Podcast appearances and mentions of doug elkins

Welcome back for another episode of Where Legends Are Made! This week, Doug Elkins drops by to talk about DIRTcar Nationals for the Big Blocks as well as his reactions to the streaming product Land of Legends puts out as well as his reaction to the DIRTVision announcement. Have a guest suggestion- send us a private message.

Rabbit care, best diet, recognizing digestive issues , stasis , home remidies , etc

As an artist, technologist, and former dancer with Doug Elkins and Friends, Lisa Niedermeyer reflects on her time with the company and her embodied memories of performing in Fräulein Maria, the uproarious and joyful dance based on The Sound of Music. We also hear from Elkins himself, recorded during two different Pillow engagements.https://danceinteractive.jacobspillow.org/doug-elkins-and-friends/fraulein-maria/    

Lou Fancher is a freelance choreographer, ballet master and teacher working in the Bay area since 2005. Most recently the Rehearsal Director for Dancing People Company in Ashland, Oregon, Lou for nearly three decades has been the Ballet Master/Rehearsal Director for contemporary dance companies and independent choreographers in the U.S. and Canada. Among the companies are Company C Contemporary Ballet, James Sewell Ballet, and the Alberta Ballet. She has staged and/or rehearsed the works of dozens of choreographers including Twyla Tharp, Anthony Tudor, Paul Taylor, Lynne Taylor Corbett, Crystal Pite, Mark Godden, George Balanchine, Peter Pucci, David Parsons, John Butler, Igal Perry, Daniel Ezralow, Ralph Lemon, Doug Elkins, Viola Farber, Merce Cunningham, David Dorfman, Donna Uchizono, Dan Wagoner, Bill T. Jones, Wil Swanson, Margie Jenkins, Brian MacDonald, Jose Limon and others.Lou holds a BFA in dance from the University of Cincinnati and as a choreographer has created ballets for James Sewell Ballet, Alberta Ballet Apprentice Ensemble, Theatre Ballet of Spokane, Ballet Pacifica, and New York Theatre Ballet. During the 18 years Lou was a resident of Minneapolis, her work was presented by the Minnesota Dance Alliance, Ballet Arts Minnesota, and others. She  twice participated in The Carlisle Project, a no-longer operating national program designed to assist the artistic growth of choreographers. A published author and journalist, Lou writes locally for East Bay Times, Oakland Tribune, San Jose Mercury News, East Bay Express, San Francisco Classical Voice, 48 Hills, wired.com, and other Bay Area publications. She is the author of two original children's books and has designed and illustrated over 60 picture books. You may visit her website online at www.johnsonandfancher.com

01-13-13 - Doug Elkins - Brokeness

01-13-13 - Doug Elkins - Setting Up Camp In Sodom

Jennifer Nugent danced with the Bill T. Jones/Arnie Zane Company from 2009-2014 and David Dorfman Dance from 1999-2007, receiving a New York Dance and Performance Award (Bessie) for her work in the company. She has also performed with Martha Clarke, Lisa Race, Doug Elkins, Bill Young, Colleen Thomas, Kate Weare, Barbara Sloan, and Dale Andree. Jennifer’s movement and teaching are inspired by all her teachers and mentors, most profoundly by Daniel Lepkoff, Wendall Beavers, Gerri Houlihan, David Dorfman, Bill T. Jones, Janet Wong, Wendy Woodson, and Patty Townsend. She has been working collaboratively with Paul Matteson for the past nineteen years Their recent duet collaboration another piece apart premiered in 2018 at New York Live Arts (NYC) and was presented Emory University (GA), The American Dance Festival (NC), and The Boston Dance Complex (MA). Jennifer received a Master of Fine Arts degree in 2019 from the University of the Arts in Philadelphia, PA. She is currently a teaching artist at Sarah Lawrence College, Gibney Dance NYC, and Movement Research NYC. www.batesdancefestival.org

