'histoire de l'Opéra de Paris : pour la toute première fois, un danseur noir a été nommé "danseur étoile" ! Guillaume Diop, un jeune prodige de 23 ans. Le tout premier "danseur étoile" noir américain, c'était il y a plus de 60 ans : Arthur Mitchell, en 1962 ! Il a bouleversé l'histoire de la danse. Rien ne semblait prédestiner le jeune Arthur Mitchell à ce destin incroyable. Originaire de Harlem, il est d'abord chanteur dans une chorale puis danseur de claquettes, avant de se prendre de passion pour la danse classique. Talentueux et bosseur, Mitchell s'accroche. Il obtient une bourse pour entrer dans le New York City Ballet. En 1955, la troupe est dirigée par George Balanchine, un immigré russe : c'est lui qui lui en ouvre les portes ...
The key to finding a champion in your male students is understanding each student's unique skills and interests. In addition, creating a supportive and encouraging environment where each student can develop and grow their talents is essential. In this episode, I talk to Author Mr. Arthur Mitchell about seven ways classroom teachers, administrators, or anyone who serves young men can find the champion inside them. For more video and audio podcasts, head to ktteev.com. --- Support this podcast: https://anchor.fm/kendrick-thomas/support
Arthur Mitchell is a Husband and Father of 3 beautiful children (Zaj) Zamya, Arianna, and Jayden. Becoming a father has been his greatest accomplishment in life. He is married to Yolonda Mitchell where they have been married for 8 years. Arthur Mitchell's Journey started at the age of 6 when he was diagnosed with an eye disease called Keratoconus. The eye disease caused him to be visually impaired throughout his whole life. Art dealt with rejection, bullying, lack of support, and loneliness. this led him to a number of challenges in life. As Art got older he was able to take all his pain and turn it into his purpose. Art now travels across the world speaking and teaching, with the I AM program, and professional development programs for students and staff. His main purpose is to help bridge the gap in the education field, by helping kids with disabilities understand their purpose and reminding them that their disability does not affect their ability. Connect W/ Art on IG : https://www.instagram.com/artspeaks82/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
More than 50 years ago, in the aftermath of Dr. Martin Luther King Jr.'s assassination, New York City Ballet dancer Arthur Mitchell found himself wondering how he, an artist, could help foster social and racial equity. His answer, with Karel Shook, was to found Dance Theater of Harlem, originally a school program based in Mitchell's home neighborhood. Not long after, Mitchell and Shook expanded their vision to create a touring ballet company that could show the world that the classical art form wasn't just for white Europeans. Virginia Johnson was part of the original company; now Johnson is in her final season as DTH's artistic director. She talks with co-hosts Vivian Phillips and Marcie Sillman about DTH and the power of art to change the world.
She needs no introduction — but in magazine history, Tina Brown is rightly deemed a legend, reviving Tatler, Vanity Fair and The New Yorker, before turning to the web and The Daily Beast (where I worked for her). Her new book is The Palace Papers. We talked journalism, life and royals.You can listen to the episode right away in the audio player embedded above, or right below it you can click “Listen in podcast app,” which will connect you to the Dishcast feed. For two clips of our convo — on Meghan Markle’s epic narcissism, and why women make the best monarchs — head over to our YouTube page. Having Tina on the pod was the perfect excuse to transcribe our popular episode with Michael Moynihan, who used to work for Tina at The Daily Beast — which also hosted the Dish for a few years. So we’re all old friends. From the Moynihan chat:Andrew: I was talking to Tina Brown about this not that long ago, with the great days of the big magazines in the '80s and '90s. Really, when you look back on that time, it was an incredible festival of decadence and clearly over the top before the fall.Michael: I love Tina. I did a thing — you can look this up — an interview with her, when her Vanity Fair Diaries came out, for The Fifth Column. Just Tina and I sat down and talked for an hour and a half, and it was one of the best things I think we’ve recorded, and got one of the best responses. Because people miss those stories.Perhaps Bill Kristol should check out the clip with Moynihan on how to change your mind on stuff you get wrong:A listener looks back to last week’s episode:Wonderful interview with Douglas Murray, with the two of you riffing off each other with brilliant dialogue. Very warm and affirming as well. I particularly enjoyed your discussion of the religious dimension as one aspect of our present dilemma. I know you would want to provide variety for the Dishcast, but please consider having him on again.Another fan:This was the most memorable episode in a long time (although they are all great). Of course, your dialogue was choir-preaching, and so I need to be careful in avoiding confirmation bias. That said, I found Murray’s elegant way of encapsulating the obvious — which I fail to express myself — truly invigorating. I rewound and listened to many parts several times over. I ordered his book today.Another listener dissents:I find the armchair psychoanalysis regarding ressentiment — as the organizing principle of what is happening in our culture today — to be one of the least compelling arguments made in the episode. Why not go ahead and attribute our perpetual unwillingness in the West to recognize what is great about it to Christianity’s concept of original sin? Or maybe read psychoanalytic literature on why an individual or group of people who are objectively improving might hold onto beliefs of the self or society as rotten? These seem just as likely as Nietzsche’s argument. Ultimately, what a person speculates to be the primary motivator of another person or group reveals a lot. Your speculation that it’s mostly ressentiment suggests you want or need to demonize the CRT crowd. This is tragic given that this is precisely what you and Douglas accuse the CRT crowd of doing. Another listener differs:I don’t agree with everything you and Douglas Murray write, but thank you for talking about the resentment and bitterness that’s driving politics and culture today. It’s gone completely insane. I used to work for a small talent agency, and during the pandemic I coached some actors over Zoom. During the George Floyd protests, one of my clients was up watching the news all night, not getting any sleep. I told her, look, you want to be informed and want to help. But you have to take care of yourself first or you’re no help to anyone. Go to bed and catch up on the news tomorrow. People criticized me for this kind of advice, saying I was privileged, that I just wanted to look away and not examine myself for my own inherent racism, etc. I couldn’t understand why people were being so unreasonable.I’m also a Mormon. After George Floyd was murdered, our ward started to discuss racism. Mormonism has a checkered past when it comes to things like Black men and the priesthood. Or even language in some of the scriptures. These are important conversations that our church needs to have. There were good things that happened, like Black people in the ward shared more about their experiences during meetings. But almost immediately it became weird. The women’s group did a lesson on Robin DiAngelo’s “White Fragility,” for example. We didn’t actually ever talk about the things I was hoping we’d talk about — how Brigham Young stopped Black men receiving the priesthood, for example. We were just told we all needed to acknowledge our white privilege and feel guilty about it. There was a part about redlining. There was no acknowledgment that some of the white people in this ward lived in low-income housing, basically had nothing, and had been stressed even further by the pandemic. It just felt unnecessarily divisive. I have no idea what the Asian members made of this talk, because it basically excluded them. There were so many holes in these theories, but I wasn’t brave enough to point them out.So it was a real relief to hear you and Murray talk about the way these ideas have infiltrated churches. The Mormon thing is typically like, “God wants you to be happy. Live this structured life, show compassion, work hard, love your family, and be happy.” But the DiAngelo ideas felt like, “you can’t even be saved, at least not if you’re white. Some people don’t deserve to be happy; they should only feel guilt.” It was easier to bring in a fad book and talk about property values than to talk about the