Podcasts about Katherine Dunham

Samantha Ege is both a leading scholar and interpreter of Florence Price. In this interview, she talks about her recent book “South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene”. I was fascinated to learn about this compelling history of Chicago's Black Renaissance with women such as Nora Holt,  Margaret Bonds, and Katherine Dunham.  Dr. Ege shared how the scholarship side of her work informs both her identity as a pianist and also how this research and storytelling cause her to reflect on some of her own challenges. We also talked about some of her other recent recording projects, including the upcoming Avril Coleridge-Taylor piano concerto and chamber music with Castle of our Skins, and she reflected candidly on her personal creative life as a writer, performer and composer. Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website Newsletter sign-up Buy me a coffee? Merchandise store You may be also interested in the following episodes:   Gerry Bryant Daniel Bartholomew-Poyser   Vahn Black Rebeca Omordia Omo Bello DeWitt Fleming Jr.  Destiny Muhammad among so many https://www.leahroseman.com/about Troubled Water by Margaret Bonds from concert in Chicago for Crossing Borders Music Fantasie Negre no. 1 in E minor by Florence Price: from concert in Chicago for Crossing Borders Music https://www.samanthaege.com/ Timestamps:  (00:00) Intro (02:11) book Southside Impresarios, Race women, Florence Price (05:07) racism, Florence Price, John Powell (10:50) Margaret Bonds “Troubled Water” from live performance (link to video in show notes) (15:46) Southside Impresarios, Black Chicago Renaissance, Florence Price (18:08) Wannamaker competition, Florence Price, Margaret Bonds (21:47) Nora Holt, Florence Price (30:43) Samantha's practice diaries, Avril Coleridge-Taylor piano concerto (38:03) other episodes you'll like and ways to support this series (38:56) composing, identity and confidence (41:17)the importance of storytelling, upcoming Chicago concerts, community of Black researchers (44:59) Katherine Dunham, ballet (47:05) Boston Six, Amy Beach, exclusion of Black composers (48:55) excerpt from Fantasie Nègre by Florence Price from live performance (link to video in show notes) (51:52) Chamber music album with Castle of Our Skins, Undine Smith Moore, Bongani Ndodana-Breen (55:08) Cambridge Companion to Florence Price, Rae Linda Brown, Alexandra Kori Hill (57:16) Southside Impresarios (59:56) Samantha's reflections on her career, Doreen Carwithen concerto

This special episode explores the incredible legacy of businessman and visionary philanthropist Julius Rosenwald. How he was born to German Jewish immigrants, rose to become the President of Sears Roebuck and the meaningful way that his legacy continues to live on and have meaningful impact to this day…! Inspired by the Jewish ideals of tzedakah (charity) and tikkun olam (repairing the world) and a deep concern over racial inequality in America, Rosenwald used his wealth to become one of America's most effective philanthropists. Influenced by the writings of the educator Booker T. Washington, Rosenwald joined forces with African American communities during the Jim Crow era to build 5,300 schools, providing 660,000 black children with access to education in the segregated American South. The Rosenwald Fund also provided grants to support a who's who of African American artists and intellectuals and numerous artists that Eric represents and promotes, including Elizabeth Catlett, Jacob Lawrence, William Artis and others who were greatly helped by Rosenwald Foundation funds.   Featuring Community Leader Roger Smith; Eric's cousin from Virginia - from the very school that Eric's Mother attended that was built thanks to the generosity of Rosenwald that is an historic landmark… They discuss how Dunbar Schoolhouse came about, how the building itself had been assembled and how Roger, alongside his Family have been instrumental in restoring and maintaining the school. Preserving its history through an on-sight museum  — committed to keeping the story of Dunbar Schoolhouse alive..! The various wonderful community programs that they currently run and the significant role that the school plays in the community.  Filmmaker Aviva Kempner joins Eric from Washington. They discuss her feature-length historical documentary about Julius Rosenwald entitled “Rosenwald: A Remarkable Story of a Jewish Partnership with African American Communities” and all the wonderful things she learned in the process of making the film.  They discuss Rosenwald's background and life — the role of his Rabbi and how it motivated his philanthropic efforts… meeting Booker T. Washington and the strong friendship that they forged.  Realizing the need for and power of education as a way to uplift communities and becoming involved in building schools in the rural south. Addressing the needs for housing brought about by the Great Migration, funding the building of housing and YMCAs for African Americans and supporting countess artists and intellectuals including Marian Anderson, James Baldwin, Ralph Bunche, W.E.B. DuBois, Katherine Dunham, Ralph Ellison, John Hope Franklin, Zora Neale Hurston, Jacob Lawrence, Dr. Charles Drew, Augusta Savage, and Langston Hughes. His genius in “matching grants”, the way it made the community feel self-empowered and invested in the mission.  The theory of ‘spending down' and how its principles helped inspire other philanthropic institutions. The unique design and ingenuity of the building construction… the power of community and how his work continues to live on today. They explore what lead to her making movies — from being the daughter of a Holocaust Survivor, a passionate activist and viewing movies as a powerful tool to educate people. The many films she's made throughout her life and is in the process of producing and her dedication to telling stories that celebrate the lives of lesser-known Jewish heroes for over forty years…! For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART Connect with us ONLINE:  Visit Eric's Perspective website: https://bit.ly/2ZQ41x1 Facebook: https://bit.ly/3jq