Artistic Director of Salt Lake City’s Ririe-Woodbury Dance Company since 2013, Daniel Charon has been active as a choreographer, teacher, and performer for over twenty-five years. While based in New York City, Daniel maintained a project-based company and danced with Doug Varone and Dancers and the Limón Dance Company. Additionally, he performed with Doug Elkins and Friends, the Metropolitan Opera, the Aquila Theater Company, and the Mary Anthony Dance Theater among others. He is a BFA graduate of the North Carolina School of the Arts and an MFA graduate of the California Institute of the Arts in Choreography and Integrated Media. As Ririe-Woodbury’s Artistic Director, Charon has created multiple original works for the stage, gallery installations, and has designed video for his and other choreographers’ works. Daniel has choreographed Moby Dick, The Pearl Fishers, Aida, and La Traviata at the Utah Opera. He has presented multiple full evening concerts in New York City and has been commissioned to choreograph new works for many companies, universities, and festivals around the country. A nationally known and respected educator, Charon regularly teaches master classes and workshops nationally and internationally and has taught at the Metropolitan Opera, the Bates Dance Festival, Salt Dance Fest, North Carolina School of the Arts Summer Comprehensive, Varone Summer Dance Workshops, and Limón Summer Workshops. He has been a guest artist at numerous universities and was an adjunct faculty member at Hunter College (NYC) and the California Institute of the Arts. Daniel has staged the works of José Limón, Jirí Kylián, and Doug Varone at schools and companies around the world.

Director Randy James and Associate Director / Dancer Alex Biegelson rest their tired, presumably hairy legs to chat about their upcoming Dance Place show, logistics of repertory work and performing for choreographers like Stephen Petronio and Doug Elkins. Buy Tickets to see 10 Hairy Legs LIVE in DC: http://bit.ly/10HLTIX

An interview with Donnell Oakley. Donnell is an independent choreographer, performer, and teacher based in Brooklyn, New York since 2001.   As a current dancer with Doug Elkins and member of the collaborative trio LMNO3, she is continually interested in the inherently collaborative nature of dance

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend's, and any second now new NBiP host and psychoanalyst Anne Wennerstrand's wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip's book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips' most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud's dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips' clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one's story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who are savvy about all things psychoanalytic, be they analysts, analysands, or fellow travelers, the existence, presence, work, writing, and imprimatur of Adam Phillips is given long, as opposed to short, shrift. It is safe to say that his voice is singular in its mellifluousness and its range. I first encountered his writing at one of my dearest friend’s, and any second now new NBiP host and psychoanalyst Anne Wennerstrand’s wedding. Her husband, (doyen of the world of choreography), Doug Elkins, insisted I read a snippet from Phillip’s book, On Monogamy, before they slipped on their rings. This request placed the thinking of Phillips squarely into my casually bridesmaided lap. That Elkins, a dancer with what we then called “downtown” street credibility knew from Adam Phillips perhaps 15 years ago says something; and it says something about Phillips and his reach. In Phillips’ most recent book, Becoming Freud: The Making of a Psychoanalyst (Yale UP, 2014), we encounter the biography of a man who thought the entire genre of biography was nothing but bunk. And yet, in this biography of Freud we also encounter a writer who seeks to show respect for Freud’s dis-ease if not utter disrespect for the attempt to write the story of his life. As such, the book illustrates Phillips’ clinical acumen as much as his mind, his writing mien, and the life of his subject. Demonstrating great caution, going up to the lip of certain facts without speculating unduly, like a savvy but sensitive psychoanalyst, Phillips offers the world a book that, like a true tree of life, grows in many directions at once. As no doubt it will be read by people unfamiliar with “the talking cure” it carries a heavy burden in a day and age that prefers writing/texting/emailing to talking a deux, forget entering into an analysis! Embedded within the text we find a vast exploration of the difference between “telling one’s story” (on Oprah or in a blog as is de rigeur in the culture of confession du moment) and speaking in the analytic dyad. Ultimately, as compared with what real truths might be uttered in a psychoanalysis, indeed the facts of biography look paltry. And furthermore, as this is a book that plays hardball with commonplace conceptions of knowledge, data, and truth, as compared with the exploration of unruly desire and its vicissitudes, we find ourselves returned to Freud who told us that the truths we create for the public work well to hide the real thing, the kinds of archaic truths spoken solely within the confines of a psychoanalytic setting. Phillips brings back the primacy of the sexual to Freud, and hence to psychoanalysis. Bring on the alleluia chorus and enjoy the interview!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Escalante's new evening-length work--"Clandestino"--pays tribute to his Mexican heritage, his immigrant parents, and the courage of undocumented workers, living in the United States, who, in the spring of 2006, turned out for massive rallies for their human rights. At a time when illegal immigration has become an exploited political flashpoint, Escalante asks audiences to confront their own feelings and opinions on this issue. The personal is the political, and vice-versa, in this vibrant presentation featuring live and recorded music, film, and a movement vocabulary inspired by contemporary Mexican social dances. Visit "Clandestino" on MySpace (see link below). BIO Alex Escalante, originally from Los Angeles, graduated from SUNY Purchase. He has worked in New York with Donna Uchizono, Jennifer Monson/Birdbrain, Doug Elkins, Doug Varone, David Neumann, Gerald Casel, the Metropolitan Opera, and has been fortunate to tour as Merce Cunningham's personal assistant. He was featured in the musical film Romance and Cigarettes, directed by John Turturro. His own work, as well as choreography for theatre with Division 13 Productions, has been presented at Dance Theater Workshop, Danspace Project, La MaMa E.T.C., Dixon Place, Movement Research at Judson Church, Joe's Pub, and Here Arts Center. In February 2007, his most recent work, Swallow Sand, was presented by Dance Theater Workshop as part of a Studio Series residency. Escalante is currently a 2007-2008 Movement Research Artist-in-Residence. He also works as a freelance photographer and is an avid surfer. EVENT Premiere of "Clandestino" at Danspace Project, St. Mark's Church, Thursday-Saturday, April 10-12 (8:30pm) Reservations: 212-674-8194 or at Danspace Project's Web site (see link below). LINKS Alex Escalante's "Clandestino" http://www.myspace.com/_clandestino Danspace Project http://www.danspaceproject.org Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa This material may not be reproduced in any way, either in part or in its entirety, without the expressed written permission of Eva Yaa Asantewaa.

