Podcasts about Choreography

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design (Oxford UP, 2025) explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives. 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

From October 20-23, the Central Committee of the Chinese Communist Party held its Fourth Plenum in Beijing, marking an important moment as the Party sets the direction for China's development for the next five years. The session adopted recommendations for the 15th Five-Year Plan, endorsing Xi Jinping's goals of high-quality development, scientific and technological self-reliance, and strengthening national security in response to rising global instabilities. The Central Committee also announced the replacement of 11 members, the highest personnel turnover since 2017 amid an ongoing anti-corruption purge in the military. To discuss the plenum's outcomes, we are joined by Jonathan Czin. Jonathan is a leading expert on Chinese politics and foreign policy. He holds the Michael H. Armacost Chair in Foreign Policy Studies and is a fellow in the John L. Thornton China Center at the Brookings Institution. He previously led the intelligence community's analysis of Chinese politics and policy making at the CIA and also spent two years as director for China at the National Security Council during the Biden administration.  Timestamps:  [00:00] Start  [01:36] Why the Fourth Plenum Matters  [03:37] Key Takeaways: Policy Continuity and Political Purges  [05:07] Zhang Shengmin and Xi Jinping's Military Ambitions  [09:23] Signals and Adjustments in Economic Planning  [11:56] Previewing the 15th Five-Year Plan  [13:33] Xi Jinping's Growing Confidence  [17:42] Political Messaging and Choreography  [20:21] Language in the Communique: “Strategic Resolve”  [22:28] What to Expect from the Xi-Trump Summit  [26:38] Is Beijing Worried the Summit Could Backfire? 

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design (Oxford UP, 2025) explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design (Oxford UP, 2025) explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design (Oxford UP, 2025) explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design (Oxford UP, 2025) explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives.

Fort Wayne Ballet welcomes you to its 69th season! Jim Sparrow and Karen Gibbons-Brown get down to it, filling us in on the ins and outs of the new season lineup: particularly the harrowing Halloween happenings of our Tales In the Dark performances.

Hosts Claire Kretzschmar and Soloist Aarón Sanz are back for another cozy conversation around The Rosin Box. This week, they're joined by Soloist Alexa Maxwell and Principal Dancer Gilbert Bolden III, who have plenty to share about inspiration and motivation, whether for their daily practice, during repetitive performance periods, amidst injuries and other challenges, and beyond. Alexa shares that it's all about the music—she's a "classical music girly"—and that she likes to bunhead out as she's learning a new role; for Gilbert, new audience members, quiet instances of beauty in his everyday life, and cherished passages in well-known ballets can help sustain his art. As all four dancers agree, "If you're open to it, you can be inspired all the time." (54:13) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

In this special episode, Jim sits down with Youth Company Director Raleigh Sparrow to discuss Fort Wayne Ballet's Family Series shows for the 2025-26 season. First up is Spooky Kooky, this Saturday!

Eva Stone believes every young woman in ballet should learn to choreograph, and she is on a mission to make that happen. In this episode, the Pacific Northwest Ballet faculty member shares why she sees choreography as essential to developing artistic confidence, voice, and agency in female dancers. She talks about her New Voices program, which gives young women the opportunity to create their own work, and how the experience transforms the way they approach dance, creativity, and leadership. Eva also reflects on her own unconventional path to PNB, the importance of building resilience through rejection, and why empowering dancers to think and create for themselves is key to the future of ballet. Learn more about Eva on her website. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk

It takes a true dreamer to become a dancer, but grit and a bit of luck are often necessary to navigate this challenging world and bring that dream to life. Many dancers know the feeling—when everything seems to be falling into place, the universe can throw unexpected hurdles your way. That's been my own experience, and it's part of why Putting My Heels Down struck such a deep chord with me. Kara Tatelbaum is a multifaceted dancer, choreographer, teacher, coach, writer, and caregiver who brings her whole self into everything she does. She has built a remarkable career performing and teaching in NYC and abroad, earning her BFA in Dance from NYU's Tisch School of the Arts and an MFA in Choreography from SUNY Purchase. Early encouragement from her teachers led Kara to choreograph at a young age, eventually founding her own company, *independentdancemaker | Kara Tatelbaum, in 2000. Her work has been showcased at numerous venues, including DanceNow/NYC, the Gibney Center, Joyce SoHo, and internationally at the Shanghai Expo.In this episode, I dive into my first-ever book review as we explore the incredible journey of New York's own Kara Tatelbaum, who beautifully intertwines her personal story with universal experiences in a captivating read for dancers of all ages and backgrounds.. Welcome to Episode 4 of Season 3, Putting My Heels Down.Kara TatelbaumPutting My Heels DownBook ReviewSoundtracks:Birds - Tyler Twombly Poison Ivy Yard Work - Uncle Milk6:00 - DarkSunn Support the showLike our offers? S2 Summer SALE! Check out our new Dance Masterclass YouTube review Sign up for Dance Masterclass Choreographing Your Dance Career by Janaea Rose Lyn Try Nord VPN Like what we do? Help us grow by Visiting The Background Dancer YouTube Channel Rate and review here Email me at backgrounddancer.jy@gmail.com Answer a survey Sign up here to receive future updates Leave a thought on Facebook and Instagram Join the Facebook group and introduce yourself as a member of our community

Dancer Daria Breslin shares her path from early training in Maryland to professional life with City Ballet of San Diego. She talks about the lessons learned at Pittsburgh Ballet Theatre and Nashville Ballet, the importance of mentorship and community, and the realities of auditions and feedback. Daria's story offers an honest look at what it takes to stay grounded, grow as an artist, and find your place in the ballet world.  Learn more about Daria on her Instagram: @daria.ballerina18/ Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