awful passage in the Book of Mormon where it says dark-skinned people are cursed, but other people are “white and delightsome.” I felt like the second the door opened to have a serious conversation about the church and race, they immediately jumped the shark instead.From a fan of opera and ballet:Douglas Murray mentioned Jessye Norman and how her obituary was racialized. Well, in January of 1961, Leontyne Price made her Metropolitan Opera debut, and she and Franco Correlli received an ovation that was around 50 minutes long ... possibly the longest in Met history, or among two or three longest. There have been so many great black singers at the Met, such as Shirley Verrett, Kathleen Battle (who was loved by James Levine but whose voice I never liked), Eric Owens, Grace Bumbry, and many others. Here’s a snip of Price’s Met debut:Balanchine choreographed Agon (music by Stravinsky), arguably his greatest dance, for Diana Adams (white) and Arthur Mitchell (black) in 1957. They danced the pas de deux, which is an erotic tangle of bodies. Balanchine wanted the black/white tension. Here is a bit of it:And to my beloved Jessye Norman, whom I saw only once, here she is at her best:Another listener rolls out some poetry:I greatly enjoyed your conversation with Douglas Murray. He is fierce! Your mention of Clive James’s “The Book of My Enemy Has Been Remaindered” reminded me of a similarly minded poem from Nina Puro. (I suspect one of them inspired the other.) I LONG TO HOLD THE POETRY EDITOR’S PENIS IN MY HANDand tell him personally,I’m sorry, but I’m goingto have to pass on this.Though your pieceheld my attention throughthe first few screenings,I don’t feel it is a good fitfor me at this time. Please know it receivedmy careful consideration.I thank you for allowingme to have a look,and I wish youthe very best of luckplacing it elsewhere.Shifting away from the Murray episode, here’s a followup from a intrepid Dishhead:I was excited to see my letter published on the violent toll homelessness takes on communities recently. I’ll be listening to the podcast with Maia Szalavitz soon, and I’ve got Johann’s book on harm reduction to read as well. (I loved the episode with Johann, bought his new book, loved it, and stopped being so online for about a week before backsliding ...)Shortly after I wrote that last letter to you, I realized that I wasn’t satisfied with just writing indignant letters about the bloody cost of complacency on homelessness. It’s really the story of Ahn Taylor — a sweet 94-year-old lady stabbed by a homeless man as she was walking in her neighborhood — that made me understand that complaining is not enough.So I’ve started a non-profit, Unsafe Streets, to take on this challenge. It’s sort of a “Take Back the Night”-style public safety crusade. It’s early days still, but we have a website, including pages for NYC and San Francisco, a Twitter feed, and a crowdfunding campaign. Next on my agenda is to create a page for Los Angeles, a detailed policy platform, and then to recruit a board and apply for 501c3 status.I’ve been keeping up with the Dish when I can (LOVING the conversation with Jonathan Haidt, and I HIGHLY recommend this complementary Rogan episode.) I’ve been busy with the kids and trying to get Unsafe Streets going in my free minutes.She follows up:I just listened to Maia’s episode, and I am pretty unsatisfied with her proposed solutions. Non-coercive acceptance and decriminalization is fine for people who are using drugs they bought with their own money in the privacy of their home. But public drug use, public intoxication, and the associated “quality of life” crimes (public defecation, indecency, etc.) make public spaces unsafe and uncomfortable for everyone else. Laws against these crimes should be enforced, which means arresting people and taking them to jail or some kind of treatment. Injecting fentanyl and passing out on the sidewalk is a very antisocial and harmful behavior, and should not be “decriminalized.”I agree with Maia that this is a complicated mix of addiction and severe mental illness. But I don’t think the cost of housing argument holds up. (A brief scan of the news will show you that there in fact ARE homeless encampments in West Virginia.) I think she was unfair in her characterization of Michael Shellenberger’s proposal, which includes tons of resources to expand access to and quality of treatment. Overall, Maia’s perspective is very focused on the benefit to the addict, but discounts the costs to the surrounding community. Thanks for keeping a focus on this subject!Another listener looks to a potential future guest:Hello! You invite your readers to submit guest ideas here. I submit Kevin D. Williamson — another nuanced “conservative,” Roman Catholic, Never Trumper, and admirer of Oakeshott. Oh, and he was fired after five minutes at The Atlantic for a previous statement about abortion.Thanks for the suggestion. Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe
Henri Bergson (1859-1941) was a French philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. The book focuses on four key steps: that there must be a vital impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to place ourselves back in the original vital impulse. Bergson addresses concepts of time, human intelligence and intuition, all of which illustrate his ideas on the meaning of life. The book was very popular in the first half of the 20th Century, and held a significant influence on modernist writers. Today, we read Bergson's work because of its profound contribution to the philosophical discussion of evolution.Translated by Arthur Mitchell (1872 - 1953).Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Henri Bergson (1859-1941) was a French philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. The book focuses on four key steps: that there must be a vital impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to place ourselves back in the original vital impulse. Bergson addresses concepts of time, human intelligence and intuition, all of which illustrate his ideas on the meaning of life. The book was very popular in the first half of the 20th Century, and held a significant influence on modernist writers. Today, we read Bergson's work because of its profound contribution to the philosophical discussion of evolution.Translated by Arthur Mitchell (1872 - 1953).Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Henri Bergson (1859-1941) was a French philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. The book focuses on four key steps: that there must be a vital impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to place ourselves back in the original vital impulse. Bergson addresses concepts of time, human intelligence and intuition, all of which illustrate his ideas on the meaning of life. The book was very popular in the first half of the 20th Century, and held a significant influence on modernist writers. Today, we read Bergson's work because of its profound contribution to the philosophical discussion of evolution.Translated by Arthur Mitchell (1872 - 1953).Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Henri Bergson (1859-1941) was a French philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. The book focuses on four key steps: that there must be a vital impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to place ourselves back in the original vital impulse. Bergson addresses concepts of time, human intelligence and intuition, all of which illustrate his ideas on the meaning of life. The book was very popular in the first half of the 20th Century, and held a significant influence on modernist writers. Today, we read Bergson's work because of its profound contribution to the philosophical discussion of evolution.Translated by Arthur Mitchell (1872 - 1953).Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Carmen de Lavallade grew up in a Mexican neighborhood in East Los Angeles and started dancing as a teenager. It was her time with Lester Horton that inspired her teaching and choreography career. She was so inspired she invited her junior high school friend Alvin Ailey, to study dance with Horton as well. Both dancers moved to New York to star in an all-star cast of the Broadway show "House of Flowers." On this show she met her husband, Geoffrey Holder who was "always chasing after me." Their love story of 60 years captured our hearts. Ms. de Lavallade is also the first cousin of Janet Collins, the first Black ballerina to perform at the Metropolitan Opera. When Ms. Collins retired from her position, Ms. de Lavallade was her replacement. Dance under Ms. Carmen de Lavallade's influence became a celebration of Black talent in a variety of spaces. She's got the Kennedy Center Honor to prove it!Brava, Ms. de Lavallade!This episode first aired on KBLA Talk 1580, Los Angeles.