David and Katherine celebrate the 100th anniversary of The Al Hirschfeld Theatre, formerly the Martin Beck Theatre. Plus, David interviews artist Justin "Squigs" Robertson about his special project celebrating the theatre's centennial. Rededicated to Al Hirschfeld on what would have been his 100th birthday in 2003, this is the only Broadway Theatre to ever be named after an artist. In this episode, learn about the many exciting productions played at the theatre, hear about the star-studded rededication, and join us in celebrating the many performers and creatives whose work appeared on the theatre's stage. Thank you Squigs for joining us in this special celebration. Learn more about his work at www.squigsonline.com Follow Squigs on Instagram @SquigsRobertson View Squigs' full work with an interactive identifying key. Listen to our previous episode with Squigs: Episode 12 with Justin "Squigs" Robertson Thank you to the Algonquin Hotel for hosting the interview. Follow along with the show notes to view the works mentioned in this episode: Frank Langella as Dracula, 1977 Kiss Me Kate, 1999 with Brian Stokes Mitchell and Marin Mazzie Harry Houdini, 2002 Bobbe Arnst in A La Carte, 1927 Theatre Guild 1928-29 Season, 1929 The D' Oyly-Carte Company Prepare to Offer a New Season of Gilbert & Sullivan, 1936 Cabin in the Sky, 1940 Hallelujah, Baby!, 1967 St. Louis Woman, 1946, featuring the Cakewalk Bye Bye Birdie, 1960 Oliver, 1963 Into the Woods, 1987 The Sound of Music, 1998 Guys and Dolls, 1992 Nathan Lane A Connecticut Yankee, 1943 Baker Street, 1965 Sweet Smell of Success, 2002 Yellow Jack, 1934 Victoria Regina, 1938 The Iceman Cometh, 1946 Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, 1982 Sweet Bird of Youth, 1959 The Rose Tattoo, 1951 Orpheus Descending, 1957 The Pirate Rehearsal, 1942 Say Darling Rehearsal, 1958 Milk and Honey Rehearsal, 1961 My Sister Eileen, 1941 The Grass Harp, 1952 The Curious Savage, 1950 Moon Over Buffalo, 1995 Tropical Revue with Katherine Dunham, 1943 Jacobowsky and the Colonel, 1944 Nancy Walker in Copper and Bass Poster, 1957 Man of La Mancha, 1965 Jerry Zaks Carol Channing Arthur Miller Nathan Lane and Matthew Broderick in The Producers, 2002 Victor Garber Barbara Cook Whoopi Goldberg View Squigs' full drawing of the Al Hirschfeld Theatre! Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel   Watch Hirschfeld Moments: Ep.4 - Hirschfeld Draws a Star! Follow us on Twitter Follow us on Instagram HirschfeldHomestyle.com The Hirschfeld Package at The Algonquin Hotel