SummaryIn this episode of Wrestling with the Willeys, the hosts discuss the recent AEW pay-per-view, All Out, analyzing various matches and the overall storytelling within the promotion. They express disappointment in certain match outcomes, particularly Eddie Kingston's return and the portrayal of the Hurt Syndicate. The conversation also highlights the selling abilities of Mercedes Mone and the challenges faced by smaller wrestlers like Riho. The hosts reflect on the similarities between current wrestling dynamics and past eras, emphasizing the need for better character development and match pacing. In this episode, the hosts delve into various aspects of wrestling, focusing on match dynamics, character development, and the impact of factions in AEW. They analyze specific matches, including a coffin match and a women's championship bout, while discussing the implications of storylines and character arcs. The conversation also touches on the quality of tag team matches and the main event, highlighting the evolution of wrestlers and their performances. Overall, the discussion provides insights into the current state of wrestling and the direction of various storylines.TakeawaysThe length of matches in AEW can be excessive and unnecessary.The storytelling in AEW often mirrors past wrestling eras, leading to predictable outcomes.Eddie Kingston's return was underwhelming and lacked impact.The Hurt Syndicate's portrayal has become stale and lacks the intended intimidation.Mercedes Mone's selling ability is unmatched among female wrestlers.The size difference in matches can lead to disbelief in outcomes.The importance of character development in wrestling storylines cannot be overstated.Fans often compare current wrestling dynamics to past eras, highlighting similarities and differences.The execution of moves and match pacing can significantly affect viewer engagement.Wrestling promotions need to balance storytelling with the physicality of matches. Choreography enhances match quality and wrestler performance.Character development is crucial for engaging storylines.Factions can significantly impact the dynamics of matches.Title controversies often arise from poor storytelling.Women's wrestling is evolving with more significant matches.Tag team matches need to innovate to stay fresh.Main events should showcase the best of wrestling talent.Blood in matches can detract from the overall experience.Wrestlers' transitions and timing are key to match enjoyment.The audience's perception of wrestlers can change based on their story arcs.Sound bites"Filler, just filler.""She'd be a filler.""The wrong person won."Chapters00:00 Introduction and Guest Appearance02:53 Kickoff Show Matches and AEW's Current State05:46 Adam Copeland vs. Christian Cage: A Familiar Finish08:45 The Impact of Beth Phoenix's Arrival11:44 Eddie Kingston's Return and Match Performance14:35 Comparing Tag Teams and Wrestling Dynamics22:12 Match Highlights and Personal Favorites27:09 Character Dynamics and Storytelling in Wrestling34:49 Women's Wrestling: Size and Skill Dynamics41:39 Selling in Wrestling: The Art of Performance42:53 Wrestling Dynamics and Character Development44:40 Title Controversies and Match Outcomes47:13 Factions and Storyline Progressions57:09 Women's Championship Match Analysis01:00:13 Backstage Politics and Future Prospects01:00:49 The Impact of Ego in Wrestling01:05:27 Consequences of Injury and Career Risks01:07:30 Wrestling Contracts and Unionization01:13:54 Match Dynamics and Predictability01:17:51 Main Event Highlights and Future Predictions

Elen Oriental (Elen Chikhladze) is a Georgian choreographer and dance instructor from Tbilisi, specializing in oriental dance since 2002. Beginning her artistic journey at the School for Athletic Fine Arts and later the Department of World National Dances, she graduated with honors from the College of Choreography and the N. Pridonishvili School of Popular Dance in 2001. As President of the International Association of Oriental Dance in Georgia and founder of her own belly dance school, Elen emphasizes the historical depth, elegance, and physical artistry of the dance. Her teaching method combines elements of gymnastics, yoga, and dance to strengthen muscles and joints while fostering psychological readiness, enabling students to master the demanding yet captivating techniques of oriental dance.In this episode you will learn about:- The danger, stigma, and literal risks of working as a belly dancer in Georgia during the chaotic post-Soviet years.- How Elen fought back against prejudice by going on national TV, writing in magazines, and reframing Oriental dance as an art form.- The story behind her iconic Arabic–Spanish fusion pieces, why they made audiences cry, and why she later chose to move beyond them.- The critical difference between “advanced” and truly “professional” dancers.- Why she insists on studying with Egyptian teachers rather than chasing festival choreographies.Show Notes to this episode:Find Elen Chikhladze on Instagram, and FB. Follow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Within the larger pageant, seeing the funding sources of the various factions explains a lot. Is the uniparty staging a fake budget fight? It's all intended to pass their preferred version of the budget. Yes, this means big funding. Posturing and blowing minds. Some people crave being close to fame. Let them think they hurt you. Andrew Breitbart speaks. The absurd inflated concepts of the left. They use false and fake insinuations of racism. And they try to sequester leadership. Anyone can step forward and start a broadcast these days. Each of us brings our own perspective. Authenticity results in power. When the intimidation has melted away, it only leaves courage. Real people are changing history and the big influencers don't matter. Choreography happening for years is now visible. Prosecutions, resignations and a reckoning. Shifting the architecture of accountability. The spectacle of power can be it's undoing. Civility in rhetoric also covers up abuse. We should only be supporting the USA. Pretending Israel is a victim is about Congress getting paid. Even the corrupt people are sometimes useful. There is a lot going on right now, so watch carefully. And let's thank God that we're truly able to see.

Associate Artistic Director and host Wendy Whelan is back for another enlightening New Combinations conversation. This week, she's joined by choreographer Jamar Roberts, whose newest work for the company will premiere during the Fall Fashion Gala on October 8, timing he describes as "full-circle," considering his own forays into fashion design. His collaboration with designer Iris van Herpen has been uniquely fruitful, as well as his selection of music by Arca, with both informing this ballet that speaks to the times—"but dance," he adds, referring to the joy and beauty the work also inspires. (33:43)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Some choreography tips to help us with PDD: Dance, Priscilla Presley interview insights, the most popular Halloween candies, and who is rumored to play Voldemort? See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, choreographer and dancer David Rousseve joins Rick to share his inspiring journey—from Princeton to law school to the dance stage. David opens up about the recent loss of his husband, his bold leap into the arts, and his upcoming performances in Pittsburgh and Los Angeles. Together, they explore themes of love, aging, resilience, and why following your passions is the boldest choice of all. In this episode you'll learn... How grief, resilience, and creativity can coexist and fuel self-expression. Why pursuing bold choices—at any stage of life—leads to true fulfillment. The power of art to create dialogue, connection, and meaning in community. About David David is a choreographer/writer/director/performer, Magna Cum Laude graduate of Princeton University and a Guggenheim Fellow. He is known for his dynamic, socially conscious dance/theater that uniquely blends contemporary dance, theater, and multimedia elements to create immersive and thought-provoking performances. His work draws inspiration from the stories of marginalized communities, as it explores complex themes related to identity, social justice, and human connection. Roussève founded the dance/theater company David Roussève/REALITY in 1988 in New York, and REALITY has since toured throughout the US, Europe, Great Britain and South America, including three commissions and four performance residencies at the Brooklyn Academy of Music's Next Wave Festival and two commissions and three performance residencies at Jacob's Pillow. Roussève's most recent short film screened at 56 festivals in eleven countries and received ten awards, including four for “Best Film”. Other awards include a “Bessie”, Creative Capital Fellowship, three Horton Awards, Herb Alpert Award in the Arts and seven consecutive NEA Fellowships. Roussève is Distinguished Professor of Choreography in the department of World Arts and Cultures/Dance at UCLA where he has also served as Associate Dean, Acting Dean, and Interim Dean of the School of the Arts and Architecture Connect With David Website Instagram Facebook Hey Guys, Check This Out! Are you a guy who keeps struggling to do that thing? You know the thing you keep telling yourself and others you're going to do, but never do? Then it's time to get real and figure out why. Join the 40 Plus: Gay Men Gay Talk, monthly chats. They happen the third Monday of each month at 5:00 pm Pacific - Learn More! Also, join our Facebook Community - 40 Plus: Gay Men, Gay Talk Community Break free of fears. Make bold moves. Live life without apologies