Happy Birthday to Arthur Mitchell, Auguste Vestris, Charles-Louis Didelot, Harold Nicholas, and Chick Vennera! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support
Japan's Top Business Interviews Podcast By Dale Carnegie Training Tokyo, Japan
Arthur Mitchell is a Senior Advisor at White & Case in Tokyo. White & Case is a global law firm with a global presence. White & Case is just over 120 years old, having started in 1901, it has progressed to the global firm it is today and serves clients worldwide. Mr. Mitchell has a long history with Japan. He has been in Japan for 54 years. Mr. Mitchell came to Japan when he was 14 years old for a short trip, again when he was 17 and a few years later again as a third-year exchange student in college. After this exchange, he returned to the US, to complete his undergraduate studies at the University of Berkeley and went on to Harvard University for Law School. After Law School, in the US it is typical to get hired at a firm that you did an internship in a previous summer, but Mr. Mitchell didn't want to work immediately after graduation, so he decided to take up a Fellowship at Kyoto University. Mr. Mitchell is getting the sense that there are innovative things going on in Japan. He is seeing that the young people are not necessarily aspiring for government roles or large corporate roles, they are aspiring for more entrepreneurial roles or ventures. Speaking from the perspective of law, he says that the law usually changes with innovation. He is seeing from the 2 companies, where he serves on the board, that the senior management is seriously considering moving towards digital transformation and innovation. Mr. Mitchell not only relies on younger staff within his firm, but also young friends outside the firm to help him further understand technological innovation. Mr. Mitchell explains some of the things that he has been doing to improve engagement with his employees. Before COVID they used to have in-person seminars, this moved to online webinars, but these leave very little room for personal interaction. Typically for more complex matters, the best way is to sit in a conference room, use a whiteboard and have back and forth discussions, but COVID has made this very difficult as everyone is working remotely, and it becomes very difficult to read the roam in a virtual meeting. Regarding foreigners coming to Japan, Mr. Mitchell has heard one of the biggest challenges foreign staff face in Japan is explaining the situation back to their home offices. The larger, better organizations understand Japan's work culture and their managers and staff are better equipped to work in Japan. Sometimes, newer organizations that haven't had much exposure to Japan previously, it is challenging to explain the situation back to the home office. The pace of Japan can be quite slower compared to other countries, for example a decision can involve many coffee meetings, talking with multiple stakeholders and convincing a lot of people. Many of the global companies, Mr. Mitchell works with, have realized that they need to speed up the pace of decision making, their changes and their approach to the markets. Mr. Mitchell defines leadership as setting a clear vision and defining the mission. Mr. Mitchell also suggests that in the upcoming years, organizations may need to change the way hiring is done. Currently, companies recruit from the Legal and Economics departments, but if technology is going to play a more important role in the future, perhaps hiring needs to be done from the Science Faculties. Mr. Mitchell also notes that Japan has a shortage of people. Lastly, he says that leading in Japan requires a lot of listening and being a good listener works well for business.
In celebration of the holidays, the end of 2021, and a New Year 2022, we are going to be celebrating a few famous BIPOC ballet dancers. Featuring amazing dancers Alicia Alonso, Arthur Mitchell & Maria Tallchief!
BAAS Entertainment- Listening Experiences for the Indie Artist Aficionado is back with Season 2 of our Podcast!! Our first episode of the season features my conversation with the high energy, always exuberant, Alyson Williams- The First Lady Of DEF Jam!!!! Tune in and get a history lesson on the origins of the some of icons in Hip Hop and R&B. Alyson Williams is a master class!!!!Entrepreneur, philanthropist and radio host, are just a few of the hats renowned Harlem raised, recording artist, Alyson Williams wears. With a voice so hauntingly pure, Alyson is able to transport you to your very own utopia while effortlessly showcasing she really can do it all.Alyson was inspired to study dance under the supervision of, Arthur Mitchell, founder of The Dance Theatre of Harlem. She also studied with Alvin Ailey and performed with numerous other dance companies. Alyson was granted a scholarship to Marymount Manhattan College. She later attended City University of New York, as a member of the Aaron Davis Center for the Performing Arts Program. Alyson was awarded an internship to work side by side with Benny Ashburn, manager of the world famous Commodores. Before she knew it, she was singing background in the studio with iconic artists such as, Melba Moore, Evelyn Champagne King and Kurtis Blow. After a plethora of collaborations with Kurtis Blow, Alyson became the quintessential “hook girl” for the rap and hip hop genre. Alyson's internship turned out to be life changing. In a short amount of time, her talent was recognized. Alyson became an in-demand studio session singer. She also became a featured member of the 80's vocal group “High Fashion” on Capital Records.Following her path of success, Alyson instantly grabbed the attention of Def Jam label CEO, Russell Simmons and became the first female R&B artist to sign with the label. As a founding member of DefJam, Alyson helped to further Russell's vision. Fueled by excitement and passion, Alyson recorded two albums on Columbia Record's “OBR” (Original Black Records) label and remained with the label when it made its switch to Sony. Her first album titled “Raw” spent an impressive 67 weeks on the Billboard charts, matched only by Madonna's “Like a Prayer” and went gold in the UK. Altogether, the album produced four top five singles, one of which is the sultry and ever popular hit, “Just Call My Name.” Her second album, self-titled, featured songs produced by Al B. Sure and Babyface and also boasted several chart topping singles.After leaving Def Jam, Alyson collaborated with award winning producer, Marcus Johnson and together they produced Alyson's third solo album titled, “It's About Time.” With an innate business mindset Alyson launched her own production company, A.W.P. AWoman's Prerogative. A.W.P. allows Alyson to write musical stage plays, books, television treatments, produce concert series and much more. Having studied Communications Broadcasting for radio and television, Alyson has most recListen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”
Arthur Mitchell talks us about his battle with a rare eye disease and how he continues to go after his dream! #michaelfinkleyshow #greaterworksnetwork #inspiration #iAM --- Send in a voice message: https://anchor.fm/michael-finkley-show/message
This week's guest is Yarraman Park's Arthur Mitchell, who reflects on the amazing journey of star stallion I Am Invincible as well as his own long and storied career in the thoroughbred industry.
Tish Bell- www.hellomillionaire.org Tara Eusebi- www.bless-app.com Arthur Mitchell- www.artmitch.com C. L. King- www.clkingspeaker.com
Growing up in London, Julie Felix always dreamed of dancing on the city's most famous stages, but she says she ended up leaving the UK in the 1970s after a ballet company excluded her because of the colour of her skin. Instead, she became a star in the United States with the prestigious Dance Theatre of Harlem, the first classical ballet company to focus on black dancers. Under the tutelage of the great African-American dancer Arthur Mitchell, Julie travelled the world performing for the likes of the singer Prince, Pavarotti and President Ronald Reagan. A book has been written about Julie's life called Brickbats and Tutus. A shorter version of this story was first broadcast on 15th April 2021. Get in touch: outlook@bbc.com Presenter & producer: Mariana Des Forges Picture: A montage of photographs from Julie Felix's life Credit: All photos courtesy of Julie Felix
Growing up in London, Julie Felix always dreamed of dancing on the city's most famous stages, but she says she ended up leaving the UK in the 1970s after a ballet company excluded her because of the colour of her skin. Instead, she became a star in the United States with the prestigious Dance Theatre of Harlem, the first classical ballet company to focus on black dancers. Under the tutelage of the great African-American dancer Arthur Mitchell, Julie travelled the world performing for the likes of the singer Prince, Pavarotti and President Ronald Reagan. A book has been written about Julie's life called Brickbats and Tutus. A shorter version of this story was first broadcast on 15th April 2021. Get in touch: outlook@bbc.com Presenter & producer: Mariana Des Forges Picture: A montage of photographs from Julie Felix's life Credit: All photos courtesy of Julie Felix
About Art Mitch At the age of 6, ArtMitch was diagnosed with an eye disease called Keratoconus. Keratoconus is an eye disease that presses on your pupil causing blurriness to your vision. When most children's only concern at that age was playing, he was trying to make sure he could see the world as normal. Growing up with this disease was not an easy task. Art Mitch dealt with being bullied because nobody knew of this disease that he was dealing with. As the years passed he was introduced to a procedure that could possibly help his vision called Corneal Transplants. Art Mitch had 7 eye surgeries to correct his vision.
