Podcast appearances and mentions of bill t jones

On the 200th anniversary of Abraham Lincoln's birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln's writings as they examined key moments in his life and his enduring legacy. Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past (U Michigan Press, 2022) explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art--whether performance, oratory, song, statuary, or portraiture--and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America's relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company's largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones's career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

On the 200th anniversary of Abraham Lincoln's birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln's writings as they examined key moments in his life and his enduring legacy. Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past (U Michigan Press, 2022) explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art--whether performance, oratory, song, statuary, or portraiture--and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America's relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company's largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones's career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On the 200th anniversary of Abraham Lincoln's birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln's writings as they examined key moments in his life and his enduring legacy. Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past (U Michigan Press, 2022) explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art--whether performance, oratory, song, statuary, or portraiture--and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America's relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company's largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones's career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On the 200th anniversary of Abraham Lincoln's birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln's writings as they examined key moments in his life and his enduring legacy. Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past (U Michigan Press, 2022) explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art--whether performance, oratory, song, statuary, or portraiture--and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America's relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company's largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones's career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Bill T. Jones is a renowned dancer and choreographer whose work looks at race, death, mortality, grief and sexuality. In the late ‘80s, he visited clinics full of terminally ill patients — some of whom were just weeks away from passing — and created compelling dance pieces based on their movements. Last year, while he was in Toronto to give a talk at the Art Gallery of Ontario about his work with the late Keith Haring, Bill sat down with Tom Power to reflect on his incredible life in dance, the power of movement to reflect and question the world we live in, and why he sees himself as "one who has survived.”

Check out this podcast replay of the SDCF Virtual Panel: Demystifying Pre-Production with Knud Adams, Maija García, and Delicia Turner Sonnenberg. This conversation focuses on the pre-production process, giving insights and a better understanding of all the things that happen between when a director signs a contract and first rehearsal. The panelists talked about what they have discovered over the years makes for the strongest pre-production process for them before rehearsals begin. Transcript available upon request. We hosted this panel in June 2024. Knud Adams is an Obie-winning director of artful new plays, based in New York. This season, he's directing English on Broadway. His work has been featured on "Best of the Year" lists by The New York Times, New York Magazine, The New Yorker, and The Washington Post. An avid developer of new work, his world-premiere productions include: Primary Trust (Roundabout), English (Atlantic/Roundabout), Bodies They Ritual (Clubbed Thumb), Private (Mosaic), The Headlands (LCT3), Paris (Atlantic), and The Workshop (Soft Focus). Knud also directed the radio play Vapor Trail, which premiered at the Tribeca Film Festival. Maija García is a theater director, cultural innovator and advocate for equity in the arts. She recently directed I am Betty, a world premiere hit new musical at History Theater by Cristina Luzarrága and Denise Prosek; VALOR, a Spanish golden-age play by Ana Caro; and OUR HOOD, a bi-lingual cineplay by John Leguizamo. Director of Movement for Spike Lee's Oscar award-winning Blackkklansman, CHI-RAQ and She's Gotta Have It on Netflix, and Executive Producer of Art of Dance, a documentary film, García's Theater Directing credits include Bill T. Jones' FELA! World Tour; CRANE: on earth in sky by Heather Henson and Ty Defoe and Salsa Mambo Cha Cha Cha in La Habana Cuba. Regional Theater credits include original choreography for West Side Story at the Guthrie Theater; Kiss My Aztec by John Leguizamo and Tony Toccone at Berkeley Rep, and La Jolla Playhouse; Snow in Midsummer by Frances Ya-Chu Cowhig at Oregon Shakespeare Festival; Cuba Libre by Carlos Lacámara at Artists Repertory Theater (PAMTA Award); and Fats Waller Dance Party with Jason Moran and Meshell N'degeocello at Harlem Stage, SF Jazz and the Kennedy Center. Garcia founded Organic Magnetics to generate urban folklore for the future. She wrote, produced and directed Ghosts of Manhattan: 1512-2012, an interactive history and I am New York: Juan Rodriguez. Director of Education and Professional Training at Guthrie Theater, Maija served on the Tony Award Nominating Committee and is a proud member of SDC since 2008.  Delicia Turner Sonnenberg is a director, artistic leader, teacher, and mother. She is a founder and the former Artistic Director of MOXIE Theatre, which she helmed for twelve acclaimed seasons. Delicia has directed plays for the Old Globe Theatre, San Diego REP, La Jolla Playhouse, Actors Theatre of Louisville Humana Festival, Cygnet Theatre, New Village Arts, and Diversionary Theatre, among others. Delicia has directed countless workshops and staged readings of new plays for National New Play Network, Old Globe, Bay Area Playwrights Festival, San Diego REP, and Arena Stage. Delicia was twice a recipient of the Van Lier Directing Fellowship through Second Stage Theatre in New York and is an alumna of the New York Drama League's Directors Program, as well as Theatre Communication Group's New Generations Program.

In just three days, America chooses it's next president. Republican Texas Congressman Dan Crenshaw joins Christiane to explain why Donald Trump is an easy choice when compared with Kamala Harris, and makes the case for why Trump's policies will be better for Americans. Next, with control of congress also at stake on November 5th, Democrat John Avlon tells Christiane about his own campaign to flip seats in the New York race that could decide the balance of power in Washington. Then, CNN's Tamara Qiblawi investigates how the IDF's targeting of Hezbollah in Lebanon has threatened the country's healthcare system. Plus, Actress Keri Russell and show creator Deborah Cahn speak with Christiane about their love letter to the U.S. State Department, in Season 2 of “The Diplomat.” From her archive, Christiane revisits her conversation with the late King Hussein, marking 30 years since the Israel-Jordan peace accords, and the last time Middle East peace seemed within reach. Finally, Christiane and Bill T. Jones sit down at BAM in New York to reflect on the revival of his dance theater production “Still/Here,” originally created during the height of the AIDS epidemic, and explores the enduring themes of mortality and resilience. Learn more about your ad choices. Visit podcastchoices.com/adchoices

One aspect of the Vice-President's background that's relatively overlooked, and yet critical to understanding her, is her membership in the sorority Alpha Kappa Alpha. “In one of the bylaws,” the writer Jazmine Hughes tells David Remnick, “it says that the mission of the organization, among many, is to uplift the social status of the Negro.” Far from a Greek party club, A.K.A. "is an identity” to its members. When Donald Trump insinuated that Kamala Harris had “turned Black,” in his words, for political advantage, “a lot of people pointed to her time at Howard, and her membership in A.K.A., [as] a very specific Black American experience that they did not see from someone like Barack Obama.”  Jazmine Hughes's reporting on “The Tight-Knit World of Kamala Harris's Sorority” was published in the October 21, 2024, issue ofThe New Yorker. Plus, Kai Wright, who hosts WNYC's “Notes from America,” speaks with the choreographer Bill T. Jones. This week, the Brooklyn Academy of Music is re-mounting Jones's work “Still/Here,” which caused a stir when it débuted at BAM, thirty years ago: The New Yorker's own dance critic at the time, Arlene Croce, declared that she wasn't going to review it. Now “Still/Here” is considered a landmark in contemporary dance, and Jones a towering figure. 

In Tbilisi, Georgia, voters have come out to protest the results of this weekend's elections, as opposition leaders claim the vote was tainted by Russian interference. Outside observers report "troubling" conditions, citing "pervasive intimidation" of voters inside and outside polling stations. Georgian President Salome Zourabichvili is leading the opposition response. She says recognizing the elections "would be tantamount to legitimizing Russia's takeover of Georgia."   Also on today's show: Ali Vaez, Director of Iran Project, International Crisis Group; Bill T. Jones, Choreographer, "Still/Here”; Aaron Reichlin-Melnick, Senior Fellow, American Immigration Council  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1994, choreographer, dancer and director Bill T. Jones stirred up controversy with his work "Still/Here," a performance piece that used dance, video, photos, music, and more to tell the stories of people grappling with terminal illness, including many who were dying of AIDS. Now, 30 years after the work first premiered at BAM, Bill T. Jones and his company will be returning for a recreation of that performance. Jones and original "Still/Here" company member Arthur Aviles join us to discuss the performance, which is running at BAM from October 30 through November 2.

This week, we're sharing an episode of another podcast we think you'll love. “Notes From America With Kai Wright” is a show from WNYC Studios about the unfinished business of our history, and its grip on our future. In this episode, Wright interviews choreographer Bill T. Jones about his groundbreaking dance performance “Still/Here.” Jones shares his reflections on creating such an essential piece of performance art amid the AIDS epidemic and while grieving his own partner, what he learned from spending time with the “survivors” who inspired it, and how “Still/Here” has evolved for a new generation of audiences. To get even more Uncomfortable, subscribe to our newsletter!

This week, we're sharing an episode of another podcast we think you'll love. “Notes From America With Kai Wright” is a show from WNYC Studios about the unfinished business of our history, and its grip on our future. In this episode, Wright interviews choreographer Bill T. Jones about his groundbreaking dance performance “Still/Here.” Jones shares his reflections on creating such an essential piece of performance art amid the AIDS epidemic and while grieving his own partner, what he learned from spending time with the “survivors” who inspired it, and how “Still/Here” has evolved for a new generation of audiences. To get even more Uncomfortable, subscribe to our newsletter!