From Acrobatic Arts' earliest days filming in Mandy Yip's living room to producing documentaries for the National Film Board of Canada, Rachel Bower has spent her career behind the lens capturing movement, passion, and human stories.In this episode, Rachel shares her journey from competitive baton twirling to professional videography, and the crucial role she played in building the Acrobatic Arts app.She offers insider tips on filming dance and acro, from planning and camera setups to capturing clean audio, managing media, and creating trust with dancers on set. Whether you're a dance teacher filming audition reels or a creative interested in visual storytelling, Rachel's wisdom and warmth will inspire you. About Rachel Bower Choosing subjects of deep personal interest and connection Rachel Bower has worked on documentaries in the Middle East, Africa, Ukraine, Romania, and North America. She has worked as a director, camera operator, and editor for the Outdoor Life Network, CBC and CTV. Rachel had directed and written 20 episodes for CBC's documentary series Land and Sea. She has produced, directed and written six episodes for the documentary series Our Community on AMI (Accessible Media Inc.). Rachel produced a series DISRUPT that showcases artists with disabilities. The series was recently renewed for a second season.Her independent documentaries have been screened at film festivals around the world. IN THE SAME BOAT and THE SINGING LUMBERJACK won best documentary at the Silver Wave Film Festival. MEET MAURICE CROSBY won best musical score at the British Documentary Film Festival. I AM SKYLAR won 6 short best documentary awards at various film festivals around the world. She created, developed, wrote and directed ACROSS AND DOWN for CBC's Passionate Eye, which won two Leo Awards for best short documentary and best sound. She produced, wrote and directed THE NOODLE GROUP for CBC's short docs, which is streaming on CBC Gem. Rachel was one of 25 crew members from across Canada to receive a scholarship to the Women in the Director's Chair program at the Banff Centre for the Arts. She was one of four directors chosen from Atlantic Canada to participate in the Director/Composer Mentorship Program though the Atlantic Canada Film Festival Association, the Guild of Canadian Film Composers and Symphony Nova Scotia. Rachel won a National Radio-Television News Directors Association (RTNDA) Dave Rogers Award for Best Short Feature and a Maritime Philanthropy Award Outstanding Special Event. Rachel Bower Productions: http://www.rachelbowerproductions.com If you'd like more amazing content more tips and ideas check out our Acrobatic Arts Channel on YouTube. Subscribe Now! Connect with Acrobatic Arts on your favourite social media platform: Instagram: https://www.instagram.com/acrobaticarts/ Facebook: https://www.facebook.com/Acroarts Twitter: https://twitter.com/acrobatic_arts/ Learn more and register for our programs at AcrobaticArts.com

Junk Ensemble present Dances Like a Bomb this Wednesday, the 24 September in Glór. Created by multi-award-winning dance innovators Junk Ensemble, Dances Like A Bomb is a powerful and uplifting duet that explores the complex terrain of ageing and care. Blending visceral imagery, movement, music, and text, the work reclaims the ageing body—exposing its strength, beauty, vulnerability, and humour. To find out more on Morning Focus, Alan Morrissey was joined by Megan Kennedy who is involved with the Concept, Direction & Choreography. Photo (c) Garter Lane

In a special two-part Hear the Dance Episode, host Silas Farley leads us on a wide-ranging discussion of Jerome Robbins' 1971 ballet The Goldberg Variations. In this first part, Farley is joined by former NYCB Dancer Bruce Wells, an original cast member, and current Principal Dancer Emilie Gerrity, one of the ballet's present-day interpreters. Wells shares the challenges Robbins faced after an injury forced him to choreograph from a wheelchair, as well as highlights from the year-long creative process. Gerrity describes the "class" section of this monumental ballet as "simple but beautiful," and recalls learning the work from original dancer Christine Redpath, among other memorable coaches. (1:12:53) Written by Silas Farley Edited by Emilie Silvestri MUSIC:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

In the second part of this deep dive Hear the Dance discussion of Jerome Robbins' The Goldberg Variations, host Silas Farley is joined by former NYCB Dancers and current Repertory Directors Christine Redpath and Jean-Pierre Frohlich. Redpath, an original cast member of Goldberg, digs into Robbins' approach to the creation of this remarkably multi-faceted ballet, while Frohlich remembers the adjustments the choreographer made through the ensuing performances. Both talk about coaching Goldberg on today's company members and the ways in which the work has influenced the dancemakers of today. (42:29) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

Do you ever feel like everyone around you picks up choreography faster than you? It's frustrating, embarrassing, and can leave you spiraling with self-doubt. I know, because I've been there.In today's episode of Dance Colleges and Careers, we're diving into how to pick up choreography faster—and it's not about talent, it's about strategy. From food and hydration, to self-talk, to finding patterns in the music, I'll walk you through the practical tools that help dancers of any age learn choreography more quickly and confidently.You'll learn:Why fueling your body (food + water) is step one to focus.How positive self-talk can change your learning speed.The importance of spotting patterns in movement and music.Why muscle memory only works if you go full out.How to decode your teacher's style into something your brain understands.The trick I use of “teaching myself” to lock it in.If you've ever left a class feeling lost while everyone else gets it, this episode will help you stop beating yourself up and start learning choreography smarter.