This week on 5.6.7.EIGHT, Aleksandra interviews Virginia Johnson — artistic director at Dance Theatre of Harlem. Prior to taking over as the artistic director, Virginia’s run with Dance Theater of Harlem spanned 28 long years. In fact, she was one of the founding members of the company in the late 60s. Upon retirement, she returned to university to pursue a degree in journalism — a step that led to the creation of Pointe Magazine, where she was the magazine’s first editor-in-chief from 2000 to 2009. And, in 2010, at the request of Harlem’s co-founder Arthur Mitchell, she took over as artistic director. Virginia’s dive into ballet happened at a tumultuous time in our nation’s history, as the Civil Rights Movement of the 1960s was in full force. In her earliest years, she was discouraged from ballet and was told she’d never succeed, as the art was largely White-dominated. However, with the help of courageous people like Arthur Mitchell, she found her groove and is now carrying his legacy from generation to generation. On the podcast, Johnson tells the full story of perseverance, hope, belief, and a deep love of the art. Moving Quotes: "Ballet doesn't belong to one group of people; ballet belongs to everyone. Arthur Mitchell just had to create opportunity." "Arthur Mitchell created Dance Theater of Harlem out of inspiration and respect and out of a desire to emulate Dr. Martin Luther King's ability to use his talents to make change in the world." "To me, dance is essential. It's the life and death of the spirit... Art is glue for us humans." "Ballet is difficult and teaches you really important things like focus and self-discipline and perseverance." "As an artistic director, you must be an omnivore, taking in all kinds of information and experiences because you bring that to your work." "You have to learn how to rely on yourself. To know where the boundary is where, if it's not coming from outside but it's important to you, you have to find it in yourself." "Ballet is changing. I don't want it to lose its beauty and tradition, but it needs to be an art form that is empowering." "In the pandemic, the inability to do what we are meant to do is a great gift. Because coming out of this, we will have new tools for connecting to people." Bullet Points (w/ timestamps) - Highlighting key topics discussed: 3:46: Virginia walks through her incredible journey of overcoming adversity — of being a Black dancer in a predominantly White artform — and eventually taking over the company that first showed her how to dream big. 10:54: Virginia reflects on, now, her role as artistic director of Dance Theatre of Harlem and how the task is daunting and intimidating and stressful yet joyful and surreal. 16:52: Johnson discusses the historic lack of women in dance leadership yet reflects on the winds of change in the dance world and how this trend is beginning to reverse. 20:59: Johnson discusses her nine years spent with Pointe Magazine and the incredible story of how she landed that role in the first place. 26:02: Virginia describes her views on role models and the importance of self-sufficiency. 28:56: Johnson discusses what’s next for the Dance Theatre of Harlem as we all hopefully march towards the post-pandemic era. 32:15: Virginia shares some advice for aspiring artistic directors and describes the importance of being an avid learner. Bullet List of Resources – Virginia Johnson LinkedIn Dance Theatre of Harlem Company Site Instagram Facebook Twitter YouTube
Do you know someone who has struggled with a disability all of their life? At the age of 6, Art Mitchell was diagnosed with an eye disease called Keratoconus, an eye disease that presses on your pupil causing blurriness to your vision. Growing up with this disease was not an easy task, as he was bullied for his condition. He endured 7 eye surgeries to correct his vision, and he now speaks of his journey with students and shares his “I AM” message. Facebook: ArthurMitchell Instagram: artspeaks82 LinkedIn: ArthurMitchell His website: https://www.artmitch.com My website (where you can connect with me about speaking, snagging a TAG shirt, or get some useful goodies): https://linktr.ee/chrisdtgordon Theme music and post-production by @nateberan
What is the school to prison pipeline & how has the pandemic affected this? Arthur Mitchell shares his story of what lead him to use his platform to educate about the school to prison pipeline as well as turning pain into purpose. Arthur is a special education specialist, motivational speaker, and author. To learn more about Arthur and his work, please visit him on social media: Website: www.artmitch.com Facebook: Arthur Mitchell If you like this episode, please leave a rating and review. Keep in touch by either subscribing to the podcast or on Instagram and Twitter: @blisswithchriss . You may visit the website at blisswithchriss.com
A powerful, uplifting, and inspiring conversation with Arthur Mitchell, Please go check out his links, all the info is Below. https://www.artmitch.com/ Linkedin- Arthur Mitchell https://www.instagram.com/successwitharthur/
"Your life is your canvas and your body of work is your legacy,” says Ms. Kenya Joy Gibson to all her students and emerging artists. Born and raised in Brooklyn, the researcher is committed to provoking a conscious thought in African-American history, and spirituality, to all people through storytelling and movement. A former Dance Theatre of Harlem student, and one of the last to experience the tutelage of the late Arthur Mitchell, Ms. Gibson fuses classical ballet and modern with the polyrhythmic movements of West African Dance. She has performed masterworks such as “Dougla” by Geoffrey Holder and “Forces of Rhythm” by Louis Johnson. A conduit for retaining and reclaiming the legacy of the African Diaspora, Kenya visits West Africa yearly to bring our ancestral history, “home from home;” she is currently working towards ending education equity in Senegal as a Fellowship Fundraiser Ambassador for Teach For Senegal. As a performer, Ms. Gibson is a company member with Forces of Nature Dance Theatre. With Forces, they won the 2017 Bessie Award for ‘The Healing Sevens' for Outstanding Performance at DanceAfrica 2017 at BAM. She was also featured in the New York Times for her performance in Saya Woolfalk's “ChimaTEK” installation, and in Spike Lee's “Art of Daring” campaign for Cadillac. As a choreographer, her works were presented at the Kumble Theatre for the Performing Arts, Symphony Space, the Ailey Citigroup Theatre, and the Salvatore Capezio Theatre, to name a few. In May 2020, Kenya graduated Summa Cum Laude with a Master's in Dance Education from the Arnhold Graduate Dance Education Program (CUNY-Hunter College), with special recognition for “Outstanding Choreography.” She now returns to Dance Theatre of Harlem as a West African Dance Teacher, grooming the next generation of young dancers to establish their legacy. Ms. Gibson is currently a Guest Choreographer for the Hunter College Dance Department. Her latest works, Honor and Rebirth, are captivating virtual audiences. #BlackExecllence --- Send in a voice message: https://podcasters.spotify.com/pod/show/mastermine-mrg/message
Dexter is an American crime drama mystery television series that aired on Showtime from October 1, 2006, to September 22, 2013.[1] Set in Miami, the series centers on Dexter Morgan (Michael C. Hall), a forensic technician specializing in bloodstain pattern analysis for the fictional Miami Metro Police Department, who leads a secret parallel life as a vigilante serial killer, hunting down murderers who have slipped through the cracks of the justice system. The show's first season was derived from the novel Darkly Dreaming Dexter (2004), the first in a series of novels by Jeff Lindsay. It was adapted for television by James Manos Jr., who wrote the first episode. Subsequent seasons evolved independently of Lindsay's works. In February 2008, reruns (edited down to a TV-14 rating) began to air on CBS in the wake of the shortage of original programming ensuing from the 2007–08 Writers Guild of America strike, thus the reruns on CBS ended after one run of the first season. The series enjoyed mostly positive reviews throughout its run and popularity. The first four seasons have received universal acclaim, although reception dropped drastically as the series progressed. The show has also won many awards, including two Golden Globes won by Hall and John Lithgow for their roles as Dexter Morgan and Arthur Mitchell, respectively. Season four aired its season finale on December 13, 2009, to a record-breaking audience of 2.6 million viewers, making it the most-watched original series episode ever on Showtime at that time.[2][3] In April 2013, Showtime announced that season eight would be the final season of Dexter.[4] The season-eight premiere was the most watched Dexter episode with more than 3 million viewers total for all airings that night.[5] The original broadcast of the series finale—shown at 9 pm on September 22, 2013—drew 2.8 million viewers, the largest overall audience in Showtime's history.[6] In October 2020, it was announced that Dexter would return with a 10-episode limited series, starring Michael C. Hall in his original role, with Clyde Phillips returning as showrunner. It is slated to premiere in late 2021.[7]