Alex Escalante's new evening-length work--"Clandestino"--pays tribute to his Mexican heritage, his immigrant parents, and the courage of undocumented workers, living in the United States, who, in the spring of 2006, turned out for massive rallies for their human rights. At a time when illegal immigration has become an exploited political flashpoint, Escalante asks audiences to confront their own feelings and opinions on this issue. The personal is the political, and vice-versa, in this vibrant presentation featuring live and recorded music, film, and a movement vocabulary inspired by contemporary Mexican social dances. Visit "Clandestino" on MySpace (see link below). BIO Alex Escalante, originally from Los Angeles, graduated from SUNY Purchase. He has worked in New York with Donna Uchizono, Jennifer Monson/Birdbrain, Doug Elkins, Doug Varone, David Neumann, Gerald Casel, the Metropolitan Opera, and has been fortunate to tour as Merce Cunningham's personal assistant. He was featured in the musical film Romance and Cigarettes, directed by John Turturro. His own work, as well as choreography for theatre with Division 13 Productions, has been presented at Dance Theater Workshop, Danspace Project, La MaMa E.T.C., Dixon Place, Movement Research at Judson Church, Joe's Pub, and Here Arts Center. In February 2007, his most recent work, Swallow Sand, was presented by Dance Theater Workshop as part of a Studio Series residency. Escalante is currently a 2007-2008 Movement Research Artist-in-Residence. He also works as a freelance photographer and is an avid surfer. EVENT Premiere of "Clandestino" at Danspace Project, St. Mark's Church, Thursday-Saturday, April 10-12 (8:30pm) Reservations: 212-674-8194 or at Danspace Project's Web site (see link below). LINKS Alex Escalante's "Clandestino" http://www.myspace.com/_clandestino Danspace Project http://www.danspaceproject.org Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa This material may not be reproduced in any way, either in part or in its entirety, without the expressed written permission of Eva Yaa Asantewaa.