Hear the Dance host Silas Farley returns for a deep-dive discussion with former Principal Dancer Merrill Ashley and Repertory Director Glenn Keenan on George Balanchine's Ballade, a ballet returning to the NYCB stage after a hiatus of more than 20 years. Keenan shares that when she was a student at the School of American Ballet, Ashley's "humongous care and attention" as a teacher helped shape her approach to her current role, and that watching Ashley in the studio today has been both helpful and inspiring. Ashley recalls the surprise of learning that Balanchine had chosen to make this first work post-heart surgery on her; as he told her then, Ballade is "like skating," though she describes it as one of the most challenging ballets she ever performed. (1:02:43) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Ballade for piano and orchestra, Op. 19 (1881) by Gabriel Fauré All music performed by the New York City Ballet Orchestra Reading List:  Dancing For Balanchine by Merrill Ashley Mr B: George Balanchine's 20th Century by Jennifer Homans Gabriel Fauré: A Musical Life by Jean-Michel Nectoux, Translated by Roger Nichols Dancing Across the Atlantic: USA – Denmark, 1900-2014 by Erik Aschengreen and Grete Hvam

David Roussève is a Guggenheim Fellow, magna cum laude Princeton graduate, and Distinguished Professor of Choreography at UCLA, whose work has travelled across the US, Europe, South America, and Great Britain, including major commissions by BAM's Next Wave Festival and Jacob's Pillow. He's received top honors such as the "Bessie" Award, Creative Capital and Herb Alpert Awards, three Horton Awards, and many NEA Fellowships. In this episode, David Roussève joins us to unveil his first full-length solo piece in over 20 years—Becoming Daddy AF Becoming Daddy AF  intricately weaves personal and cultural narratives—revisiting 600 years of ancestry, a decades-long journey with HIV, and the profound loss of a partner—while interrogating identity, resilience, and the layers of selfhood as a queer African American artist. Roussève's perspective on legacy, mortality, and reimagining virtuosity at 64. Listen now to hear this exciting conversation on David's work as he creates dialogue around the nature of love, and the meaning of existence. Becoming Daddy AF  will be running September 26-27 at Kelly Strayhorn Theater in Pittsburgh and October 17-18 at The Nimoy, UCLA's Center for the Art of Performance in Los Angeles.Visit David's Website HERE to learn more!

On this week's episode of I AM HOME, our hosts Tyler and Hilary are joined by Memphis Cantu, a dynamic member of the University of North Texas Pom & Dance team and a Visual Arts student with a flair for choreography. Memphis shares insights into the physical and creative demands of collegiate dance, the balance between art and athletics, and the personal inspirations that fuel his performance and style (including his cat Malachi!) The episode explores Memphis's upbringing, creative journey, and approach to home design, bringing humor, energy, and heart to the conversation. This episode highlights individuality, artistic passion, and the power of creating a home that reflects who you are. Resources: nfm.com/podcast

A brand-new season of City Ballet The Podcast launches today with a fresh New Combinations conversation between Associate Artistic Director Wendy Whelan and Resident Choreographer Justin Peck. Commissioned by Miami City Ballet a decade ago, Peck is in the midst of rehearsing his Heatscape for its NYCB stage debut, with the help of original dancers and coaches Michael Sean Breeden, Patricia Delgado, and Jeannette Delgado. He shares what drew him to Bohuslav Martinů's Piano Concerto No. 1, a piece that both references earlier works and prefigures musical changes to come—an interesting parallel to Peck's Miami-inspired choreography and collaboration with artist Shepard Fairey on the ballet's scintillating backdrop. (37:09) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Choreography copyright exists in a fascinating legal gray area where cultural ownership and legal protection often clash. When Alfonso Ribeiro attempted to claim rights to his iconic "Carlton Dance" from Fresh Prince of Bel-Air after Fortnite used it as a purchasable emote, his case was dismissed because the Copyright Office deemed the routine "too simple" - just three basic dance steps without sufficient originality. This ruling sparked crucial conversations about what makes dance protectable.The landscape shifted dramatically when choreographer Kyle Hanagami sued Epic Games over a four-count hook from his registered routine appearing in Fortnite. When the Ninth Circuit reversed an initial dismissal in 2023, they delivered a game-changing perspective: "Reducing choreography to isolated poses is like reducing music to single notes." This recognition that even short sequences could embody original expression opened new possibilities for dancers seeking protection.We explore how this legal evolution continues with Kelly Heyer's ongoing battle against Roblox for monetizing her viral "Apple Dance" without permission. With platforms earning substantial revenue from choreographic content, questions of fair compensation and proper licensing have never been more urgent. Meanwhile, international cases reveal how different jurisdictions approach dance protection - from China's rejection of single-pose copyright to Brazil's emphasis on proving tangible harm.Through these stories, we distill five crucial principles governing choreography copyright: basic movements remain freely available to all; originality exists in arrangement rather than individual steps; even short sequences can qualify for protection if distinctive enough; evidence of harm matters as much as creativity; and courts continually seek balance between creator rights and cultural freedom. As dance moves from stages to avatars in the metaverse, these principles will shape how we value and protect movement in the digital age.Ready to dive deeper into intellectual property's fascinating frontiers? Subscribe to Intangiblia and join our exploration of the ideas that shape our creative landscape.Send us a textSupport the show