At the age of 6, Art Mitchell was diagnosed with an eye disease called Keratoconus. Keratoconus is an eye disease that presses on your pupil causing blurriness to your vision. When most children's only concern at that age was playing, he was trying to make sure he could see the world normally. Growing up with this disease was not an easy task. Art dealt with being bullied because nobody knew of this disease that he was dealing with. As the years passed he was introduced to a procedure that could possibly help his vision called Corneal Transplants. He had 7 eye surgeries to correct his vision. Art took his pain and turned it into purpose. Over nearly a decade his passion for working with young people has increased tremendously. He has worked with various organizations helping give youth direction and support as they accomplished their goals.Art created the I AM brand to provide support and coping strategies for children and young adults who are being bullied because of their disabilities and to decrease the pipeline of young black males from school to prison. He accomplishes this by inspiring hope for a brighter future and instilling confidence in one's self. Art understands the strategies that empowered him to overcome his own disabilities have allowed him to become the father, husband, and entrepreneur he is today.Art's greatest accomplishments are being a husband to his beautiful wife and father to their 3 beautiful children, whose names he used to create the acronym for his company - ZAJ Inspirations. His motto is family first which he implements in all he does.Get in touch with Art:Facebook-Arthur MitchellIG: @successwitharthur LinkedIn: Art MitchWebsite www.artmitch.comDon't miss this episode..."This Is The Year For Your New Book"Watch the interview on our YouTube channel:https://youtu.be/DFf66ijtd7s
Arthur Mitchell stops by and shares some past and future accomplishments with the Swade Soul Show. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/swadesoul/message
In this episode Arthur shared his stories with us about his disabilities and his determinations to overcome the challenges. Being diagnosed at the age of with an eye disease called Keratoconus, an eye disease that presses on your pupil causing blurriness to your vision. He went through many surgeries, he was bullied in school, and he faced the hardest challenges but none of that stopped him from believing that he was bold, confident, genuine and a man of purpose. He leads youth to learn about living through their purposes. Arthur Mitchell is on a mission to empower many youths and he is telling diseases and disabilities have nothing on him. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/uslayconfidence/message Support this podcast: https://anchor.fm/uslayconfidence/support
Arthur Mitchell, A.K.A Art Mitch, is a father, husband, and author. His passion for the youth sparked from tragedies in his early childhood. At a young age, he was diagnosed with Keratoconus. It is an eye disease that has caused him to have an unusual childhood. These difficulties have continued through adulthood. Art now uses the skills and techniques he's learned to help provide support to others. He teaches coping strategies that strengthen self-esteem for children with disabilities. Art used his challenges as an opportunity to continue to grow personally and professionally. Social Media Handles Website: www.artmitch.com Facebook: @successwitharthur Instagram: @successwitharthur
Ask Win: http://askwin.weebly.com. Please donate to Ask Win by going to Payment Venmo Win1195 at https://venmo.com/. Win Kelly Charles’ Books: https://www.amazon.com/Win-Kelly-Charles/e/B009VNJEKE/ref=dp_byline_cont_book_1. Win Kelly Charles' MONAT: https://wincharles.mymonat.com. On Ask Win today (Thursday, October 15, 2020), Best-Selling Author, Win C welcomes Arthur Mitchell. At the age of 6, Art Mitch was diagnosed with an eye disease called Keratoconus. Keratoconus is an eye disease that presses on your pupil causing blurriness to your vision. When most children's only concern at that age was playing, he was trying to make sure he could see the world normal. Growing up with this disease was not an easy task. Art Mitch dealt with being bullied because nobody knew of this disease that he was dealing with. As the years passed he was introduced to a procedure that could possibly help his vision called Corneal Transplants. Art Mitch had 7 eye surgeries to correct his vision. Art took his pain and turned it into purpose. For nearly a decade Art's passion for working with the youth increased tremendously. He has worked with various organizations helping give youth direction and support as they accomplished their go. To learn more about Arthur visit www.artmitch.com.
Robert is joined by former Dance Theatre of Harlem principal dancer, Robert Garland on this week’s Barre Talk. After creating a work for the DTH School Ensemble, Arthur Mitchell invited Robert Garland to create a work for The Dance Theatre of Harlem Company and appointed him the organization’s first Resident Choreographer. Garland has also created works for New York City Ballet, Britain’s Royal Ballet, Oakland Ballet, and many others. He also holds a Bachelor of Fine Arts Degree from the Juilliard School in New York City and is currently the Dance Theatre of Harlem School Director.
The triad collectively takes time to remember the great iconic dancer, Arthur Mitchell. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/any-one-can-move/message
Arthur Mitchell a.k.a Mr. I AM, is the founder and CEO of the I AM brand, a program created to decrease the pipeline of young black males from school to prison and teaches coping strategies that strengthen self-esteem for children with disabilities. Through Affirmations, coaching and sharing his personal story of living with Keratoconus, a rare eye disease, he is here to prove that your disability doesn't disqualify you from walking in your purpose. Learn more about Art at www.ArtMitch.com. Follow him on IG @successwithArthur and FB @Arthur Mitchell --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/moeministry/message Support this podcast: https://anchor.fm/moeministry/support
Jennifer spent her entire dance career at Dance Theater of Harlem under the direction of Arthur Mitchell. When the demands of her performance career became unsustainable, Jennifer sought a new career that helped people directly like the arts. Through a program at her community college that placed students in research labs, Jennifer discovered the field of Psychology and the rewards of Academia. She went on to earn a PhD and join the faculty of Wayne State University, where she carries forward Arthur Mitchell's fight against injustice through her research in Cultural Betrayal Trauma Theory. Learn more about Jennifer at http://jmgomez.org and any of the links below. Co-Editor Journal of Trauma & Dissociation special issue: Discrimination, Violence, & Healing in Marginalized Communities https://dynamic.uoregon.edu/jjf/jtd/discrimination.html Research Committee Chair, Board of Directors Center for Institutional Courage, 501(3)c non-profit https://www.institutionalcourage.org Cultural Betrayal Trauma Theory: Web- http://jmgomez.org Article- https://theconversation.com/the-unique-harm-of-sexual-abuse-in-the-black-community-114948 Interview- https://www.bbc.co.uk/sounds/play/m000gdtg Presumed Incompetent II: Race, Class, Power, and Resistance of Women in Academia https://upcolorado.com/utah-state-university-press/item/3794-presumed-incompetent-ii Profiles: https://clasprofiles.wayne.edu/profile/gn4270 https://mpsi.wayne.edu/profile/gn4270 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/count9/message Support this podcast: https://anchor.fm/count9/support
In 1992 after 11 years in the US Navy, Harold retired early from the Military to fully pursue his passion of music. He was soon signed as a producer/artist with San Diego independent record label Deemo Records helmed by marketing guru Arthur Mitchell. Deemo Records would eventually become a subsidiary label under Solar/Hines/Epic out of Los Angeles. The infamous Death Row records crossed his path when Harold joined a team of producers who worked on the Platinum CD “Murder was the Case” In 1999, he was embraced by the city of San Diego with the awarding of the San Diego Music Award as “Best Urban Artist. Shortly there after, a BET.com online poll nominated Harold as “Breakaway Artist of the Millennium in 2000.