Dancers and romantic partners Bill T. Jones and Arnie Zane stood out in the modern dance movement of the 1970s and 1980s as they explored a new vocabulary of movement that helped redefine the landscape of dance.  Zane died of AIDS-related complications in 1988, and Jones vowed to continue their work with the company they co-founded.Shortly after, he began convening workshops across America with people who were living with a terminal illness. Jones studied their words, their expressions and their movements, and created a work called “Still/Here,” which debuted on stage in 1994. Journalist Bill Moyers and filmmaker David Grubin produced a documentary about the dance and its making. The stories depicted by the company dancers included inspiration from people with breast cancer, cystic fibrosis, HIV and other diagnoses — and it was both critically acclaimed and controversial.Jones is returning to this work 30 years on, staging it at the Brooklyn Academy of Music (BAM) this fall. In this episode, he talks with host Kai Wright about his reflections of creating such an essential piece of performance art while grieving, what he learned from spending time with the “survivors,” and his response to the criticisms he received. Jones also shares how “Still/Here” has evolved for a new generation of audiences, and discusses his legacy in the world of dance.For more information about the forthcoming performances of “Still/Here” and to purchase tickets, click here. Tell us what you think. We're @noteswithkai on Instagram and X (Twitter). Email us at notes@wnyc.org. Send us a voice message by recording yourself on your phone and emailing us, or record one here.Notes from America airs live on Sundays at 6 p.m. ET. The podcast episodes are lightly edited from our live broadcasts.

ICYMI: Hour Three of ‘Later, with Mo'Kelly' Presents – An in-depth conversation with the incomparable actor, slam-poet-turned-musician Saul Williams, who joins the program to preview ‘The Motherboard Suite.' Directed by Bill T. Jones and Produced in Partnership with New York Live Arts, in ‘The Motherboard Suite' Williams “pairs tracks from his albums MartyrLoserKing and Encrypted & Vulnerable with choreography to explore the intersection of technology and race, exploitation, and mystical anarchy, where hackers are artists and activists” … PLUS – The Later Crew reviews the Mel Gibson Netflix film ‘On the Line,' where-in Gibson stars as an “edgy radio host who is no stranger to disgruntled listeners; but one caller goes too far when he draws the host into a deadly game” - on KFI AM 640…Live everywhere on the iHeartRadio app

ICYMI: ‘Later, with Mo'Kelly' Presents – An in-depth conversation with the incomparable actor, slam-poet-turned-musician Saul Williams, who joins the program to preview ‘The Motherboard Suite.' Directed by Bill T. Jones and Produced in Partnership with New York Live Arts, in ‘The Motherboard Suite' Williams “pairs tracks from his albums MartyrLoserKing and Encrypted & Vulnerable with choreography to explore the intersection of technology and race, exploitation, and mystical anarchy, where hackers are artists and activists” - on KFI AM 640…Live everywhere on the iHeartRadio app

The Harvard academic Elisa New is host of the much acclaimed PBS series POETRY IN AMERICA. Now in Season Four, the show has featured conversations about American poetry with Joe Biden, Herbie Hancock, Gloria Estefan, Shaquille O'Neal, Bill Clinton and Al Gore. While America isn't normally considered a poetic nation, New's show has brought poetry into the homes of millions of Americans. So when I caught up with New, I asked her whether there was such a thing as an American poem and what it is about America that inspires memorable poetry. Elisa New is the Director and Host of Poetry in America, director of the Center for Public Humanities at Arizona State University, director of Verse Video Education, and Powell M. Cabot Professor of American Literature at Harvard University. New created Poetry in America, a PBS series, to bring poetry beyond classrooms into living rooms and onto screens of all kinds. The show can be seen on public television and streaming platforms, in schools and libraries, and on airlines. Guests include Joe Biden, Herbie Hancock, Gloria Estefan, Shaquille O'Neal, Elena Kagan, Nas, John McCain, Sonia Sanchez, Tony Kushner, Bill Clinton, Julia Alvarez, Bono, Cynthia Nixon, John Kerry, LisaGay Hamilton, Caroline Kennedy, Bill T. Jones, Katie Couric, and Al Gore and dozens of others. Alongside the PBS series, New produces educational materials on American poetry for all ages—from middle- and high-school students, to K-12 teachers, to lifelong learners—distributed by Harvard University, Amplify Education, and Arizona State University.  In her capacity as Director of the newly established Center for the Public Humanities at ASU, New will partner with ASU faculty and with partners from an array of other institutions to create relevant, engaging interdisciplinary content that extends beyond poetry: content that will broaden access to the highest quality learning experiences in the Humanities and adjacent fields. New is the author of The Regenerate Lyric: Theology and Innovation in American Poetry (Cambridge University Press, 1992); The Line's Eye: Poetic Experience, American Sight (Harvard University Press, 1999); Jacob's Cane: A Jewish Family's Journey from the Four Lands of Lithuania to the Ports of London and Baltimore: A Memoir in Five Generations (Basic Books, 2009); and New England Beyond Criticism: In Defense of America's First Literature, A Wiley Blackwell Manifesto (Wiley Blackwell 2014).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

 Well-Read Live was recorded at Apple Carnegie Library in Washington D.C. About our guests: Deesha Dyer is an award-winning strategist, on-the-ground community organizer, and executive operations expert. She served as the White House social secretary during the Obama administration and is currently the founder and CEO of social impact agency, Hook & Fasten. She curated and instructed a study course called Imposter to Impact at the Harvard Kennedy School. Deesha's entertaining and engaging style of storytelling allows her to inspire audiences around the world. She co-founded and operates organization, beGirl.world Global Scholars, which tackles the racial disparity in study abroad. Deesha was named Marie Claire's new guard of women changing the world, the Root's most influential African-Americans and profiled in Women Who Run the White House by Essence. She's been featured in Vogue, Travelnoire, and The Washington Post and written for Oprah Daily, Glamour and Lonely Planet. Deesha was recently awarded the Women of Excellence Award by the city of Washington, DC. and lives in Maryland.Alexa Patrick is a vocalist and poet from Connecticut. She is the author of Remedies for Disappearing (Haymarket Books, 2023) and holds fellowships from Cave Canem, the DC Commission on the Arts and Humanities, and more. Previous artistic partnerships of Alexa's include Meta, Microsoft, the National Museum of Women in the Arts. In spring 2023, Alexa made her stage production debut as Un/Sung in the opera We Shall Not Be Moved, (dire. Bill T. Jones). You may find her work in publications including Adroit, CRWN Magazine, and The BreakBeat Poets Vol. 2: Black Girl Magic. Visit alexapatrick.com for more. This episode was produced by Brittani Brown of BarbaraJean Productions.Find out more at gloryedim.com 

Bill T. Jones is a renowned dancer and choreographer whose work looks at race, death, mortality, grief and sexuality. In the late ‘80s, he visited clinics full of terminally ill patients — some of whom were just weeks away from passing — and created compelling dance pieces based on their movements. While he was in Toronto to give a talk at the Art Gallery of Ontario about his work with the late Keith Haring, Bill sat down with Tom to reflect on his incredible life in dance, the power of movement to reflect and question the world we live in, and why he sees himself as "one who has survived.”

Susan Kuklin, who wrote the award-winning Dance with Bill T. Jones, here teams up with the WNBA's recently named MVP, Sheryl Swoopes, in Hoops with Swoopes. Kuklin's soaring photographs of Swoopes and bright, bold typography vibrate on a vast expanse of white space, as the Houston Comet jumps (she extends horizontally across a spread) and looks suitably poker-faced while pulling off a fake. Along with basketball basics, Kuklin and Swoopes deliver a potent message about female strength and self-esteem. --- Send in a voice message: https://podcasters.spotify.com/pod/show/avant-garde-books/message Support this podcast: https://podcasters.spotify.com/pod/show/avant-garde-books/support

Sydney and Ariane showcase two groups of artists leading the way in combining technology with the performing arts. Sydney talks with choreographer Bill T. Jones, while Ariane chats with dancers Alice Sheppard and Laurel Lawson. See featured guests, read the transcript, and more in our archives at https://www.are.na/choreographicinterfaces Like, subscribe, and review here: https://podcasts.apple.com/us/podcast/dances-with-robots/id1715669152 The Dances with Robots Team Host: Sydney Skybetter Co-Host & Executive Producer: Ariane Michaud Archivist and Web Designer: Kate Gow Podcasting Consultant: Megan Hall Accessibility Consultant: Laurel Lawson Music: Kamala Sankaram Audio Production Consultant: Jim Moses Assistant Editor: Andrew Zukoski Student Associate: Rishika Kartik About CRCI The Conference for Research on Choreographic Interfaces (CRCI) explores the braid of choreography, computation and surveillance through an interdisciplinary lens. Find out more at www.choreographicinterfaces.org Brown University's Department of Theatre Arts & Performance Studies' Conference for Research on Choreographic Interfaces thanks the Marshall Woods Lectureships Foundation of Fine Arts, the Brown Arts Institute, and the Alfred P. Sloan Foundation for their generous support of this project. The Brown Arts Institute and the Department of Theatre Arts and Performance Studies are part of the Perelman Arts District.

Exploring the artistic journey of multi-hyphenate creator Jermaine Rowe as he reflects and shares his journey towards becoming an artist through cultural exploration, self acceptance, growth, and spirituality. We talk about his upbringing in Spanish Town Jamaica, being an F1 student new to NYC with a scholarship to Alvin Ailey, touring with The Lion King and Fela!, his transition into becoming an educator, and his inventive new works under his genre Afro Caribbean magical realism. Fresh off of working alongside Bill T. Jones as his associate director for Watch Night at the Perelman Performing Arts Center Jermaine is diving into every part of his artistry. Listen as Jermaine genuinely offers us insight on the conception of his artistry.