✦ In the immortal words of The Notorious B.I.G., get ready to sit and conversate for a few, with Atlanta's own Killer Mike. Legally known as Michael Render, the rapper, entrepreneur, and activist has launched a new podcast called "Conversate with Killer Mike." The show is recorded from his Atlanta studio, where he and his friends dive into topics both local and global. City Lights Collective producer Josh Thane recently sat down with the Atlanta icon to discuss the new project. ✦ Going to Brunch in Atlanta can seem like a sport. Even if you know some tricks to navigate the notoriously long lines, the cost can sometimes price people out of the game. In our mini-series, "Brunchin' on a Budget," we look at a few special Atlanta Brunch spots that can help you keep your wallet intact. This week, WABE arts reporter Summer Evans takes us to Ria's Bluebird. ✦ Today, we take a moment to hear from our artistic community In Their Own Words. This is where they tell us who they are, what they do, what they love, and a few things you might not see coming. What things? Who knows, there's only one way to find out. Today's spotlight shines on the band Champagne Lane, and we learn about their new album, "The World in Your Eyes." ✦ The art of Dance is leaping into the future at Spelman College. The new short documentary, "Beyond the Movement," explores new technologies and their applications in Dance through the testimony of students and faculty, as well as through their movement. The film, produced by WABE and made possible through a grant from HBCU Week Now, screens along with a live panel discussion on September 8th at Spelman's new Mary Schmidt Campbell Center for Innovation and the Arts. City Lights Collective Co-host Kim Drobes recently spoke with filmmaker Booker T. Mattison and Spelman's department chair of Dance and Choreography, Professor T. Lang, to learn more. ✦ What makes up a Good Night? I'm sure there are as many answers as there are people. But on the first Friday of every month, at Buteco in Grant Park, comedian David Purdue and Spoken Word Artist Adan Bean have a Free show that has a little bit of everything. You want to laugh, dance, hear an amazing vocalist, have some great food, have a strong drink, maybe all of that, or maybe just some of it. It's all available; at night, you can self-curate, appropriately titled: Good Night. City Lights Collective Co-host Jon Goode sat down with Adan Bean and David Purdue to discuss the night.See omnystudio.com/listener for privacy information.

What does it take to transform a lifetime of dance into powerful storytelling for film, opera, and television? In this episode of Best in Fest, host Les LaPage sits down with Jermaine McGhee—scholar, choreographer, educator, and former principal dancer for the LA and San Francisco Opera, including the Pulitzer Prize-winning Omar.Jermaine shares his journey from performing in blockbuster films like Dance Flick to choreographing works that merge ballet, jazz, and American dance culture. He opens up about:The pivotal moment he shifted from dancer to choreographer.How communication shapes the relationship between directors, performers, and dancers.Why iconic sequences like White Nights set the standard for dance on film.Advice for young artists on finding their unique voice instead of copying others.The future of dance in film and streaming, and how projects like Tule are sparking a new renaissance.Whether you're a filmmaker, choreographer, or dance enthusiast, Jermaine's insights reveal why movement is more than performance—it's storytelling with purpose and impact.

Sharpen your blade! This week on Enjoy Stuff we duel through the best sword fights in movie history, from Errol Flynn and Basil Rathbone to Luke Skywalker and The Bride. En garde and Enjoy Stuff! Whether you're swinging a wrapping paper tube, a sharp saber, or just a stick, we all love the romanticism of sword fighting. Let's look at the best ones in the movies.  News Discover magical new treats: Harry Potter Krispy Kremes    The new A Book of Dragons by Mike Witwer is now available   Teenage Mutant Ninja Turtles and Hello Kitty at McDonald's? Sounds like a match made in heaven   RIP Terrance Stamp   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Jay celebrates Texas Massacre Day (Aug 18) with a special screening of the 1974 horror classic The Texas Chain Saw Massacre. Shua dives into the fascinating world of Disney fandom with AJ Wolf's book Disney Adults     Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay takes a look at Coherence (2014), a twisty tale that truly defines the meaning of “coherence,” both in its story and its theme. Read Jay's full breakdown on RetroZap.com. Also check out his latest work on MCULocationScout.com. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU. Enjoy Sword Fighting!  Sharpen your blade and tighten your grip! This week Jay and Shua celebrate the art of the sword fight, both in history and on the big screen. From legendary real-world figures like Miyamoto Musashi, Joan of Arc, and Julie d'Aubigny to Hollywood's masters of swashbuckling like Errol Flynn and Basil Rathbone, they slice into the roots of swordsmanship and how it translates into movie magic.   They look at the evolution of sword fights on screen:   Silent Era swashbucklers like The Mark of Zorro (1920) with Douglas Fairbanks   Golden Age Hollywood spectacle in The Adventures of Robin Hood   Post-War Realism in Japanese samurai cinema (Seven Samurai)   Modern Era duels ranging from Star Wars lightsabers to Game of Thrones brutality   Plus, they salute the fight choreographers who make it all possible, Nick Gillard, Bob Anderson, Donnie Yen and break down famous sword fighting techniques like the parry and riposte, feints, disarms, and Iaido precision strikes.   Finally, they take a tour through some of cinema's greatest sword battles:   The Princess Bride's witty duel   Rob Roy's brutal finale   Pirates of the Caribbean's rolling water wheel fight   Kill Bill's unforgettable Crazy 88 showdown   The operatic lightsaber clashes of Star Wars   And many more from Crouching Tiger, Hidden Dragon to The Lord of the Rings What makes a sword fight truly great? Choreography? Stakes? Cinematography? First person that emails me with the subject line, “En Garde!” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

This week on On A Water Break, it's all about nerves, leadership, representation, and celebrating unforgettable wins in the marching arts. Host Josh Smith is joined by new panelists Dalton Stout, Clara Bagwell, and Eric Levy — all making their podcast debut!The team kicks things off with their 32 Count Life Stories and a fun icebreaker: “What part of the marching band are you?” Clara relives her gold-medal summer with the Boston Crusaders, Dalton shares his journey from Nebraska to Colorado and launching DVS Choreo, and Eric spotlights his 20+ years of teaching and his work with Drumline Network.In the News Block, we cover: The retirement of Iowa's legendary announcer Lou Crist after 44 years Miami budget cuts cutting $12.8M in arts funding A stolen band trailer in Colorado and tips for protecting your equipment PASIC 2025 announcements featuring RhythmX and George MasonDalton delivers the 60-Second Tech Block on choreography hacks, and in Water We Doing?! the crew takes on audition nerves, teaching leadership in a post-COVID generation, body shaming in DCI, and the importance of ensemble unity. The episode wraps with Gush & Go, highlighting Boston's first DCI championship, new percussion challenges, and student success stories.Panelists & Socials: Dalton Stout – IG/TikTok: @saltydalti | daltonvstout.com Clara Bagwell – IG: @_clara.01100010 Eric Levy – IG: @worldoferic | Drumline Network & Percussion League Josh Smith – TikTok: @mr.smiths.bandSponsors: Peak Group Travel – @peak.group.travel | peakgrouptravel.com Guard Closet – @guardcloset | guardcloset.com✨ Don't forget to subscribe, leave us a review, and share this podcast with a friend.