Our mid-week service blends traditional and contemporary worship styles, creating a mixture that is informal and reverent, often humorous, and always Spirit-filled. Sermons by Dr. Michael Bos and others, with dynamic contemporary music led by a praise vocal ensemble and band. All are welcome! Marble Summer Arts Festival Dancer Bio for Wednesday, June 24, 2020 LaToya Roberson RAD RTS LaToya began her ballet training in her hometown of Shreveport, Louisiana. LaToya has been a student at many prestigious dance schools including Pittsburgh Youth Ballet, North Carolina School of the Arts, Dance Theater of Harlem and The Ailey School, where she received the the Judith Jamison Fellowship. Studying at these schools has given LaToya the privilege of studying under and dancing for dance greats such as Melissa Hayden, Gelsey Kirkland, Arthur Mitchell, Ronald K. Brown and Judith Jamison. Since finishing her training, LaToya has gone on to perform on stage as well as on television. She has been a featured dancer on Live! With Regis and Kelly and the MTV Video Music Awards. She has danced with Contemporary Ballet Theater and Genesis Dance Company. She has also had the opportunity to dance as a guest artist in roles for ballets such as Swan Lake, Sleeping Beauty, Firebird, Gaite Parisienne, The Nutcracker, Giselle and more. LaToya has been on staff and guest teacher at numerous dance schools including Shreveport Metropolitan Ballet, Theater School of Dance and Santa Clarita Ballet, Los Angeles Ballet Academy and the Dance Teacher Web Live teachers’ conference every year in Las Vegas. She is currently a staff member of D’Valda and Sirico Dance and Music Centre in Fairfield, CT under the direction of Angela D’Valda Sirico and Steve Sirico (founders of Dance Teacher Web) and is the Ballet Department director at Dance Impressions in Union, NJ. She holds a certification in Ballet Teaching and Registered Teaching status with the Royal Academy of Dance (London, England).
ALICIA GRAF MACK, A truly outstanding artist, scholar, wife, mother, teacher and mentor who's reach knows no limits. A former Principal Ballerina with Dance Theatre of Harlem under the direction of the late great Arthur Mitchell. A former Principal Dancer with The Alvin Ailey American Dance Theater & has guested with companies and artist such as Beyoncé, John Legend and Alicia Keys among many others. A graduate of Columbia University with a master's degree from Washington University. Alicia is the first woman of color to head the dance division of the world reknown Juilliard School. This is a conversation about true passion and how to overcome and persevere in times of trials and tribulations. See acast.com/privacy for privacy and opt-out information.
Scholar-in-Residence Theresa Ruth Howard explores her own heritage in this personal look at Dance Theatre of Harlem, featuring the voices of founder Arthur Mitchell and current director Virginia Johnson—herself a founding member of Dance Theater of Harlem. Howard also danced with the company, was a founding member of Armitage Gone! Dance and is the founder and curator of the Memoirs of Blacks in Ballet.
Arthur Mitchell, author of “Grateful, Not Dead” discusses rethinking retirement on the Fairfax 50+ Podcast.
Arthur Mitchell, author of “Grateful, Not Dead” discusses rethinking retirement on the Fairfax 50+ Podcast.
Interview with Arthur Mitchell, author of the book 'Grateful Not Dead'. He talks about how to rewire our thinking about retirement, from dealing with ageism to real life perspectives that affect people in retirement. He coaches clients on how to more fully live the life they want to live in line with their values and purpose. artmitchell@hotmail.com, free pdf book:https://mailchi.mp/e33d7da878c8/arthurhaynemitchell
The iconic Dance Theater of Harlem returns to the Zellerback Theater March 1-2. Loraine Ballard Morrill speaks with Philadelphia Native and resident choreographer Robert Garland about the extraordinary legacy of the dance company and its founder Arthur Mitchell who broke through barriers and opened up the field of ballet to dancers of color.https://www.annenbergcenter.org/event/dance-theatre-of-harlem-687Stepping Stones Scholars offers academic enrichment programs for youth with the aim of completing high school and going on to College. The program has an outstanding record achieving this goal and for the 6th year they are sponsoring The Step Into College Conference which provides students, their families, and counselors with essential college preparation, guidance and informational resources. Loraine Ballard Morrill speaks with Councilwoman Blondell Reynolds Brown, a long time sponsor of the event, Sean Vereen, President of Stepping Stone Scholars and David Forde, Vice President, Community and Government Affairs at the University of the Sciences which is hosting the conference. March 8th 2018 8:30am - 1:30pm - Invite OnlyMarch 9th 2018 9:00am-2:00pm Open to the Public Location: University of the Sciences - McNeil Science and Technology Centerhttps://www.steppingstonescholars.org/single-post/2019/01/07/2019-Step-Into-College-Conference Kenny Holdsman has devoted the past two decades of his career to the empowerment of urban young people through education, leadership, and character development, mentorship, family involvement, and high quality opportunities both in schools and in communities. Loraine speaks with Kenny about his latest project Philadelphia Youth Basketball which is hosting the Game Time Gala on March 14th from 7-10:30 pm at the Fitler Club in Philadelphia.https://phillyyouthbasketball.org/gala/
The iconic Dance Theater of Harlem returns to the Zellerback Theater March 1-2. Loraine Ballard Morrill speaks with Philadelphia Native and resident choreographer Robert Garland about the extraordinary legacy of the dance company and its founder Arthur Mitchell who broke through barriers and opened up the field of ballet to dancers of color.https://www.annenbergcenter.org/event/dance-theatre-of-harlem-687
The iconic Dance Theater of Harlem returns to the Zellerback Theater March 1-2. Loraine Ballard Morrill speaks with Philadelphia Native and resident choreographer Robert Garland about the extraordinary legacy of the dance company and its founder Arthur Mitchell who broke through barriers and opened up the field of ballet to dancers of color.https://www.annenbergcenter.org/event/dance-theatre-of-harlem-687
Our monthly segment The F-word: The editors of Luqman Nation join us to talk about open racists and fascists running for elected office in the U.S. and examine how the Tea Party took over of the Republican Party. Also, Lydia Curtis reports from the memorial service for Arthur Mitchell, founder of the Dance Theater of Harlem. Headlines: -The Senate voted Thursday 51 to 46 to end U.S. military support for Saudi Arabia's genocidal war on Yemen.- Senators also approved a separate resolution to hold Crown Prince Mohammed bin Salman of Saudi Arabia responsible for the death of the journalist, Jamal Khashoggi. -Chantal James reports on immigrant solidarity march to the home of Stephen Miller, sponsored by WERK-Climate activists are scrambling to save the landmark Clean Energy DC Act.-Controversial Vote expected on New Hospital for Southeast DC.-A Grassroots Effort to Repeal the DC Council Repeal of Initiative 77 is Thwarted by the Courts.-Capital Bop Series is Back and New Documentary about Sandra Bland is on HBO. Photo of Jacqueline and Abdushshahid Luqman from Facebook.