This is the second half of my conversation with author Liza Gennaro, whose fascinating book is titled: Making Broadway Dance.  If you missed part one you may want to catch up on that episode before listening to this one. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and she also has had a very active and successful career as a dancer and choreographer. Interestingly, she is closely related to this subject matter of her book because her father was the Tony Award winning choreographer and star dancer, Peter Gennaro. He is profiled in the book as well as in this episode. By the end of Part 1, we had made it to the late 1940s when Agnes de Mille was dominating the field of Broadway choreography. Between 1943 and 1945, De Mille had four hits in a row – Oklahoma!, One Touch of Venus, Bloomer Girl, and Carousel – and three of them choreographed in her signature “Americana” style. This unprecedented string of successes made her the most powerful choreographer in the commercial theater, and soon led to her becoming the first director-choreographer of the “Golden Age” with Rodgers & Hammerstein's Allegro. De Mille's most significant contribution to the Broadway Musical was breaking the mold of the traditional Broadway chorus girl by insisting on hiring actor/dancers who could fully embody the characters that they were playing.  This new approach to Broadway dance, and this new kind of Broadway dancer, would be adopted by everyone who followed in her footsteps – especially Jerome Robbins – who years later would write, “Agnes broke the conception of what the Broadway dancer could be in the Broadway Musical. What they looked like, what was desired of them, and what their contribution to the show was.” And, as you will hear, Robbins took that idea and ran with it, just as De Mille's “Americana” style was starting to lose its luster. That's just the beginning Later in the episode Liza and I discuss Michael Kidd, Bob Fosse, Gower Champion, Michael Bennett, Graciela Daniele, Susan Stroman, Kathleen Marshall, Bill T. Jones, Stephen Hoggett, Lorin Latarro, Kelly Devine, Sergio Trujillo, Jerry Mitchell and more! Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as John Schroeder and Alan Brodie whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Alexa Patrick and special guests for a celebration of her debut poetry collection Remedies for Disappearing. This event took place on June 6, 2023. In this beautiful debut from an exciting new poet, Alexa Patrick's Remedies for Disappearing memorializes Blackness in its quiet and unexpected forms, bringing the peripheral into focus. These poems muddy Black life and death, observe lineage and love stories, and question what “disappearing” teaches about Blackness and bodies. Remedies for Disappearing is gritty, sharp, and formally inventive, demonstrating Patrick's imaginative curiosity, lyrical restraint, and confidence in her handling of language. Moments of aphoristic confession are balanced with imagistic precision as the speaker recounts the ways her aunties, sisters, and even herself have disappeared in order to survive. Patrick's poetry is haunting and hopeful, striving to provide readers with the tools and context to acknowledge, define, and honor the complexity of Black girl/womanhood. Remedies for Disappearing connects Black girls and women to each other and to their own histories, and insists that they be fully and wholly seen. Get Remedies for Disappearing from Haymarket: https://www.haymarketbooks.org/books/... Speakers: Alexa Patrick is a poet and vocalist from Connecticut. She is a Cave Canem fellow and Tin House alumna. She has also been cast in the featured role of Unsung in We Shall Not Be Moved, an opera under the direction of Bill T. Jones. You may find Alexa's work published in The Quarry, The Rumpus, CRWN Magazine, and The BreakBeat Poets Vol. 2: Black Girl Magic. Raina León is a teacher, writer, artist, curator, scholar, and speaker. You might know her as a founding editor of The Acentos Review, the lead coordinator for Nomadic Press Philadelphia, the author of black god mother this body, and co-founder of StoryJoy, Inc. with Dr. Norma Thomas. She does lots of things and invites you to dream with her sometime. Jasmine Mans is a Black poet and performance artist from Newark, New Jersey. Jasmine's poetry book, BLACK GIRL, CALL HOME has been named one of Oprah's Most Anticipated LGBTQ Books and a TIME Magazine Must Read, to name a few; and Jasmine herself named as Essence's #1 Contemporary Black Poet to Know. Jasmine most recently collaborated with the Brooklyn Ballet on an original performance piece titled Unnatural Surrounding at the prestigious Brooklyn Academy of Music. Gabriel Ramirez, a Queer Afro-Latinx poet and teaching artist has received fellowships from Palm Beach Poetry Festival, The Watering Hole, The Conversation Literary Arts Festival, CantoMundo, Miami Book Fair, and a participant in the Callaloo Writers Workshops. You can find his work in publications like The Volta, Split This Rock, VINYL, Acentos Review as well as Bettering American Poetry Anthology, What Saves Us: Poems of Empathy and Outrage in the Age of Trump and The Breakbeat Poets Vol. 4: LatiNEXT. Kush Thompson, author of A Church Beneath the Bulldozer (2014), is a Chicago-born poet, painter, archivist, educator, and Cave Canem fellow. Voted runner-up best local poet of 2014 by The Chicago Reader, a 2015 Young Futurist by The Root, and a 2017 Pink Door & Luminarts Creative Writing Fellow, Thompson's contributed over a decade of performances and creative writing workshops, both nationally and internationally. Watch the live event recording: https://youtube.com/live/naG3oOfqw6g Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Greetings Glocal Citizens! This week I have the pleasure getting to know a longtime friend even better from insights into his professional world. An internationally recognized recording artist, vocal coach, songwriter/writer, style influencer, and entrepreneur, Ghanaian-Cuban-American, Jeremiah Abiah inspires artists around the world to learn, love, and live their voice. His creative talents and expertise have made him a sought-after coach for national and international singers, actors, rappers, and public speakers. His influence and involvement have launched the careers of many musicians currently on the charts. As a singer, producer and writer, his recording contributions have been nominated for Grammy Awards, the Latin Grammys, the NAACP Image Awards and the 2020 Oscar Awards with Cynthia Erivo. He works with an array of celebrated artists such as Common, Brandy, Robert Glasper, Ro James and others. He launched TheABIAHway (https://www.jeremiahabiah.com), an artist development platform, to enlighten, inspire, and empower music artists globally and expanding his influence in the music industry. His work has launched the careers of many current music artists on the charts and on Broadway. Clients include Sony, RCA, Atlantic, Columbia Records as well as numerous Broadway and Opera Stars. This former Professor of Voice at Berklee College of Music (https://www.berklee.edu) can be seen on the stage at music festivals, concert halls and teaching Masterclasses worldwide. In 2020, he debuted his popular new Facebook Live talk show, Inside the Singer's Voice (https://www.youtube.com/@insidethesingersvoice/featured) where each episode is an intimate conversation between great singers about great singing. As you'll hear, there's much, much more to Jeremiah's own voice and story. Where to find Jeremiah? On LinkedIn (https://www.linkedin.com/in/jeremiah-abiah-7868369) On Instagram (https://www.instagram.com/jeremiahabiah/) On Facebook (https://web.facebook.com/jeremiahabiahmusic/?_rdc=1&_rdr) On X (https://twitter.com/jeremiahabiah?lang=en) On YouTube (https://www.youtube.com/channel/UCeJKglJcZEtIoR-RgZM5vvA) Topics of interest: About George Michael (https://en.wikipedia.org/wiki/George_Michael) Opera Greats William Warfield (https://www.thehistorymakers.org/biography/william-warfield-39) and Leontyne Price (https://en.wikipedia.org/wiki/Leontyne_Price) Rochester School of the Arts (https://www.rcsdk12.org/SOTA) About Patricia Seymour Alexander (https://www.copelandfuneralhomes.com/obituary/Patricia-Alexander) About the Art Song Repertoire (http://www.tesorochoir.com/Classical%20Repertoire.html) NAACP ACT-SO Acheivement Program (https://naacp.org/our-work/youth-programs/act-so-achievement-program) Eastman School of Music (https://www.esm.rochester.edu) New England Conservatory (https://necmusic.edu) About The Chi's Ntare Mwine (https://en.wikipedia.org/wiki/Ntare_Mwine) Otter.ai (https://otter.ai) Ain't Too Proud, The Musical (https://ainttooproudmusical.com) About Michael Swanson (https://www.faithfilmworks.com/michael-swanson) Ron Simon's SimonSays Entertainment (https://simonsaysentertainment.com) About Pamela Cooper's, The Cooper Company (https://www.thecoopercompany.biz) About Shanice (https://en.wikipedia.org/wiki/Shanice) What is the “Whistle Tone?” (https://en.wikipedia.org/wiki/Whistle_register) About Gospel Great, Yolanda Adams (http://yolandaadamslive.com) Laylah Hathaway (https://www.lalahhathaway.com) Mint Condition's (https://en.wikipedia.org/wiki/Mint_Condition) Stokley Williams (https://www.istokley.com) Claude Kelly (https://en.wikipedia.org/wiki/Claude_Kelly) R&B and Soul Legends Aretha Franklin (https://en.wikipedia.org/wiki/Aretha_Franklin), Luther Vandross (https://en.wikipedia.org/wiki/Luther_Vandross) and Barry White (https://en.wikipedia.org/wiki/Barry_White) About Bill T. Jones (https://newyorklivearts.org/btj-az-company/) Special Guest: Jeremiah Abiah.

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This week Ivy Slater, host of Her Success Story, chats with her guest, Susan Gold. The two talk about the journey that brought her to her purpose in talking about toxic family lineage, and how she helps people to find freedom and break the cycle of hurt and damaged children raising hurt and damaged children. In this episode, we discuss: How her journey began, and the many transitions along the way How her side gig made her the personal trainer to Barbara Walters What brought her from NY to LA to where she is today What it takes to shift a family lineage pattern, and how she helps people find freedom from childhood trauma and abuse Why Ivy says Susan was so brave to write her book What surprises she has come across in her journey What tips Susan has for us all With rural roots in central Pennsylvania, Susan Gold was raised in a challenging and chaotic family system, the middle child of five. Her dream was to exit for New York City or the sunny skies of LA, which both did manifest. To fully thrive, she bravely chose to meet the demons of her upbringing that were continuing to repeat. Toxic Family: Transforming Childhood Trauma into Adult Freedom is that journey. Leaving her little town behind the morning after High School graduation, Susan rarely ever looked back. While in college as a junior at Ohio University, she created an internship in arts management navigating her way to her dream, NYC. Her experience with performing artists like Bill T. Jones, and Paul Zaloom led her into the world of mainstream entertainment after college, first at the global talent agency, ICM and later FOX. Within the entertainment industry, Susan became known for attaching celebrity talent to projects which led her into producing for television and film and a move to Los Angeles. Susan convinced modern art legend Andy Warhol to do an on-camera commercial for Pontiac; locked a talent deal for American TV personality Donnie Deutsch, which he still claims as one of his best; helped launch FOX News Channel at the request of Chair, Roger Ailes; and on behalf of Disney Channel, persuaded A-list celebrities including Ben Stiller, Jack Black, Taylor Swift, David Beckham and more to be interviewed by the cartoon characters, Phineas & Ferb. In addition to Susan's business background, she is a decorated endurance athlete having competed in three marathons, dozens of triathlons, and has the distinction of finishing third in her age group at the treacherous Escape from Alcatraz event. Hanging up the grueling demands of her swim, bike, run focus she turned to competing as a Master's swimmer and within four years achieved multiple top ten national rankings including third in the country in the 400 IM. Susan is a big supporter of helping homeless animals, especially dogs and cats, and helping other business owners move up their career ladder are her joys. Her biggest pride is her son, a political science major at the University of the Pacific. After living with force on both coasts of the United States, Susan heeded an intuitive call for a quieter life connected with nature. She now resides in flow, nurtured by exquisite mountains in the northwest corner of the mystical state of Montana with her beloved partner and their pets. Keen on leaving a legacy to help others heal from similar traumas she's successfully met, Toxic Family: Transforming Childhood Trauma into Adult Freedom, her new book is part of that quest. With the same magic Susan created in her career in entertainment, she is now leading retreats, webinars, workshops and private sessions to help others drop outdated storylines and programming in exchange for living from the heart and in authentic freedom as adults. Website: https://www.susangold.us/