I spoke with HoneyWeeWee, Sandi_, Humi, Quinnster, & Kiashi_GL about Silhouette of Memories as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=QsgZm4u8UsU This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Millicent Johnnie is an award winning dancer, choreographer, director, teacher and filmmaker.  She's currently in post-production on her most recent film Ma Negresse. For more info about us visit www.mondobizarro.org.  Click here to donate to Mondo Bizarro. Our theme music is by Rotary Downs.   Here are some related links you may want to check out: More Millicent on AI in the Arts Urban Bush Women

“We have 16 different Grizabellas for this production.” In this episode of The Wrong Cat Died podcast, Mike Abrams welcomes Naomi Naughton, a former swing in the original Broadway production of CATS (1992) who is now directing a summer production at the Shawnee Playhouse. Naomi shares her journey from first seeing CATS as a teenager, through auditioning and performing on Broadway, to her current role as a director. She discusses the challenges and joys of directing, including working with 16 different performers as Grizabella and staying true to the show's choreography and storytelling. Naomi also reflects on deeper themes of the musical, such as acceptance, forgiveness, and the meaning of the Heaviside Layer. 00:46 Naomi's Broadway Journey 04:45 Landing the Role and Broadway Experience 07:56 Reflections on the Show's Choreography and Story 22:24 Directing CATS: New Insights and Challenges 32:58 Teaching a Specific Moment in Time 33:29 Adapting Choreography for Diverse Cast 34:45 Exploring Grizabella's Backstory Check out Shawnee Playhouse on Instagram: @theshawneeplayhouse Check out Shawnee Playhouse's website: www.shawneeplayhouse.org Produced by: ⁠⁠⁠⁠Alan Seales⁠⁠⁠⁠ & ⁠⁠⁠⁠Broadway Podcast Network⁠⁠⁠⁠ Social Media: @⁠⁠⁠⁠TheWrongCatDied Learn more about your ad choices. Visit megaphone.fm/adchoices

What You'll Learn in This Episode:Why lack of structure is the silent killer of meetingsThe most common leadership mistake: talking too muchThe difference between a meeting and a training (they're not the same!)How 5–7 minute daily huddles can change your team's rhythmMorale boosters like mission anchoring and review sharingDr. Lloyd's “dance step” framework for smoother communicationHow one doc went from team frustration to 125 extra visits a weekTake Action:✅ Subscribe to The Deep Dive for more strategies to run a successful practice✅ Book your free call with Dr. George Birnbach: https://myfivestar.com/work-with-us/✅ Join us in Chicago for Streamline, Scale, Succeed – our 2-day live event, July 26–27, 2025: https://myfivestar.com/streamline-scale-succeed/

In the shadowlands of human intimacy, we often mistake connection for communion, trauma for truth, and reactivity for resonance. Beneath the curated choreography of modern relationships—romantic, familial, platonic—lurks a disowned force field of unmetabolized emotion, ancestral patterning, and inner exiles clamoring for resolution.

ATEEZ unveils 'In Your Fantasy' choreography one day before comeback.

US REP JAMIE RASKIN & THE ATTACK ON US DEMOCRACY & ECOLOGY We begin GREEP Zoom #229 with citations for  “The Choreography of War” by our Poet Laureate MIMI GERMAN, whose latest poem is compacted into a brilliant three lines. Green Party Presidential nominee HOWIE HAWKINS discusses the nitty-gritties of Ranked Choice Voting & instant runoff. The great MARIANNE WILLIAMSON gives us a brief hello & a promise to come visit us again soon. Beyond Nuclear's KEVIN KAMPS reminds us about how powerful is the rise of renewables worldwide along with the demise of nuke power. Co-host MIKE HERSH gives us a stellar introduction for US REP JAMIE RASKIN. Rep. Raskin provides a brief excursion into the dire damage being done to our electoral system through the widespread assault on the Voting Rights Act, emphasizing the powerful impact of the No Kings Day marches.. The great RAY MCCLENDON of the Georgia-based Communities United for Justice connects with Rep. Raskin, sharing concerns about the mass disenfranchisement being imposed on the national electorate. In response Rep. Raskin warns of the anti-democracy provisions of the SAVE Act, aiming to keep millions of women from voting. Progressive Democrats of America's great Executive Director ALAN MINSKY emphasizes that Progressive activists are the true patriots. Rep. Raskin argues that the Founders' legacies are being assaulted because of their timeless commitment to democracy. A request for help comes from MAYOR HEIDE LAMPERT of Waldport, Oregon, who proclaims herself to be a Warrior for Democracy in the face of a fascist assault. Howie Hawkins & Kevin Kamps chime in with demands for real democracy & an end to subsidies for nuke power. Agricultural activist legend RUDY ARREDONDO warns of the dismemberment of the US Department of Agriculture & the breaking federal commitments to American farming. Rep. Raskin supports Rudy by underscoring the damage being done by ICE raids to the agricultural workers and the farms that depend on them. Green activist HEIDI VERTHALLER plugs for renewables and asks Jamie if he will run for president, to which Rep. Raskin answers in the affirmative. We hear from DONALD SMITH about a book called UNCHECKED that blames Nancy Pelosi for the failure of the impeachments of Trump. LA's JOHN SEELEY supports rank choice voting, but warns against it in the final NYC election. Frequent commentator NICOLE UNG warns that Amazon, Microsoft, Facebook et. al. are unifying for more nuke power. From MYLA RESON we hear of New York Lieutenant Governor Antonio DelGado, who opposes nuke power. Minnesotan HEDY TRIPP calls in from Malaysia to wonder about the threat to have NY Mayoral candidate Mamdani deported. Engineer STEVE CARUSO warns that the threat to de-naturalize would-be Mayor  Mamdani is being used nationwide. Ohio eco-activist VINA COLLEY illuminates the push for Small Modular Reactors' horrendous waste & Trump's sinister mis-use of radiation victims while slashing their compensation. Phone activist NINA SINGER urges everyone to call their Senators about the Big Bill and the destruction of the Everglades. No Nukes legend KARL GROSSMAN talks about the importance of meeting with a NY Governor candidate who's against nuke power. An emphasis for “boots on the ground comes from HOWIE DUIT. KPFK Board Chair TATANKA BRICCA emphasizes the long history of farmworker activism in CA... and its forever impact.  Frequent GREEPster DONALD SMITH introduces us to the work on nuke waste at Hanford coming from Jerry Politt, who we'll track down…. But in honor of Independence weekend, we will not meet on July 7….so please celebrate & work for at least two more centuries of American democracy.     