Mr. Arthur Mitchell was a groundbreaking American ballet dancer, choreographer, and founder and director of the Dance Theatre of Harlem. He danced his final steps on this side of the divide, joining the ancestors in a grand choreography that is only for those in the beyond. Raised in Harlem, the late Mr. Mitchell was the first African-American dancer to become a principal dancer of a major American dance company. He joined New York City Ballet in 1955 where he rose to the position of principal dancer, and danced in major roles until 1966. George Balanchine created several roles for him, including those in A Midsummer Night’s Dream (1962) and Agon (1967) amongst many others. He was teacher, mentor, guardian Angel to many particularly at a time when Africans in the United States and worldwide were struggling to affirm their dignity and personhood. Tribute by: Karen Brown spent twenty-two years as Principal Ballerina, featured artist, master teacher and lecturer with the Dance Theatre of Harlem (DTH) under the direction of its founder, Arthur Mitchell. She was a master teacher and adjudicator for the DTH’s Kennedy Center Community Outreach Residency in Washington, D.C., Director of Education at the Atlanta Ballet Centre for Dance Education, and served as Artistic Director of Oakland Ballet Company. Adesola Akinleye, PhD began her career as a dancer with the Dance Theatre of Harlem (DTH). She is a choreographer, dancer, researcher and teacher. Adesola Akinleye holds a PhD in Sociology of the Body from Canterbury Christ Church University, UK, and currently is a Senior Lecturer at Middlesex University. Find out more about her at: www.dancingstrong.com Theara J. Ward began her professional career with the Dance Theater of Harlem at thirteen years old and made her Broadway debut, featured in BLACK AND BLUE. Originated role of ‘Ghost of Christmas Future’ in “A CHRISTMAS CAROL” at Madison Square Garden. Recent appearances include “The Mile Long Opera,“ music by David Lang, ”for colored girls who have considered suicide when the rainbow is enuff” by Ntozake Shange with Project1Voice amongst others. Theara Ward has also penned her one woman show, “From The Heart Of A Sistah: A Chorepoem. She works internationally as a Dance Professional and Arts Activists. Find out more at: www.dancetheatreofharlem.org/thearaward Dion Wilson is a native of Baltimore, Maryland. Mr. Wilson was a member of the Philadelphia Dance Company (Philadanco), the Dance Theatre of Harlem (DTH) and the Alvin Ailey American Dance Theatre where he performed many principal roles. He was part of the award winning Broadway Musical, The Lion King and worked with Bill T. Jones on the creation of Fela! The Broadway Musical. He is a highly sought after performer, dance educator, and choreographer. Lorraine Graves joined Dance Theatre of Harlem in the fall of 1978 rising to the rank of Principal Dancer and later became Ballet Mistress and Regisseuse of the company. She’s the lead adjudicator and faculty of the West Va. Dance Festival; a guest teacher for the Alvin Ailey American Dance Theatre; resident guest faculty for the Alabama School of Fine Arts and on the faculty of Ballet Virginia International and The Governor’s School for the Arts. Hosts: Wuyi Jacobs / AfrobeatRadio Dr. Carol Marie Webster, PhD. Visiting Scholar at the Institute for Religion, Culture and Public Life at Columbia University. She is also the conductor/Instructor/co-producer of AfrobeatRadio’s ongoing workshops on Critical Joy. Music: Donny Hathaway - He Ain't Heavy, He's My Brother. Album: These Songs For You, Live! (US Release) Live broadcast 2018/09/26 & 2018/08/15 on WBAI 99.5 FM, NYC Pacifica Radio #AfrobeatRadio #ArthurMitchell #dancetheaterharlem #wbai www.dancetheatreofharlem.org
Pictured: Chas Hodges Matthew Bannister on Chas Hodges, the session musician who became one half of the cockney duo Chas and Dave and had hits like Gertcha and Rabbit. M.J. Long the American-born architect who co-designed the British Library, the National Maritime Museum and studios for some of the UK's best known artists. Arthur Mitchell, the first African American principal dancer in a major ballet company and founder of the Dance Theater of Harlem. Rick Turner, the archaeologist who recovered the 2,000-year-old Lindow Man, Britain's best preserved bog body. And Rachid Taha, the singer who mixed Algerian music with rock, techno and punk. Interviewed guest: Michael Hann Interviewed guest: Rolfe Kentish Interviewed guest: Rachel Pugh Interviewed guest: Robin Denselow Archive clips from: Piano Tales - A Social History of the Piano, Radio 3 23/09/2012; Outlook, World Service 24/01/2018; QED - The Body in the Bog, BBC One 10/04/1985; The African Rock 'N' Roll Years - North Africa, BBC Four 09/08/2005.
BHL presents Tha Trend! - Join Courtney Stewart and Derrial Christon as they recall the top stories of the week on This Week for September 20th, 2018. Special Guest: Taja V. Simpson: @tajavsimpson Make sure to subscribe to BHL! - http://youtube.com/blackhollywoodlive HELPFUL LINKS: Website - http://blackhollywoodlive.com Follow us on Twitter - https://twitter.com/bhlonline Merch - http://shop.spreadshirt.com/BlackHoll... ABOUT BLACK HOLLYWOOD LIVE: Black Hollywood Live is the world's first online broadcast news network with programming and content dedicated to African American entertainment news. The network features long form, in-depth celebrity interviews, smart commentary and discussion as well as news and inside information. The network was created by producer Keven Undergaro. Black Hollywood Live had guests from shows/films like 12 Years A Slave, The Butler, America's Got Talent, The Game, Chic
Johnson joins Carol Jenkins to discuss how black dancers have forged their way through the narrow confines of the majority white ballet world. She also talks about the influence of DTH founder, Arthur Mitchell, the emergence of Misty Copeland, and how bl
The myriad proverbial hats that Tania León wears are a testament to her talent and longevity. Composer. Conductor. Educator. Arts Organization Advisor. Since her '60s emigration from Havana to the States she's accumulated milestone after milestone. A founding member of the Dance Theatre of Harlem with Arthur Mitchell. Grammy nominations. A Guggenheim Fellowship. Her compositions performed at institutions like the Kennedy Center while she has conducted esteemed orchestras around the world. Ms. León is also the artistic director of Composers Now, an organization she founded in 2010 to celebrate living composers from all backgrounds. In February 2017, Composers Now was honored with a Proclamation on behalf of New York Mayor Bill de Blasio. Visit Tania León online: http://www.tanialeon.com Visit Composers Now online: http://www.composersnow.org TMT APP FOR iPHONE: http://bit.ly/TMTappiOS TMT APP FOR ANDROID: http://bit.ly/TMTappANDROID SUBSCRIBE ON iTUNES: http://bit.ly/TalkMusicTalk SUBSCRIBE ON GOOGLE PLAY: http://bit.ly/TMTgoogleplay Please take a moment to leave a rating and/or review in the store. It helps increase the ranking of the podcast and exposes TMT to a new audience. Thanks! Liz (The Talk Music Talk Theme)-FULL VERSION Written and Composed on an iPad by boice. https://soundcloud.com/thisisboice/liz-talk-music-talk-theme SURVEY It would be greatly appreciated if you would take a moment to fill out this brief demographic survey. It will be used solely to help me select advertisers/sponsors for Talk Music Talk to offset the cost to produce the podcast i.e. audio editor, podcast host, traveling to guests to record. It should take less than a minute of your time. Thanks! http://www.talkmusictalk.com/survey