Stephen Yogi Rueff grew up in Minneapolis collecting comic books in the 1960s and loves his role as co-founder of SuperMonster市City!, where he is a curator and managing director.SuperMonster市City! places American monsters, superheroes, and villains as represented in toys, games, posters, and more, into social and political contexts. Through informative texts, artist profiles, and commentary, these fun and engaging exhibitions feature America's iconic mythical figures from America's Golden Age of toys.SuperMonster市City! was co-founded by master collector David Barnhill and curator Rueff. The traveling exhibits are derived from Barnhill's collection of 200,000 toys, posters, games, and films. Rueff, as Managing Director and Curator, places the objects in social and political contexts through reflective and informative texts, artist profiles, and commentary. Barnhill and Rueff enjoy sharing America's iconic mythical figures from America's Golden Age of toys.Rueff has worked in the arts as a performer, designer, manager, and producer, touring around the globe with performing artists such as MacArthur Genius Award Recipients Meredith Monk and Bill T. Jones, as well as Blue Man Group, Karen Finley, and many, many other artists and creatives. As an Account Manager and Executive Producer for global corporate communications companies Jack Morton Worldwide and BI Worldwide, he produced events throughout the United States, France, Germany, Belgium, Spain, Austria, Czech Republic, and Bahrain.Rueff now enjoys coaching business start-ups and is Chair of the Arts Entrepreneurship department at the Minneapolis College of Art and Design. His academic research explores American culture and the role of fear in play, and through toys, monsters, superheroes, and villains.Rueff earned his MBA with an emphasis in Leadership and Sustainable Business from Presidio Graduate School. Rueff's BA from Empire State University, the same college attended by Peter Parker, aka Spider-Man! ‘Nuff said.

A few months ago we had the pleasure of seeing A Beautiful Noise: The Neil Diamond Musical and it was SO GOOD, SO GOOD, SO GOOD! What we didn't know while in the audience is that we were witnessing Mary Page Nance's first performance in the role of Marcia Murphey. Mary Page is a New York City-based Broadway Performer, Event Producer, Director/Choreographer, and Business Owner. During COVID, she opened a paper goods business called ⁠a page of mary⁠ where she sells her handmade goods that sell out in minutes! She produces, directs and choreographs events with Broadway Talent in the private sector and beyond, and also teaches Broadway Master Classes, and one on one privates. As a performer, Mary Page was in the original casts of both Finding Neverland and Natasha, Pierre and The Great Comet of 1812 on Broadway, and toured the country with the First National Company of Bright Star. She works frequently developing new musicals in the city, most recently: Black No More written by Black Thought and John Ridley, choreographed by Bill T Jones, and Lempicka, directed by Tony Award Winner Rachel Chavkin. Mary Page is currently a member of "THE NOISE" in A Beautiful Noise: The Neil Diamond Musical!

Building a Dancer with Rosalynde LeBlanc Rosalynde LeBlanc built her career dancing for some of the biggest names in dance. Today, she is Professor and Chair of Dance at Loyola Marymount University. Social justice awareness has always underpinned her work as a choreographer, which is why she creates pieces that are related to the world and not the mirror. During today's conversation, she shares her perspective on what it truly means to build a dancer beyond just the physical. Tune in to hear the highlights of her incredible journey as the daughter of an accomplished dancer with Paul Taylor, applying to college early and completing her high school diploma alongside her studies, and her time dancing with Bill T. Jones that skyrocketed her career. She shares the story of being invited to dance with Baryshnikov, before burning out just three years later. Rosalynde offers her insights on doing the necessary inner work to succeed as a dancer before telling listeners all about her transition into the world of education. Tune in today to hear all this and more! Key Points From This Episode: ·       Rosalynde LeBlanc's first experiences with dance and when she really fell in love with it.  ·       Her mom's hands-off approach to managing her relationship with dance. ·       Why she declined an invitation to dance with Paul Taylor.  ·       Her memory of Alvin Ailey's death and the first World AIDS Day in 1989.  ·       Applying to college early and completing her high school diploma alongside her studies. ·       Her experience at Purchase and the social change that occurred while she was there. ·       The Bill T. Jones workshop she attended summer of '92. ·       Apprenticing for Bill T. Jones. ·       The duet she performed with Bill T. Jones which launched her career.  ·       Her father's work in cinema and the relationships she formed with Black Hollywood. ·       What it was like to dance for Bill T. Jones at the age of 19. ·       Her experience of being in the work and touring with Still/Here. ·       The fraught process of leaving Bill T. Jones.  ·       Being invited to dance with Baryshnikov.  ·       The mind-body connection and how it relates to becoming dancer.  ·       Burning out at White Oak Dance Project after three years.  ·       Her transition into education.  ·       The sanctuary of the studio.  ·       What she loves most about performing.  ·       The piece she is working on at the moment; Tomboy. ·       The less talked about shadow of success.    “The other 50% of being a dancer is your psychological state of being and that shapes your body as much as all the other technique classes. So you have to deal with that.” — Rosalynde LeBlanc Rosalynde LeBlanc is a Bessie-nominated dancer and the co-director of Can You Bring It: Bill T. Jones and D-Man in the Waters. A former dancer with the Bill T. Jones/Arnie Zane Company (1993 - 1999) and with Mikhail Baryshnikov's White Oak Dance Project (1999 – 2002), LeBlanc is now a professor and Chair of Dance at Loyola Marymount University. Can You Bring It: Bill T. Jones and D-Man in the Waters is streaming now as part of season 15 AfroPoP: The Ultimate Cultural Exchange. Audiences can stream it for free at worldchannel.org and on the YouTube Channels of WORLD (@worldchannel) and Black Public Media (@blackpublicmedia). Connect with Movers & Shapers: A Dance Podcast on Instagram and Facebook More info links from this episode: Movers & Shapers  

https://www.susangold.us/ Author of Toxic Family: Transforming Childhood Trauma into Adult Freedom Speaking Points: Ina small rural town in central Pennsylvania,young Susie is facing trauma as the middle child in a violent andchaotic household. Her brilliant, alcoholic, astrophysicist father and equallyingenious mentally ill, homemaking mother have collided in dysfunction.Creating five children in short succession covert and overt abuse is runningrampant. Hurt and damaged children are raising more hurt and damaged children. A riveting and intense chronicle of a childhood filled withharsh initiations all led to a masterful and thought-provoking transformation.The ebullient belief and determination of a young girl with a vision who wouldnot bend to self-destruct but rather would convert her experience to triumphare told masterfully in this stunning work. Like a breath of fresh air, Susan refuses to fitthe everyday norm of looking to follow like a lemming. She's traversing andhurdling her way up and over traditional splintering systems. She's meetingcompetition and jealousy with kindness while soaring to thrive. In recoveryfrom addiction, Susan shows us how she leans into her energeticstrength as an empath to heal and move forward while unknowingly healing othersalong the way. Once the journey is complete for thisopus, Susan leaves us with support and some of the practical toolsshe used and uses today to move forward. The appendix is an experientialworkbook matching each chapter of the book, with interactional tools centeredaround each section's theme: breathwork, journaling, meditation, movement, andthe voice all combine in a creative healing process. With rural roots in central Pennsylvania, Susan Gold wasraised in a challenging and chaotic family system, the middle child of five.Her dream was to exit for New York City or the sunny skies of LA, which both didmanifest. To fully thrive, she bravely chose to meet the demons of herupbringing that were continuing to repeat. Toxic Family: Transforming Childhood Trauma into Adult Freedom is that journey. Leaving her little town behind the morning after High Schoolgraduation, Susan rarely ever looked back. While in college as ajunior at Ohio University, she created an internship inarts management navigating her way to her dream, NYC. Her experience withperforming artists like Bill T. Jones, and Paul Zaloom led her into the worldof mainstream entertainment after college, first at the global talent agency,ICM and later FOX. Within the entertainment industry, Susan becameknown for attaching celebrity talent to projects which led her into producingfor television and film and a move to Los Angeles. Susan convinced modern art legend Andy Warhol to do anon-camera commercial for Pontiac; locked a talent deal for American TVpersonality Donnie Deutsch, which he still claims as one of his best; helpedlaunch FOX News Channel at the request of Chair, Roger Ailes; and on behalf ofDisney Channel, persuaded A-list celebrities including Ben Stiller, Jack Black,Taylor Swift, David Beckham and more to be interviewed by the cartooncharacters, Phineas & Ferb. In addition to Susan's business background, she is adecorated endurance athlete having competed in three marathons, dozens oftriathlons, and has the distinction of finishing third in her age group at thetreacherous Escape from Alcatraz event.Hanging up the grueling demands of her swim, bike, run focus she turned tocompeting as a Master's swimmer and within four years achieved multiple top tennational rankings including third in the country in the 400 IM.