#gnxtour #sza #kendricklamarJoin hosts Octavia March, Kia KC, and Relle Roulette in this episode of Music IV Breakfast as they dive into the unforgettable finale of Kendrick Lamar and SZA's GNX tour at Hershey Park and Northwestern Stadium. From sold-out performances to emotional moments, this recap highlights everything fans loved about the tour, including shoutouts to key figures like choreographer Charm LaDonna and celebrity attendees such as Chris Bosh and Ari Lennox. Get the inside scoop on the global GNX tour and what to expect from these music legends as they continue to dominate the hip-hop and R&B scene. Perfect for new YouTubers and hip-hop culture enthusiasts looking for fresh insights and exciting discussions on music, tours, and entertainment news. Don't miss out on exclusive behind-the-scenes content and upcoming international dates!00:00 Introduction and Tour Highlights00:44 Heartfelt Messages and Recognitions01:17 Music for Breakfast Hosts Introduction02:11 Tour Updates and Special Mentions03:33 Choreography and Performances06:06 Tour Documentary Announcement07:29 Kendrick Lamar's Birthday Celebration08:44 Fan Reactions and Favorite Moments16:02 Upcoming International Tour Dates17:43 Conclusion and Future Updates#kendricklamar #sza #gnxtour music #hiphop #youtube #fyp #trendingCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS

In this episode of the K-Pop Cast, the hosts review Enhypen's "Bad Desire". They discuss the evolving trends in K-Pop, the impact of military enlistment on artists, and the significance of music videos in conveying concepts. The conversation also touches on the nostalgia of early 2000s sounds and the challenges of creating memorable choreography in a fast-paced industry. Join the Kpopcast Slack: https://join.slack.com/t/kpopcast/shared_invite/zt-93kzxcv6-YNej2QkyY6vaPnhEQJxk0AChip in for editing: https://ko-fi.com/thekpopcast [REVIEW] ENHYPEN Explores Their Darkest Fantasy Yet with ‘DESIRE: UNLEASH' Containing Moments of Excellence | Genius https://genius.com/discussions/499192-Review-enhypen-explores-their-darkest-fantasy-yet-with-desire-unleash-containing-moments-of-excellence HIT REPLAYS:MEOVV(미야오) - ‘HANDS UP' M/V https://youtu.be/sL0pCS6K9bc?si=WkbTrnSvGsRYJDaY USPEER (유스피어) 'ZOOM' MV https://youtu.be/7WSmAo7kSoo?si=xlQp-pHbq4801WZO JAEHYUN 재현 'Can't Get You' (Official Audio) https://youtu.be/yzAA-8CrWCY?si=Pbt6r6pTW_CorCf2Chapters00:00 Introduction02:14 Hit Replays: Meovv Jaehyun Uspeer16:11 'Bad Desire' Reaction21:14 Visuals and Themes in Music Videos29:03 Choreography and Performance Analysis31:23 Nostalgia and Global Reach in K-Pop39:16 Standout Tracks and Production Insights41:05 Final Thoughts and Ratings Hosted on Acast. See acast.com/privacy for more information.

As we shift gears to prepare for the upcoming season, Artistic Director Jonathan Stafford and Associate Artistic Director Wendy Whelan take a moment to reflect on our just-concluded 76th year, from two strikingly unique and unforgettable world premieres—from Resident Choreographer Justin Peck and Artist in Residence Alexei Ratmansky—to the return of cherished repertory works, the invaluable presence of coaches Suzanne Farrell and Merrill Ashley in the rehearsal studios, and much, much more. They celebrate the freedom and boldness the company displayed in notable debuts, well-earned promotions, and bittersweet retirements, and look forward to the new works and multi-faceted performances on the horizon. (39:52) Edited by Emilie Silvestri Music: Capriccio for Piano and Orchestra (1929) by by Igor Stravinsky Symphony No. 3 in D major, Op. 29 (1875) by Peter Ilyitch Tschaikovsky

Join "Dance Talk” ® with Joanne Carey and special guest Felice LesserIn this episode of "Dance Talk” ® with Joanne Carey speaks with choreographer Felice Lesser about her extensive career in dance, the founding of her dance company, and her upcoming performance 'I Am a Dancer 2020.' They discuss Felice's journey into dance, her experiences with various dance styles, and the impact of COVID-19 on freelance dancers. Felice shares insights into her creative process, the integration of multimedia in her work, and the importance of supporting smaller dance companies. The conversation concludes with reflections on the past 50 years in dance and an invitation to the audience to attend her performance. Felice Lesser's multi-media works have been seen inthe U.S. and abroad, at venues including Lincoln Center Out-ofDoors, The Duke on 42nd Street, the Edinburgh Fringe Festival,Baryshnikov Arts Center, Dixon Place, Carnegie Recital Hall, JoyceSoHo, Symphony Space, Sarasota Ballet, and the 1991 TokyoInternational Choreography Competition. Her dance & video work,"AI" (from LIGHTNING) was chosen for the 2019 Carson City (NV)International Film Weekend. Lesser won the Lawrence S. Epstein Prize for Choreography, Lesser's company, Felice Lesser Dance Theater, received a "Creative Engagement" Grant fromLMCC . Her company received 27 grants from The Harkness Foundation for Dance, a grant from the Puffin Foundation, and ongoing inkind support from Freed of London.I AM A DANCER won two Accolade Awards A member of the Dramatist's Guild, Lesser was one of three playwrights chosen for New Perspectives Theatre's 2013 “Women's Work” Project, where her play about global warming,was premiered. She produced, wrote, directed, choreographed, filmed, and edited fivetelevision programs on dance, all broadcast on Manhattan Neighborhood Network. Her articleon using technology in dance education (“Dancing on the Keyboard”) was published inDance/USA's Journal, and she was designated one of Credo Interactive's “Master Animators”for her work with LifeForms dance animation software.Lesser is currently an Adjunct Professor of Dance at UCONN/Stamford, an Artist-in-Residencefor the state of Nevada (and formerly, Idaho), was a Mentor for the NYFA (New York Foundationfor the Arts) Immigrant Artist Program (2017-18), and performed in Philippe Parreno's “TheCrowd” shown at the NY Armory in 2015. Felice served as an adjudicator for the Ohio DanceFestival, the National Federation of Music Clubs' Ballet Competition, and the NYC Parks Foundation's Green/Arts. She holds a B.A. from Barnard College in Music, cum laude, and anM.A. from Columbia University in Dance & Dance Education.⁠More about Felice Lesser Dance Companyhttps://www.fldt.org/Tickets for the June 26, 27 & 28 at New York Live Artshttps://newyorklivearts.my.salesforce-sites.com/ticket/#/events/a0SVt0000048epBMAQ“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