Dr. Bill's acute awareness of being “different” inspired him to explore and subvert constructs of gender, sexuality, culture, and individual identity.Early influences of folk and fiber art traditions were passed down from his grandmother. He worked on trash trucks, switched trains on the Santa Fe Railroad, made a living as an archaeologist at the Cahokia Mounds, and restored historic architecture throughout St. Louis.Dr. Bill holds advanced degrees in physical medicine, acupuncture, and the fine arts including a BFA in Ceramics and Printmaking and an MA in Weaving from Pittsburg State University and an MFA in Multimedia from Washington University.Additionally, he studied dance with Katherine Dunham and DeBorah Ahmed, contact improvisation with Sarah Shelton Mann, West African percussion with Mor Thiam, and toured internationally with Gash/Voigt Dance Theater as an installation artist, videographer, and physician.

Jazz88's Peter Solomon spoke with choreographer and master dance instructor Ashe Smythe about the legacy of Katherine Dunham, the woman widely acknowledged as the "Queen Mother and Matriarch of African American Dance." Smythe is a guest artist and instructor in a two-week Katherine Dunham residency taking place at Lundstrum Performing Arts. Attached photo courtesy of Karen Nelson.

Jazz88's Peter Solomon spoke with choreographer and master dance instructor Ashe Smythe about the legacy of Katherine Dunham, the woman widely acknowledged as the "Queen Mother and Matriarch of African American Dance." Smythe is a guest artist and instructor in a two-week Katherine Dunham residency taking place at Lundstrum Performing Arts. Attached photo courtesy of Karen Nelson.

A short take on Katherine DunhamWritten by Danielle Hall and Howard Rambsy IIRead by Kassandra Timm

For over 100 years Women's Wear Daily has been the bible for the fashion industry, and its archives include numerous hidden contributions of Black designers and models. Now that history has been gathered in a stunning new book, BLACK IN FASHION, by Tonya Blazio-Licorish and Tara Donaldson, showcasing the indelible influence of Black culture on a global scale.On Episode 5 of Rodeo Drive-The Podcast, host Lyn Winter spoke with the authors about the book and the revelations they found in the WWD archives. “Fashion has a flawed public history because it hasn't included all the voices,” says Blazio-Licorish, also a visual culture historian and editor with PMC Media Archives. “We were always there, and not just there in marginal roles, but in important roles, in roles that were shaping fashion,” adds Donaldson, most recently WWD's executive editor and Head of Diversity, Equity and Inclusion at Fairchild Media. Dating back as early as the Harlem Renaissance, the Black community was making its mark on clothing and style, from Black dolls for young Black children, early fashion shows, business associations, and fashionable scenes like at The Cotton Club. The authors single out early “influencers” such as Josephine Baker, who even had a hosiery color named in her honor, the dancer Katherine Dunham, who was all the rage in 1940s France, and then the Black models, including Pat Cleveland and Bethann Hardison, who shook up global fashion at the famed 1973 Battle of Versailles.The late André Leon Talley recalled this momentous event in conversation with the authors before his passing. “You could almost just reach out and touch the energy they gave in the air. It was like quiet thunder, and because everyone saw that and felt that at the battle, French designers – Givenchy, Yves Saint Laurent – they started wanting black models.”Black fashion has been intertwined with politics – and BLACK IN FASHION explores how clothing reflected the moment:“During civil rights, that time was really about respectability politics,” explains Donaldson. “It was coming in your Sunday best, to assert dignity. It was a kind of a polite request for human rights. By the time you get to the 70s, the mood changes, the look changes…then the Black Panther movement, it's more powerful, it's more assertive…You have the leather jackets, you have the turtlenecks, you have the berets. And then we see that evolve even into the 2020s. And there's the branded T-shirts, Black Lives Matter.”Finally, the story is still unfolding. Black designers are still not getting the high level industry jobs they deserve, argue Blazio-Licorish and Donaldson, and are even ambivalent about being labeled as Black.So Blazio-Licorish says they finished on a question: “We purposefully left the conversation open to, who's next, who's now, and what do they have to say about where fashion is going to go?”Season 5 of Rodeo Drive – The Podcast is presented by the Rodeo Drive Committee with the support of The Hayman Family, Two Rodeo Drive, Beverly Wilshire, A Four Seasons Hotel, and the Beverly Hills Conference & Visitors Bureau.Season 5 Credits:Executive Producer and Host: Lyn WinterOn behalf of the Rodeo Drive Committee: Kay Monica RoseScriptwriter and Editorial Advisor: Frances AndertonEditor and Videographer: Hans FjellestadTheme music by Brian BanksProduction Assistant: Isabelle Alfonso.Listen, subscribe, rate and review on Apple Podcasts, Spotify or wherever you get your podcasts.Join us on Instagram @rodeodrive Hosted on Acast. See acast.com/privacy for more information.