Founder and Artistic Director of the dance company A.I.M, Kyle Abraham is an acclaimed dancer, choreographer, and a MacArthur "Genius Grant" Fellow. In addition to performing and developing new works for his company, Kyle has been commissioned by companies including the Royal Ballet, New York City Ballet, and Alvin Ailey American Dance Theater. Kyle talks with Alicia about overcoming stage fright, working with choreographer Bill T. Jones, and changing the name of his dance company.Check out Kyle Abraham on Instagram.Check out A.I.M by Kyle Abraham on Instagram, Facebook, YouTube, or the web.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Susan Gold is magical. Leaving her little town behind the morning after High School graduation, Susan rarely looked back. While in college as a junior at Ohio University, she created an internship in arts management navigating her way to her dream, NYC. Her experience with performing artists like Bill T. Jones, and Paul Zaloom led her into mainstream entertainment after college, first at the global talent agency, ICM and later at Fox. She became known for attaching celebrity talent to projects which led her into producing for television and film and on to Los Angeles. Managing risk is her forte and making in-roads, is her namesake. She's met personal and professional challenges with integrity told in her memoir publishing later this month. Her message inspires us to step outside our comfort zones to achieve success in all aspects of our lives. For more information, visit https://www.susangold.us/.

Episode #3: Of Laughter and Light Season 2 continues with Alexa Patrick joining our host, Dwayne Lawson-Brown to talk creative outlets, finding light while grieving, and her new collection of poetry! Alexa Patrick is a poet and vocalist from Connecticut. She is a Cave Canem fellow and Tin House alumna. She has also been cast in the featured role of Unsung in We Shall Not Be Moved, an opera under the direction of Bill T. Jones. You may find Alexa's work published in The Quarry, The Rumpus, CRWN Magazine, and The BreakBeat Poets Vol. 2: Black Girl Magic. Follow Alexa Patrick on Instagram: @AlexaLaurel Learn More About Alexa: https://www.alexapatrick.com/ This podcast supported by the DC Commission of the Arts and Humanities, Solid State Books, Day Eight Publishing, and CrochetKingpin.com

Cynthia Stevens/ INSITU slips into swamps, streams and forests creating environmental performance and media. This multidisciplinary work explores the interconnections of dance with original music, somatics and ecology to foster a visceral sense of place. Over the past 40 years her productions have been presented in the United States, Canada, Europe and New Zealand. She has created over 60 works including What If I…; Calling Down the Moon; Unearthed with Judith Howard in their collaborative company Flying Sisters Theatre; numerous site-based works for her group INSITU including Leonora's Dream in collaboration with poet William Reichard  in Wirth Park, Minneapolis and in the Kröller-Muller Scupture Garden, Otterlo, Netherlands, Bodies of Water in the Chain of Lakes, Mpls, BIG TREES/small dance in Muir Woods National Monument, California for its Centennial, and the SOURCE series of performances and film set in Six Mile Creek, the water source for Ithaca, NY. Recent solos include Still Here, exploring species extinction; and site-specific works Dwell, Limb to Limb, and Near/Far. Cynthia's productions features original, live music including her own vocal compositions, the vocal and violin compositions of Jane Anfinson for several works in Flying Sisters Theatre, as well as collaborations with Sera Smolen, Max Buckholtz, Mary Ellen Childs, Michelle Kinney, Carl Witt, Kate Lynch and Annie Enneking.Cynthia has collaborated with numerous improvisers including Nancy Stark Smith, Karen Nelson, Kirstie Simson, Megan Flood, Jane Shockley, Andrew Harwood, Martin Keogh, Chris Mathias, and site-specific outdoor improvisation for five years with Julie Nathanielsz. She has performed with choreographers Diane Elliot, Hijack, Ann Carlson, Bill T Jones, Georgia Stephens, and FX Widarayanto, and in the dances of Hanya Holm and Nancy Hauser.Her work has been recognized by, among others, two McKnight Fellowships; grants funded by the Jerome Foundation;  an NEA/Intermedia Arts Interdisciplinary Arts Grant; MN State Arts Board Grants;a grant from the New York Foundation for the Arts for her film, SOURCE; NY Danceforce commissions; and artist residencies at the Headlands Center for the Arts, the SEEDS Festival in MA and META in North Carolina.Cynthia has a BS in Natural Resources/Wildlife Ecology from the University of Wisconsin-Madison and is a certified Somatic Movement Educator and Practitioner of Body-Mind Centering(R). She has taught courses and workshops in site-specific dance making, dance, somatics and eco-somatics to participants of all ages in universities, schools, festivals and workshops. She currently lives with her husband, Jean-Luc Jannink, in Ithaca, NY.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/zmdvvH30EIo I, however, will be celebrating National Book Blitz Month with some surprise guests to discuss books with quite a few surprises! Let's see how cheesy we all will be... CREATE! How Extraordinary People Live to Create and Create to Live by RONALD RAND Create Sharing their insights on the process of creativity and the importance of the arts for humankind CREATE! features over 100 rare Interviews — actors, artists, choreographers, composers, dancers, designers, directors, musicians, composers, mime artists, playwrights, poets musicians, and writers — including Edward Albee, Alec Baldwin, Carol Burnett, Ellen Burstyn, Martha Carpenter, Carol Channing, Brian Cox, Jacques d'Amboise, Ossie Davis, Ruby Dee, Katherine Dunham, Eve Ensler, Kelsey Grammer, Joel Grey, Al Hirschfeld, Julie Harris, Sheldon Harnick, Bill T. Jones, Everett Raymond Kinstler, Chaka Khan, Stephen Lang, Robert Lepage, Arthur Laurents, Mario van Peebles, Christopher Plummer, Harold Prince, Bill Pullman, Tony Randall, Luise Rainer, Phylicia Rashad, Chita Rivera, Roy Scheider, Tim Stevenson, Charles Strause, Tadashi Suzuki, Tommy Tune, Ben Vereen, Sir Derek Walcott, Elie Wiesel, Robert Wilson, and Eugenia Zukerman. CREATE! features over 150 iconic photographs, paintings, and illustrations including Al Hirschfeld, Everett Raymond Kinstler, Tim Stevenson, Jim Warren, Martha Carpenter, Michael Shane Neal, Thomas V. Nash, Tommy Tune, Stephen Lang, Joel Grey, Tara Sabharwal, Carolyn D Palmer, Ming Cho Lee, Jean-Claude van Itallie, Fred Hatt, Gregg Goldston, David Pena, Parish Kohanim, Andre Gregory, Lucie Arnaz, Allan Warren, Stan Barouh, Jacques d'Amboise, Jimmy Turrell, Jillian Edelstein, James McMullan, Mary Gearhart, Alvin Colt, Sir Derek Walcott and Ronald Rand

Sherry Saterstrom helped shape the life of the dance program at St. Olaf College from the late 1960's when she was a student there. A twist of fate brought her back as a guest artist and teacher after completing a Master's Degree in Dance/Humanities at Arizona State University. Over the years her fascination with invention yielded classes such as The Body Movable, Power Play, The Beat Goes On, Movement as a Metaphor, Improvisation as Practice and Performance. In 2000 with a growing passion for improvisation in movement technique and performance, she invented The Improvisation Ensemble. This group continued to re-invent itself with each new season of possibility.Between1978-84 Sherry created and co-directed Dance Co'Motion, a modern dance company whose work was focused in the Artist-in-Residence program of the National Endowment for the Arts. Over the years she enjoyed performing with other dance artists--- Maria Cheng and Dancers, Paula Mann, Bill T. Jones, Lovice Weller, Deborah Hay, Body Cartography---and learning from their artistic visions.As a seeker of new adventures in 2001 Sherry developed a workshop, ”Dance in the Rainforest” at a biological field station in the rainforest of Costa Rica. The workshop intended to pull dancers and movement artists out of their more controlled environments and challenge their notions of dance. It aimed for personal and artistic discovery through navigating unfamiliar terrain. Since 1984 Sherry has focused her training in the area of body-mind studies as it relates to movement, dance and the learning process. She is a certified Body-Mind Centering practitioner and includes meditation, Authentic Movement, yoga, Gaga and movement improvisation in her ongoing physical practice. Her most recent fascination is with the world of fitness and its relationship to her fundamental passion for all things physical.

I knew that there was a power I had when I stripped off my shirt and looked you in the eye as I moved my hips. But I also knew the other side of that attraction to me was the impulse to kill me. Legendary dancer and choreographer Bill T. Jones has made a career of engaging his audience with brutal, unapologetic honesty. His seductive work has grappled with provocative political issues ranging from sexuality, race, and censorship to power and the AIDS epidemic — while also innovating in the expressive possibilities of movement itself.  In this episode, Jones talks about what it meant to grow up as a “Black Yankee” in the 1950s and 1960s and as one of 12 children. He also reflects on the adjacency of violence to the power of seduction, and how, after decades as a performing artist, the body may retire but the mind never will.  References: Alvin Ailey Percival Borde Pearl Primus Sammy Davis Jr. Bojangles Shirley Temple Sydney Poitier Charles Weideman Doris Humphrey Arnie Zane Lois Welk Rod Rogers Louise Roberts Arthur Aviles Marcel Proust Merce Cunningham George Balanchine Hannah Arendt Max Roach Freda Rosen

This special episode highlights a previously recorded discussion in partnership with the Barnes Foundation in Philadelphia. Presented as an installment of the Pennoni Panels series–and later produced as a pair of episodes for the PBS-broadcast TV series "The Civil Discourse," hosted by Drexel University Pennoni Honors College Dean Paula Marantz Cohen–“When Great Artists Behave Badly” features Tony Award-winning dancer/choreographer Bill T. Jones and a panel of esteemed experts. The panelists take on the topic of controversial artists and how society can separate the art from the artist in cases of toxic, immoral personal behavior. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded January 21, 2021 through virtual conferencing with supplemental recording on October 13, 2022 (Philadelphia, PA, USA). Featured Guests: Paula Marantz Cohen, PhD (Dean and Host of The Civil Discourse); Aruna D'Souza (Author and Art Critic); Bill T. Jones (Tony Award-Winning Dancer/Choreographer); Martha Lucy, PhD (Barnes Foundation Renoir Scholar); and Erich Hatala Matthes, PhD (Author and Philosopher) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Paula Marantz Cohen, PhD with Melinda Lewis, PhD and Brian Kantorek Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. To watch these episodes and others from "The Civil Discourse," check your local PBS listings or visit www.youtube.com/c/thecivildiscourse. Copyright © 2022 Drexel University