In this episode Albert Evans and I explore the origins of Broadway's “Nostalgia Craze of the 1970s” — where it came from, and what artistic, social and cultural forces came together to spark this unlikely phenomenon.  We trace its origins in the counterculture youth rebellion of the 1960s, the rediscovery of films from the 1930s and 40s on television, and the popularization of gay camp culture via the off-off Broadway mega hit DAMES AT SEA.  All of this would lead to the triumphant 1971 Broadway revival of NO, NO, NANETTE — the Vincent Youmans/Irving Ceasar/Otto Harbach musical comedy that has introduced the songs “Tea For Two” and “I Want To Be Happy” way back in the Roaring 20s. With a heavily retooled book, sparkling new orchestrations and arrangements, and a snazzy, art deco-inspired set and costume design, this reincarnation of No, No, Nanette was billed as “the new 1925 musical”.  And it became a smash hit, running 861 performances, and winning 4 Tony Awards for Choreography, Costume Design, and for two of its stars, Helen Gallagher, and another vintage movie star, comedian Patsy Kelly (there was no "Best Revival category then). And, after years of it being almost entirely absent from Broadway — Nanette brought tap dancing back into fashion in a major way. Most significantly, Nanette fanned a mania for everything and anything that recalled the music, style, and glamour of the 20s, 30s and 40s. The press dubbed this mania “The Nostalgia Craze” as it quickly spread into every aspect of American life. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are curious…what type of work do you do and is it something that fulfills you? Shaté takes pride in helping others not only live in their purpose but truly love what it is that they do. However, to get to where she is today there were quite a few pivots and transitions along the way. Ultimately, she fell in love with career strategy and development and has been paying it forward ever since. Tune in to episode 224 as Shaté recalls the various experiences in each place she has lived, explains the journey to self-publishing a book and much more! For more information:Website: lightmycareermatch.com ; shatehayes.com LinkedIn: Shaté HayesInstagram: @iamshateSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join us around the Rosin Box for our annual listener-contributed "Ask the Dancers" episode. Our intrepid hosts Claire and Aarón and special guest Corps de Ballet Member Lars Nelson answer your questions about rehearsal wear, dancing with Artist in Residence Alexei Ratmansky, remembering steps, and more—including, "Explain dogs at New York City Ballet." (39:06) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Hosts Claire and Aarón are back at the Rosin Box, joined this week by Principal Dancers Tiler Peck and Roman Mejia to talk about the relationship between choreographer and dancer in the creation of new works—especially in the case of Tiler's Concerto for Two Pianos from 2024, which featured Roman. As they share, the process is like a conversation between artists on both sides of the studio and relies heavily on trust. Tiler highlights the necessary balance between celebrating individual dancers' strengths with making a timeless work, while Roman describes feeling deeply invested in the success of her ballet's premiere. (34:11)  Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

In this episode of the, the hosts review the highly anticipated comeback of Red Velvet's Irene and Seulgi with their new song 'Tilt' diving into the significance of sensuality and in kpop music videos, and the challenges faced by veteran groups in the current industry landscape. They also discuss new music from Kim Jaejoong, SHINee, and independent artist Hersh feat JUSTHIS.Join the Kpopcast Slack: https://join.slack.com/t/kpopcast/shared_invite/zt-93kzxcv6-YNej2QkyY6vaPnhEQJxk0AChip in for editing: https://ko-fi.com/thekpopcast HIT REPLAYS:김재중(KIM JAE JOONG) 'ROCK STAR' MV https://youtu.be/UrZXzp2t91M?si=Heg2CJV62lvnU2nE Hersh - Falling Into You (Feat. JUSTHIS) https://youtu.be/hGgCiS2T72o?si=Bb3AI7IfrWNNgNId SHINee 샤이니 'Poet | Artist' MV https://youtu.be/QF6P6BSPDRw?si=wA-TU0IFqdv-aZw1 Chapters00:00 Introduction to K-Pop Cast and Hit Replays03:46 Spotlight on Kim Jaejoong: A K-Pop Legend09:41 Exploring Independent Artists: Hirsch and Justice14:34 SHINee's Comeback: Remembering Jonghyun19:30 Red Velvet's Irene & Seulgi: The Long-Awaited Return21:25 Introduction and Initial Reactions22:22 Expectations vs. Reality in Title Tracks23:13 Desire for Sensual Storytelling in K-Pop24:24 Comparing Sensuality in K-Pop History25:16 The Role of Government and Cultural Norms26:16 The Evolution of Female Sensuality in K-Pop27:11 Choreography and Performance Quality28:12 The Impact of NCT and ESPA on SM's Focus28:59 Comparing Previous Works and Current Trends29:53 Choreography and Audience Connection31:02 The Essence of K-Pop Choreography31:56 The Storytelling Aspect in Music Videos33:00 The Future of Red Velvet and SM's Direction33:49 Final Thoughts and Wrap-Up Hosted on Acast. See acast.com/privacy for more information.

In this College Deep Dive, MTCA Director Charlie Murphy sits down with Bradley Willcuts, Associate Professor of Musical Theatre and Choreography at Michigan State University, for a conversation about:  Historic campus of Michigan State  How an actor first program is looking for you to adjust within the audition  The Power of entrepreneurial spirit in theatre Leaning on your community to collaborate and empower  If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.nyc], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

Associate Artistic Director Wendy Whelan is back for another exciting New Combinations conversation. This week, she's joined by choreographer Kyle Abraham, whose When We Fell makes its onstage debut this spring after premiering as a dance film in 2021. Abraham shares how this fourth work for NYCB represents both the culmination of relationships he's built with company artists over the years, as well as a departure, in that the score is four minimal, "poetic" piano pieces that encourage a "focused eye." As he shares, part of what makes working with NYCB so special is the opportunity to take risks. (33:37) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co