In this episode of "The Truth In This Art," host Rob Lee converses with Sydnie L. Mosley, an award-winning artist, activist, and founder of "Sydnie L. Mosley Dances". Sydnie shares her artistic journey, emphasizing her commitment to community engagement and social justice through dance. She discusses her creative process, the importance of rest, and the influence of cultural icons like Katherine Dunham. Sydnie also highlights her recognition as one of Dance Magazine's "25 to Watch" for 2024 and offers advice to aspiring artists. This episode underscores the power of art in fostering connection and promoting social change.Episode Highlights:Sydnie's Background (00:01:56) Sydnie shares her journey as an artist, educator, and community advocate, emphasizing her roots in Baltimore.Creative Problem Solving Through Dance (00:03:12) Sydnie explains how SLM Dances engages communities to address issues through movement and art.Feeling Human Through Dance (00:05:49) Sydnie discusses the emotional and connective power of dance in fostering humanity and dialogue.Founding SLM Dances (00:09:24) Sydnie narrates her journey in establishing SLM Dances and the impact of her early dance experiences.Social Issues Addressed Through Dance (00:11:54) Sydnie elaborates on how her projects focus on social issues, particularly gender-based harassment.Thematic Focus of Recent Work (00:15:05) Sydnie shares insights on her latest project, "Purple," which explores sisterhood and social change.Importance of Continuous Learning (00:19:11) Sydnie emphasizes the necessity of learning and cultural engagement to enrich creativity and artistic expression.Recognition and Visibility (00:31:37) The significance of being acknowledged by peers and its potential benefits.Advice for Aspiring Artists (00:35:08) She encourages aspiring artists to take time, prioritize self-care, and start creating.Key Takeaways:1. Early Exposure to Art: Growing up in an artistic environment can significantly shape one's creative journey and passions.2. Community Engagement: Art can be a powerful tool for fostering dialogue and inspiring social change within communities.3. Phases of Creativity: Structuring the creative process into distinct phases, including rest, is crucial for sustaining creativity and preventing burnout.4. Self-Reflection: Regularly reflecting on one's work and seeking feedback ensures alignment with artistic goals and promotes continuous improvement.Website and Socials:www.sydnielmosley.comX: @slmdancesInstagram: slmdancesFacebook: Sydnie L. Mosley DancesLinkedIn: Sydnie L. MosleyIf you enjoyed this episode with the amazing Sydnie L. Mosley, please take a moment to visit and support her work by checking out her website and following her on social media. Your support means the world! Also, don't forget to rate and review this episode—it really helps us reach more listeners. And if you love what we're doing, consider supporting us on Patreon. Your contributions help keep this podcast going strong. Thank you! This program is supported in part by a grant from the Robert W. Deutsch Foundation.If you have a story about art, culture, or community in Baltimore, share it with us at rob@thetruthinthisart.com for a chance to be featured on "The Truth In This Art" podcast. This is a unique opportunity to contribute to the arts and culture podcast scene and showcase your insights on "The Truth In This Art" with Rob Lee.Follow The Truth In This Art on Twitter, Threads, IG, and Facebook @truthinthisart Original music by Daniel Alexis Music with additional music from Chipzard.Episode illustration by Alley Kid Art.About "The Truth In This Art"Hosted by Rob Lee, "The Truth In This Art" podcast dives into the heart of creativity and its influence on the community. This arts and culture podcast from Baltimore highlights artists discussing their ideas, sharing insights, and telling impactful stories. Through these artist interviews, listeners gain a deeper understanding of the creative economy and artistic life in Baltimore. Support the show:Merch from Redbubble | Make a Donation  ★ Support this podcast ★