Tania León blev musikaliska ledare, dirigent och pianist vid Dance Theatre of Harlem, det första afro-amerikanska balettkompaniet någonsin i USA och hon beslutar sig för att studera till tonsättare. 1967, efter en gedigen klassisk utbildning till konsertpianist vid Havannas Musikkonservatorium, lämnade Tania León Kuba för den kreativa friheten i New York. Dansaren och koreografen Arthur Mitchell övertalar henne att bli musikaliska ledare, dirigent och pianist vid Dance Theatre of Harlem, det första afro-amerikanska balettkompaniet någonsin i USA. Han uppmuntrar henne att skriva egen musik och Tania León beslutar sig för att studera musikalisk komposition vid New York University.1980 kunde Tania León resa tillbaka till Kuba, då förbudet att återvända upphävdes. Det var då hennes far fick henne att förstå att hon skulle använda sina musikaliska rötter i sin musik. - Han lyssnade på de inspelningar jag hade med mig och sa rakt på sak:- Visst är det intressant det här, men var finns du i alltihopa. Det förvånade mig eftersom min far inte var musiker, säger Tania León i programmet. Tania León har återvänt till Kuba flera gånger sedan dess men hann aldrig återse sin far. Några månader efter hennes första besök avled han plötsligt. - Den mardrömslika situationen, när jag inte hann fram till min fars begravning på grund av de kubanska myndigheternas långsamma visumhantering, gjorde att hans sista ord till mig envist återvände: Var finns du i musiken? Ett tag tänkte jag ständigt på det här. Vad menade han egentligen? Kunde det vara den polyrytmiska komplexiteten, de musikaliska rörelserna, klangfärgernas paletter? För första gången börjar jag använda mig av detta i min musik, förklarar Tania León. Tania León skapade dansverk Inura för danskompaniet Dance Brazil. Inför detta verk tillbringade hon lång tid i Bahia i Brasilien för att arbeta med slagverkare på inhemska, folkliga instrument som surdo, cabasa, tamburin och små tomtoms, agogô, congas, tumba och berimbau. Fyra brasilianska slagverkare tillsammans med en stråkkvartett och en slagverkare från New York-filharmonikerna gör verket Inura till ett mäktigt stycke musik där kören sjunger på nigerianskt Yoruba-språk. Den nigerianska Yoruba-religionen kom till Kuba på femtonhundratalet med slavar från Nigeria. Poeter vars texter Tania León har tonsatt är bl a: Rita Dove, Wole Soyinka, Jamaica Kincaid, Derek Walcott och Margaret Atwood. Tania León är Distinguished Professor vid City University of New York och musikalisk rådgivare till två välrenommerade symfoniorkestrar: American Composers Orchestra och New York-filharmonikerna.Den 13 november 2016 kunde Tania Léon för första gången dirigera Orquesta Sinfonica Nacional de Cuba (Kubas nationella symfoniorkester) i Teatro Nacional. En starkt känslomässig upplevelse för henne. Läs om Tania Leóns på nätet: http://www.tanialeon.com/ http://chevalierdesaintgeorges.homestead.com/leon.html Musiklista:Inura: VIII ManifestTania LeónSON SONORA DANCE BRAZIL PERCUSSIONCD: Tania León: In Motion El maniseroArr: Tania LeónChanticleer (san francisco)CD: Wondrous Love - A Folk Song Collection Satiné, Quattro ManiTania LeónSusan Grace, piano. Alice Rybak, pianoCD: Singin' SepiaBridge 9231 Adios a CubaIgnacio CervantesJuana Zayas, pianoCD: A TREASURY OF CUBAN PIANO CLASSICS alma, soul or spiritTania LéonMarya Martin, flöjt. Colette Valentine, pianoCD: Eight Visions (American Classics)NAXOS 8.559629 Satiné Quattro ManiTania LeónSusan Grace, piano. Alice Rybak, pianoCD: Singin' SepiaBridge 9231 HorizonsTania León Norddeutsche Rundfunk SO. Peter Ruzicka, dir CD: Singin' SepiaBRIDGE 9231 AxonTania LeónMari Kimura, violinCD: Singin' SepiaBRIDGE 9231 Percussion ConcertoJennifer HigdonColin Currie (percussion) & London Philharmonic Orchestra. Marin Alsop, dir.CD: Marin Alsop Conducts MacMillan, Ades, HigdonLPO 0035 Singin' Sepia II: Persephone AbductedTania LeónRita Dove, text Tony Arnold, soprano. ContinuumCD: Singin' SepiaBRIDGE 9231 BailarínTania LeónDavid Starobin, gitarrCD: Singin' SepiaBRIDGE 9231 Inura: IV UnderstandingSON SONORA DANCE BRAZIL PERCUSSIONCD: Tania León: In Motion Inura: VIII ManifestTania LeónSON SONORA DANCE BRAZIL PERCUSSIONCD: Tania León: In Motion Scourge of hyacinthsTania LeónDawn UpshawTHE WORLD SO WIDE**/AMERIKANSK OPERAMUSIK LIBRETTO EFTER EN RADIOPJÄS AV WOLE SOYINKA Arenas D'un TiempoTania LeónSpeculum MusicaeCD: Singin' SepiaBRIDGE 9231
Arthur Mitchell lays in wait while Markella rambles about legal pot! 20 minutes in, the Trinity Killer begins his deadly cycle and Episode 8 officially begins! Let's find out how sexy this pasty dad is, y'all
In August 1969, Arthur Mitchell founded the Dance Theatre of Harlem - the first classical ballet company to focus on black dancers. Virginia Johnson, now the organisation's director, was a founder member.(Photo: The Dance Theatre of Harlem, circa 1970. Virginia Johnson pictured back row, third from left. Credit: Marbeth)
In August 1969, Arthur Mitchell founded the Dance Theatre of Harlem - the first classical ballet company to focus on black dancers. Virginia Johnson, now the organisation's director, was a founder member. (Photo: The Dance Theatre of Harlem, circa 1970. Virginia Johnson pictured back row, third from left. Credit: Marbeth)
In August 1969, Arthur Mitchell founded the Dance Theatre of Harlem - the first classical ballet company to focus on black dancers. Virginia Johnson, now the organisation's director, was a founder member. (Photo: The Dance Theatre of Harlem, circa 1970. Virginia Johnson pictured back row, third from left. Credit: Marbeth)
Först ut i programserien är tonsättaren, konsertpianisten och dirigenten Tania León. 1967, efter en gedigen klassisk utbildning till konsertpianist vid Havannas Musikkonservatorium, lämnade Tania León Kuba för den kreativa friheten i New York. Dansaren och koreografen Arthur Mitchell övertalar henne att bli musikaliska ledare, dirigent och pianist vid Dance Theatre of Harlem, det första afro-amerikanska balettkompaniet någonsin i USA. Han uppmuntrar henne att skriva egen musik och Tania León beslutar sig för att studera musikalisk komposition vid New York University. 1980 kunde hon resa tillbaka till hemlandet, då förbudet att återvända upphävdes. Det var då hennes far fick henne att förstå att hon skulle använda sina musikaliska rötter i sin musik. - Han lyssnade på de inspelningar jag hade med mig och sa rakt på sak: ”Visst är det intressant det här, men var finns du i alltihopa.” Det förvånade mig eftersom min far inte var musiker, säger Tania León i programmet. León har återvänt till Kuba flera gånger sedan dess men hann aldrig återse sin far. Några månader efter hennes första besök avled han plötsligt. - Den mardrömslika situationen, när jag inte hann fram till min fars begravning på grund av de kubanska myndigheternas långsamma visumhantering, gjorde att hans sista ord till mig envist återvände: ”Var finns du i musiken”? Ett tag tänkte jag ständigt på det här. Vad menade han egentligen? Kunde det vara den polyrytmiska komplexiteten, de musikaliska rörelserna, klangfärgernas paletter? För första gången börjar jag använda mig av detta i min musik, förklarar Tania León. Tania León skapade dansverk Inura för danskompaniet Dance Brazil. Inför detta verk tillbringade hon lång tid i Bahia i Brasilien för att arbeta med slagverkare på inhemska, folkliga instrument som surdo, cabasa, tamburin och små tomtoms, agogô, congas, tumba och berimbau. Fyra brasilianska slagverkare tillsammans med en stråkkvartett och en slagverkare från New York-filharmonikerna gör verket Inura till ett mäktigt stycke musik där kören sjunger på nigerianskt Yoruba-språk. Den nigerianska Yoruba-religionen kom till Cuba på femtonhundratalet med slavar från Nigeria. Poeter vars texter Tania León har tonsatt är bl a: Rita Dove, Wole Soyinka, Jamaica Kincaid, Derek Walcott och Margaret Atwood. Tania León är Distinguished Professor vid City University of New York och musikalisk rådgivare till två välrenommerade symfoniorkestrar: American Composers Orchestra och New York-filharmonikerna. Läs om Tania Leóns på nätet: http://www.tanialeon.com/ http://chevalierdesaintgeorges.homestead.com/leon.html
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