Today's episode is with choreographer and dancer Bill T. Jones. Jones is an award winning artist and legendary dancer. His work uses storytelling, movement, and multimedia elements such as spoken narrative and videotape to examine identity, social issues and autobiographical elements of his life. His 43-year long career reminds us on the importance of gratitude and remaining present in your life and artistry.  In today's conversation we're reminded of the power in investigation. We also explore what it means to create amidst a state of grief. And the importance of spending a life in service to others.  Things mentioned https://www.youtube.com/watch?v=j4rRsZTdijU (2010 Kennedy Center Honors - Bill T. Jones) https://www.felaonbroadway.com/ (FELA!) https://www.youtube.com/watch?v=PY2epKdtw2M (Arnie Zane: An Introduction) https://vimeo.com/33288787 (Bill T. Jones: Still / Here with Bill Moyers) What to read https://bookshop.org/books/story-time-the-life-of-an-idea/9780691162706 (Story/Time: The Life of an Idea) by Bill T. Jones https://bookshop.org/books/the-emigrants-9780811226141/9780811226141 (The Emigrants) by W.G. Sebald https://bookshop.org/books/the-bluest-eye/9780307278449 (The Bluest Eye) by Toni Morrison  https://bookshop.org/books/the-spirit-in-man-art-and-literature/9780415304399 (The Spirit in Man, Art and Literature) by Carl Gustav Jung https://bookshop.org/books/body-against-body-the-dance-and-other-collaborations-of-bill-t-jones-arnie-zane/9780882680644 (Body Against Body: The Dance and Other Collaborations of Bill T. Jones & Arnie Zane) by Bill T. Jones, Artie Zane, Elizabeth Zimmer  https://bookshop.org/books/democracy-moving-bill-t-jones-contemporary-american-performance-and-the-racial-past-9780472075126/9780472055128 (Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past) By Ariel Nereson  What to listen to https://open.spotify.com/album/7nYTU6Yt5pHS2hAsITrQ6g (Fela! (Original Broadway Cast Recording)) - Album by Fela Kuti https://open.spotify.com/track/77K7ByPJFOJWeCoCnpaiYu?autoplay=true (I Will Move On Up a Little Higher) - by Mahalia Jackson https://open.spotify.com/track/2grjqo0Frpf2okIBiifQKs (September) by Earth, Wind & Fire Who to follow Follow Bill T. Jones on http://btj/AZ%20Company%20(@billtjonesarniezaneco) (IG) https://www.instagram.com/billtjonesarniezaneco/?hl=en (@billtjonesarniezaneco) You can also find his company https://newyorklivearts.org/btj-az-company/ (here). This conversation was recorded on July 9th, 2022.   Host https://www.instagram.com/dario.studio/ (Dario Calmese)  Producer: https://www.instagram.com/holly_woodco/ (Coniqua Johnson)  Visual Art Direction and Designs:  http://riverwildmen.com/ (River Wildmen), https://www.instagram.com/afrovisualism/ (AfroVisualism) Director of Digital Content: https://www.instagram.com/vickygcreative/ (@vickygcreative) Bookings: https://www.instagram.com/itsms.kt/ (@itsms.kt) Original Music composed by http://www.dariocalmese.com/ (Dario Calmese)  Visit us at https://www.blackimagination.com/oral-history (blackimagination.com )

Bill T. Jones changed the face of modern dance. Known for provocative works that blend traditional and modern influences, he's one of the most adventurous and celebrated dancer-choreographers. Jones spoke with Eleanor Wachtel in 2010 about his early life in upstate New York, being inspired by social movements of the 1960s and '70s, his collaboration with Arnie Zane, and two shows that look at the legacy of Abraham Lincoln in the 21st century.

Today's guest is Nadia Adame. Nadia is a Spanish multidisciplinary award-winning artist with a spinal cord injury and the Artistic Director at AXIS Dance Company. She was a company member with AXIS (2001-2003) and Candoco Dance Company (2007-2008). In 2004, she co-founded and was the Co-Artistic Director of Compañía Y in Spain, a multimedia and performance collective. Nadia's credits include dance, theatre, commercial, and independent film projects in the UK, Spain, US, and Canada. As a performer, she has been featured in works by Stephen Petronio, Bill T. Jones, Arthur Pita, Rafael Bonachela, Davis Robertson, Sonya Delwaide, Marc Brew, Chevi Muraday and Asun Noales, among others.  For more on this episode: Movers & Shapers: A Dance Podcast

Charles sat down with choreographer and b-boy extraordinaire Raphael Xavier. They discuss the joy of collaboration, meeting Bill T. Jones where hip hop has come from, where it is now, its future, and more! https://www.raphaelxavier.org https://www.pentacle.org/blog/artist/raphael-xavier/ IG Viazeen83 IG Thexavofficial IG Swervethemovie

What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/   Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. It has been exhibited nationally and internationally. We'll hear more about his jewelry journey today and how art fits into that. Jonathan, welcome to the program.   Jonathan: Thank you, Sharon. It's a pleasure to be here. It's a pleasure to see you.   Sharon: It's nice to see you. Hopefully next time, it'll be in person.    Jonathan: I would love that.   Sharon: Jonathan, tell us about your jewelry journey. How did you get to jewelry? Was that where you originally started out?   Jonathan: Recently I've been doing a lot of interviews myself with artists around the world—virtually since the pandemic—as Director of the Jewelry Center, and one of the questions I always ask them is “How did you find your way to jewelry?” It's one of the questions I love to be asked because, at least for myself, it was interesting. I think all of us start out as artists, unless we're born into a jewelry family. Everyone learns how to draw. Everyone paints on their own. Maybe they have classes in high school. If you're lucky, you have a jewelry class in high school. I didn't, so like many people, I discovered jewelry in college at Tyler School of Art, which has one of the best jewelry programs in the country, but I didn't know jewelry existed until I went to art school.    When I went to art school, I thought I was going to be a graphic designer. Being the son of a banker and coming from a prep school, I figured I was going to be an artist, but I had to make a living. I wasn't going to be a painter, so I was thinking I was going to be a graphic designer when I grew up. At the college, I discovered jewelry in my sophomore year. Stanley Lechtzin said to me—I'll never forget it—“After you graduate you could design, if you wanted, costume jewelry in New York City,” and I thought, “That sounds kind of exotic and fun in New York City.” That's how my jewelry journey really began, in an elective class as a sophomore at Tyler School of Art.   Sharon: Where is Tyler? I'm not familiar with it.   Jonathan: In Philadelphia. It's part of Temple University.   Sharon: And Stanley Lechtzin, is he one of the professors there? I don't know that name.   Jonathan: Stanley Lechtzin really put the program on the map. He's in collections internationally. He pioneered the use of electroforming in individual objects. Electroforming was a commercial process used throughout the country for many different industrial applications, but Stanley figured out how to finetune it for the individual artist. His work has recently had some new-found appreciation because of the aesthetics from the 60s and 70s that are also coming back into vogue. His pieces are extraordinary.   Sharon: Before you came to the Y, did you design jewelry? Did you do art? Did you come home from your banking job and work on that stuff?   Jonathan: My father was a banker. I was not a banker. The closest I got to banking was working at a casino in Atlantic City one summer. My family has a house in Ocean City, New Jersey, so I could get to Atlantic City. I had to count a bank of anywhere between $30,000 and $70,000 a night. That's the closest I got to being a banker.    I quickly then moved to London. This was the summer of my senior year after Tyler. After I graduated from Tyler, I moved to London briefly and worked for a crafts gallery in northern London. Then I decided I wanted to go to graduate school. I came back for about a year to work towards applying to graduate school, which ultimately became SUNY New Paltz. I graduated Tyler in 1990, so most of my undergraduate years were in the 80s. If you're familiar with 80s jewelry, it was no holds barred. It was any kind of jewelry you wanted. My work—or at least my practice—quickly started to veer away from jewelry and towards objects and what I would call small sculpture. My choice to go SUNY New Paltz was specific because I didn't really want to make jewelry, but I was interested in the field and decorative arts, the material culture of jewelry and metalsmithing. That's what I pursued while I was in graduate school. I was recreating early American tinware about my experience as a gay American at that time. I wish there were visuals included, but that's what I was doing at SUNY New Paltz.    Sharon: How did you find that material?   Jonathan: The tinware was a metaphor for America, for traditionalism. The pieces were metaphors for the function or dysfunction of America. These objects were a little perverse, a little sublime and really honest about how frustrated I felt about being an American and growing up in Philadelphia during the bicentennial. I thought life, liberty and the pursuit of happiness was for everybody, but I found myself not really able to access the full extent of that saying, like many people in our country even today. But I'm happy to report that a piece from that era was just acquired by the Museum of Fine Arts in Boston. I'm thrilled that the older work is getting some interest. There's some interest from the New York Historical Society, which is not finalized yet, but it's interesting to see that work with new eyes 20-some years later.   Sharon: Congratulations!   Jonathan: When I was in Germany, my partner at the time was finishing his master's degree, and I was an artist in residence there at the Hochschule der Künste, which is now the Academy of Art, I think it's called. That was an interesting experience because Europeans in general, and Germans in particular, approach craft differently. They have a much longer and supportive tradition of craft of all kinds, so when they saw my tinware, it was a little confusing to them. I ended up in a program called small sculpture as an artist in residence because there was no jewelry program at this art university. It was interesting. It was curious.   Sharon: Tell us how you came to jewelry.   Jonathan: Jewelry eventually gets into my story. After leaving Berlin, I moved to New York. I knew I wanted to be a New York artist. That's the place I had to go. That's the place I had to find my destiny. I was walking around looking for positions in a gallery, which was what I thought I was supposed to do. I walked into one gallery and the director there said, “I don't have any gallery work for you, but I'm on the board of a not-for-profit gallery at the YWCA. That's the home of the Craft Students League. They are looking for a program associate, which pays a ridiculously low hourly wage but has health benefits.” I thought, “O.K., I can do that.”    That's when I found myself in the not-for-profit arts administration position that was developed into what I do now, at least part time. I was the program coordinator for the Craft Students League, which is unfortunately gone now, but had a wonderful ceramics, jewelry, painting, and book arts department. I ultimately became director of the jewelry studio and metalsmithing studio there, and then I became the assistant director of the whole program before I moved to the 92nd Street Y to become the director of the Jewelry Center here.   Sharon: Did they have an opening? How did you enter the 92nd Street Y?   Jonathan: Yes, there was an opening. There was John Cogswell. The Jewelry Center has some wonderful previous directors. It was Thomas Gentile from the late 60s to mid-70s, who really put this program on the map. He was followed by John Cogswell until the early 90s. Then briefly Shana Kroiz took over. She was between Baltimore and New York, and when she left the department, there was a call for a new director. That's when I joined the program here.   Sharon: Wow! I didn't know that Thomas Gentile was one of the—I don't know if you want to call it the founders, but one of the names that launched it.    Jonathan: Yeah. The program began in 1930 in its earliest form as a class in metalworking and slowly evolved into a few more classes. It became part of the one of the largest WPA programs in the country here at the 92nd Street Y, but it kind of floated along until Thomas came—and Thomas, forgive me if I get this wrong—in the mid-60s, I think, maybe later. He came in and really started to formulate a program of study here. He was the one who really created the Jewelry Center as a center.   Sharon: Was he emphasizing art jewelry or all jewelry?   Jonathan: There was a great book put out by the Museum of Modern Art in the 50s about how to make modern jewelry. Now, I don't know if the MOMA realized that they put out a book on how to make jewelry, but my point is in New York, I think there was still this idea of the modernist aesthetic and the artist as jeweler or jeweler as artist. I would say that Thomas was focused more on artist-made jewelry, the handmade, the one-of-a-kind object. It was still not looking in any way towards traditional or commercial jewelry.   Sharon: Jonathan, tell us what the 92nd Street Y is, because people may not know.   Jonathan: The 92nd Street Y is a 140-year-old institution here on the Upper East Side of New York City. It is one of New York City's most important cultural anchors. It has many different facets. We have a renowned lecture series. The November before the pandemic, I remember we had back-to-back Ruth Bader Ginsburg and Lizzo. Wednesday night it was Ruth Bader Ginsburg, and Thursday night it was Lizzo. Last night we had Outlander here, and I think we had a full house of 900 people plus 2,000 people online. We also have a world-renowned dance center that has a long history with Martha Graham and Bill T. Jones. In many ways, modern dance coalesced at the 92nd Street Y. The Jewelry Center has had a presence here at the Y since 1930. We have a wonderful ceramic center. We also have one of the most prestigious nursery schools in New York City. You name it.    The 92nd Street Y is a Jewish cultural center. It's part of the UJA Association, but it's kind of its own thing. It's a whole other story about what Ys are and the difference between YWCAs, YMCAs and YM-WHAs, which is what we are, but the 92nd Street Y is really a cultural center.   Sharon: When are you opening your West Coast branch in Los Angeles? Because you have such an incredible number of speakers and programs.   Jonathan: Many of them come from the West Coast. We had Andrew Garfield here the week before last to talk about his amazing performance for a Reel Pieces program with Annette Insdorf. I think that was a full house of 900 people for a performance from “Tick Tick Boom,” which was great. I don't know when we're coming to LA. We're just reemerging from the pandemic here in New York.   Sharon: This is not related to jewelry, but do you think that without the pandemic, you would have gone online to such an extent? Would it have been possible for people around the world, including on the West Coast, to see what's going on?   Jonathan: The pandemic was the catalyst to do something we'd always thought about, but yes, the pandemic definitely forced us to do it. On March 13, New York City shut down. That Monday, we flipped all of our classes, every single one of our classes in the Art Center, which is about 200 classes, to be virtual. That worked for some classes better than others, obviously for painting and drawing. It was fine for jewelry. It's tough if you don't have a studio. What we did through the summer is offer online classes. We still offer online classes to some extent, but my focus is on building back our in-person class schedule, which we're doing. We're over about half enrollment now from the pandemic and moving quickly towards three-quarters.   Sharon: Did the people who enrolled in hands-on jewelry classes, did that just stop with the pandemic?   Jonathan: Yes, it stopped from March 2020 until September 2020. In September, we actually opened back up for in-person classes. We wore masks. We were socially distanced. We were unvaccinated. I was taking the subway and it worked. It was slow at first, but I think this process is a part of many people's lives and this program is so meaningful for so many people. Being in New York, access to a studio is important, and very few people have studios at home. This is not only an important part emotionally of their lives, it's also literally, physically, an important part of making jewelry their practice.   Sharon: Since you started as director of the program, I know you've been responsible for growing it tremendously. Was that one of your goals? Did you have that vision, or there was just so much opportunity? What happened?   Jonathan: All of the above. There was a lot of opportunity. Unfortunately, the Crafts Students League closed shortly after I left. Parsons closed their department. There were a number of continuing education programs that left Manhattan, and this is before the country of Brooklyn was discovered, even though I lived there. There were no schools in Brooklyn, really. The 92nd Street Y became one of the few places to study when I came on.    Also, to my point about studying jewelry in art school, you're studying to be an artist generally in art school; you're not really studying to be a jeweler in the way most people understand jewelers to be. Although certainly at Tyler, it was a great technical education and I learned a lot of hard skills, many people, including myself, were not adept at those hard skills. We're not taught at a trade school, and I found that most of the people who were looking for jewelry classes wanted to make more traditional jewelry than the classes we were offering. Most of our faculty came from art school. There were some amazing people, Bob Ebendorf and Lisa Grounick(?) to name just a few, but as the 90s wore on and the aesthetic changed, I found that people really wanted to learn how to work in gold, how to set a stone. The aesthetics of jewelry shifted. You probably know yourself that the art jewelry world shifted a little bit too. For myself, I wanted to learn more hard skills, and I basically started creating classes that reflected my interests in how to make better wax carvings, how to set a brilliant-cut stone. I can then make that into what I want: studio jewelry, art jewelry, whatever, but those hard skills were lacking.    I've said this many times: I don't know that this program would exist in another city other than New York because there was so much talent here. There were people from the industry here. There were artists who were studio jewelers and art jewelers all at my fingertips. I think that was one of the ways it grew, not because I reduced the perspective of what was being made here, but because I enlarged the perspective of what was being made here or taught here.   Sharon: How did you do that? Did you do that by identifying potential teachers and attracting them? What did you do?   Jonathan: I was lucky to have some wonderful people in New York City at that time. We had a wonderful faculty to begin with, but we also were able to expand the faculty with incredible people who had recently resigned. Pamela Farland, who was a master goldsmith and was the goldsmith at the Metropolitan Museum of Art for many years, was on our stuff. Klaus Burgel, who was trained at the Academy of Munich, was here in New York and came to us as a faculty member. Tovaback Winnick(?), who was a master wax carver and worked for Kieselstein-Cord for many years, came on as well. Some people work here for a shorter period of my time. My good friend, Lola Brooks, was here and taught stone setting. There was some really stellar talent around that helped me build this program.   Sharon: That's quite a lineup you're mentioning.   Jonathan: And a really diverse lineup.   Sharon: Diverse in what sense?   Jonathan: Klaus' work is pure art jewelry: the iconic object, incredibly crafted, but what one would consider as art jewelry in its most essential sense. Lola Brooks, her work crosses the lines of both art and jewelry, and she's got a beautiful studio jewelry line. Then there are people like Pamela Farland, who made very classical, Greco-Roman, high-carat granulated stones, classical goldsmithing. Then there was Tovaback Winnick who teaches carving, which is how the majority of commercial jewelry is made. We had real range as well as your regular Jewelry 1, Jewelry 2, Jewelry 3 classes where we're teaching the basics of sawing, forming and soldering.   Sharon: You answered my question in part, but if somebody says, “I'm tired of working as a banker; I want to be a jeweler,” can you come to the Y and do that? Can you go through Jewelry 1, Jewelry 2, Jewelry 3 and then graduate into granulation? I don't know if there's a direct line.   Jonathan: Absolutely. We don't have a course of study. We don't have a certificate, but you can definitely come here and put your own skillset together. That's also what I found strong about the program, that it gave people access to put their skillsets together without going through art school or going through college. You're able to learn those hard skills in an environment where it's no frills.   Sharon: Are they mostly younger people, older people, people of all ages?   Jonathan: It's people of all ages. When I joked about the country of Brooklyn not being discovered yet, I lived in Williamsburg, Brooklyn for my whole New York life, so I'm speaking the truth. There really wasn't anything out there. If you were young and hip and cool when I lived in Brooklyn, you had to come here. So, for a long time, we had a much younger population that was cool, hip. Now, everybody has moved to the country called Brooklyn. That demographic has aged a little bit for us.    We have three classes during the day. We have a morning class, an afternoon class, a late afternoon class and then an evening class. If you're a younger person, it's most likely that you have a job, so you're going to come at night for our classes. That's only one-quarter of the population that can take a class here, because there's only one slot of night classes. There could be four classes happening at the same time, but all from 7:00-9:30. So, in general our population skews old because those are the people who are generally available during the day.    That being said, it's New York City. There are lots of different ways to make a living here. There are definitely people who are actors or bartenders or artists or what have you who do have time during the day and come here. It really depends on what class, but absolutely; we have all ages for sure. We also have kids' classes in the afternoon from 4:00-6:30.

This is the second half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance.  If you missed part one you may want to catch up on that episode before listening to this one. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and she also has had a very active and successful career as a dancer and choreographer. Interestingly, she is closely related to this subject matter of her book because her father was the Tony Award winning choreographer and star dancer, Peter Gennaro. He is profiled in the book as well as in this episode. By the end of Part 1, we had made it to the late 1940s when Agnes de Mille was dominating the field of Broadway choreography. Between 1943 and 1945, De Mille had four hits in a row – Oklahoma!, One Touch of Venus, Bloomer Girl, and Carousel – and three of them choreographed in her signature “Americana” style. This unprecedented string of successes made her the most powerful choreographer in the commercial theater, and soon led to her becoming the first director-choreographer of the “Golden Age” with Rodgers & Hammerstein's Allegro. De Mille's most significant contribution to the Broadway Musical was breaking the mold of the traditional Broadway chorus girl by insisting on hiring actor/dancers who could fully embody the characters that they were playing.  This new approach to Broadway dance, and this new kind of Broadway dancer, would be adopted by everyone who followed in her footsteps – especially Jerome Robbins – who years later would write, “Agnes broke the conception of what the Broadway dancer could be in the Broadway Musical. What they looked like, what was desired of them, and what their contribution to the show was.” And, as you will hear, Robbins took that idea and ran with it, just as De Mille's “Americana” style was starting to lose its luster. That's just the beginning Later in the episode Liza and I discuss Michael Kidd, Bob Fosse, Gower Champion, Michael Bennett, Graciela Daniele, Susan Stroman, Kathleen Marshall, Bill T. Jones, Stephen Hoggett, Lorin Latarro, Kelly Devine, Sergio Trujillo, Jerry Mitchell and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Another great episode with another fantastic guest!  Thank you Rory Freeman for sharing your time with us and sharing your incredible journey as an artist.Rory Freeman most recently performed with recording artist Rita Ora at the People's Choice Awards. He was a Principal Dancer with  Shaping Sound on the brand new show “After The Curtain.” He has toured with the company for the past 5 years across the nation as well as performing on The Ellen Degeneres Show.  Rory had the honor of performing in Sonya Tayeh's first full length show in New York City called “You Still Call Me By Name.” You may have  seen him as a Featured Dancer on the hit television shows America's Got Talent Season 11.  He has worked with some of the top music artists such as: Taylor Swift, Rita Ora, Paula Abdul, Earth, Wind, & Fire, and Jack Wagner.  Music video credits include: Taylor Swifts' “Shake it Off' and Paula Abdul's' “Check Yourself”. In 2014, he was part of the skeleton crew to create a number as part of the Opening Ceremonies for the Winter Olympics. Rory is blessed to have been able to perform all over the world with the world renowned dance company, MOMIX. Before his career started he proudly earned his BFA in Modern Dance from SUNY Purchase (NY) in 2010. This gave him the opportunity to perform pieces by Bill T. Jones, Paul Taylor, Bella Lewitsky, and Luca Veggetti.  At the age of 18, he received the prestigious Silver Award in Modern Dance from the National Foundation for Advancements in the Arts (NFAA).  Rory is a part of the faculty and judges for various national conventions and competitions. He is proud to be YPAD (Youth Protection Advocates for Dancers) certified. He has taught & choreographed at numerous studios across North and South America. He is honored to also be a CLI Studios choreographer. Rory is also the Co-Founder and Co-Director of Move: The Initiative, a 4 day Dance Intensive based in Rhode Island.Jam Fam, make sure you like and subscribe on your favorite streaming platform!  Follow us:Facebook @JAM Joe and Michelle's Dance PodcastInstagram @jam_dance_podcast

Happy Birthday to Bill T. Jones and John Kriza! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Brendan is joined by Daniel Roumain: composer, performer, educator, and social entrepreneur. He has worked with artists from Philip Glass to Bill T. Jones to Lady Gaga; appeared on NPR, American Idol, and ESPN; and has collaborated with the Sydney Opera House and the City of Burlington, Vermont.  You can learn more about Daniel Roumain here. More about host Brendan Slocumb Follow Brendan Slocumb on Instagram, Facebook, Twitter, and Spotify! Buy Brendan's debut novel “The Violin Conspiracy” here! Learn more about your ad choices. Visit megaphone.fm/adchoices

Alvin Ailey is alive and well. That is the lasting impression one gets from “Ailey”, filmmaker Jamila Wignot's vibrant and probing documentary portrait of one of the 20th Century's greatest artists, the late dancer and choreographer Alvin Ailey. Ailey's masterworks are still performed throughout the world. The dance company he founded more that 60 years ago, Alvin Ailey American Dance Theater, continues to thrive. But who was Alvin Ailey? What drove him? What tormented him? How did he loom so large for countless dancers but remain largely an enigma as a man?  In Ken's deep dive “Top Docs” conversation with Jamila, she discusses the many challenges involved in understanding and visually representing Ailey's life and legacy. How did she avoid the tropes and traps of the standard documentary portrait? How did she use archival footage in such a way to create a constant sense of movement? What did Bill T. Jones, a dance legend in his own right, say once the camera was turned off? And what were the keys to creating a film that would put the audience in “(Ailey's) body so that you would be experiencing his life as he experienced it”? Experience our conversation with Jamila on Top Docs now and stream “Ailey”, which is part of PBS' American Masters series, for free until February 8th at PBS.org. Follow on twitter: Jamila @jamilawignot Top Docs @topdocspod Hidden Gem:  Harry Dean Stanton: Partly Fiction

“I think it's a teacher's job to pull out the things that make you you.”—  Cortney Taylor KeyYou may already know the name Cortney Taylor Key.And if you don't, you're going to want to.The talented dancer was featured in a June 2021 New York Times article about ballet's strict gender norms and the queer dancers who are breaking through them.“I don't like the word No… so I can't say no to myself,” Cortney says. She has followed that Yes from the Ailey School to the North Carolina School of the Arts, to meeting Cicely Tyson and Bill T. Jones of Bill T. Jones/Arnie Zane Dance Company, to starring in #QueertheBallet's stunning dance film ANIMALS & ANGELS and dancing with another woman en pointe.Cortney is really passionate about discovering and following her purpose, something that she believes that all creatives should strive for. “Be present with yourself as a child, as an adolescent, as a teenager… so that you can be what you're supposed to be on Earth,” she explains, “If you die and you don't follow your purpose, that's going to go in the ground with you — we don't even get to see it.”In‌ ‌this‌ ‌episode of the podcast,‌ ‌you'll discover:‌How your love and passion for your art can start to fade — and what can help you revitalize itWhy it's important to take chances and be brave when it comes to pursuing the things you want to do (and meeting the people you want to meet!)Cortney's unique approach to working with photographers — and how having an alter ego can come in handy!About Cortney Taylor Key: Cortney Taylor Key is a Black American lesbian woman who started studying ballet later than most, but has become a gifted and notable dancer who pushes boundaries with her art.Highlights:‌00:17  Intro01:10  Meet Cortney Taylor Key04:16  The road to  dance06:25  The It factor07:20  Losing passion09:30  Meeting people12:40  Freelance dance career14:22  Photography & personas20:18  Lesbians in Ballet22:00  Unity & community23:20  Choreographers25:00  Find & follow your purpose27:58  Connecting with who you are29:44  Cortney's rituals & routines34:58  RecapLinks:‌Cortney Taylor KeyIG: https://www.instagram.com/cortneytaylorkey,  https://www.instagram.com/negusballerinaproject, https://www.instagram.com/keycrochet_  https://www.gofundme.com/f/29ztmuay40/donatehttps://www.nytimes.com/2021/06/01/arts/dance/lesbians-in-ballet.htmlhttps://www.youtube.com/watch?v=Qcf_PvBmjhEJoin Our Facebook Group: https://www.facebook.com/groups/artistinclusiveWebsite: https://www.artistinclusive.comConnecthttps://www.hollandcreative.iodaniel@hollandcreative.ioIG: https://instagram.com/conversioncopydesignhttps://www.dashofcopy.comanna@dashofcopy.comIG: https://instagram.com/dashofcopy

On this episode I speak with Production Designer Brain Stonestreet. Brian's crater is jammed packed with huge live programs. Brian designs the stages for live evets like The Grammy's, The Golden Globe Awards, The Soul Train Awards, The BET Hip-Hop Awards, The Billboard Music Awards, The Annual Academy of Country Music Awards and more. He also has Production Designed The Kennedy Center Honors, Al Pacino and George Clooney An American Cinematheque Tributes, and more. He has Won 3 Primetime Emmy Awards, 2 Art Directors Guild Awards and another 26 nominations. So I knew that he did these shows but when I really looked at sets for the performances he has designed.. It's incredible. Moving parts and coordinating the artist and the lighting… and it's live! Just some ….SOME of the amazing performances he has designed for Luciano Pavarotti, Whitney Houston, Carlos Santana, Elton John, Madonna - multiple times, Alicia Keys, U2, Prince and Beyoncé, The White Stripes, Adele, Foo Fighters, Sting, James Brown, Stevie Wonder, Brian Wilson, Amy Winehouse, John Fogerty, John Legend, John Mayer, Andrea Bocelli, Lady Gaga, Mick Jagger, Barbra Streisand. And that's just the ones I like! The design of his Kennedy Center Honors class include Leon Fleisher, Steve Martin, Diana Ross, Martin Scorsese, and Brian Wilson, Merle Haggard, Jerry Herman, Bill T. Jones, Paul McCartney, and Oprah Winfrey. This is a fascinating interview at least it was for me, I really learned a lot from this. We talk about his shows and what his designing challenges for these live shows will be for this Corona Viruse phase. In fact, the BET awards are this sunday, June 28th, so I'm intrigued to see what the design is of it. He's amazingly talented, and a super nice guy so I hope you enjoy.