This week, Sadie introduces us to Katherine Dunham, famous for her anthropology research and introduction of tribal dance styles to the modern stage. We discuss her life, research, travels, accomplishments, and influence. Learn more about your ad choices. Visit megaphone.fm/adchoices

A short take on a legendary dancer and choreographerWritten by Howard Rambsy II and Danielle HallRead by Kassandra Timm

On this episode of Chasing Leviathan, PJ and Dr. Amber Jamilla Musser discuss the concept of sensation and how it shapes our understanding of the world. She examines various works of art, including the film ‘Us' by Jordan Peele and the dance piece ‘Shango' by Katherine Dunham to explore the complexities of representation and authenticity. The conversation focuses on the importance of attunement and the recognition of the body's place in the world.For a deep dive into Amber Musser's work, check out her recent book: Between Shadows and Noise: Sensation, Situatedness, and the Undisciplined

Jusqu'au 12 mai, le musée du quai Branly met à l'honneur trois femmes afro-américaines : la danseuse Katherine Dunham, la romancière Zora Neale Hurston, et la militante Eslanda Goode Robeson. Trois femmes qui, par leur art et leur conscience politique, ont contribué à donner un éclairage neuf sur les passerelles culturelles entre Afrique et Amérique. Entretien avec Sarah Frioux-Salgas, commissaire de l'exposition intitulée Déborder l'anthropologie. À écouter aussi«Regarder l'Afrique pour mieux se voir»

durée : 00:58:46 - Le Cours de l'histoire - par : Xavier Mauduit - Par leur vécu et leur position de femmes noires, l'écrivaine Zora Neale Hurston, la journaliste Eslanda Goode Robeson et la danseuse Katherine Dunham ont renouvelé l'anthropologie. En quoi le parcours de ces trois femmes africaines-américaines éclaire-t-il les évolutions de cette discipline ? - invités : Sarah Frioux-Salgas Responsable des archives et de la documentation des collections de la médiathèque du musée du quai Branly - Jacques Chirac; Sarah Fila-Bakabadio Historienne en études américaines et afro-américaines, maîtresse de conférences à CY Cergy Paris Université

This is the first half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. Appropriately for the final day of Women's History Month, this episode focuses largely on two great female choreographers -- Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course – and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance – like that of many other black artists – has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Sara Burke was the Founder of The City Studio Dance Center in St. Louis, Missouri which she founded in 1986. Sara is a choreographer, dancer, dance instructor, photographer,painter,  author and arts diversity consultant. Sara consults for local dance companies and works with young dancers helping them start Company's. Sara relishes her role as “mentor”.  One of her most important and impactful accomplishments was to learn Dunham Technique from the legendary Katherine Dunham. She studied with Miss Dunham in East St. Louis in the 1970's and danced with the Dunham Company. Sara's experiences studying and dancing the Dunham Technique changed her life and she has been committed to promoting diversity through the Arts even since.  Her experience was life changing. She danced with artists who could not eat or sleep where they performed.  Sara never forgets to use her voice at every turn. --- Support this podcast: https://podcasters.spotify.com/pod/show/freeman-means-business/support

This is an encore presentation of my conversation with author Liza Gennaro, regarding her fascinating book : Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. This episode focuses largely on two great female choreographers — Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course — and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance — like that of many other black artists — has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Sara Burke is recognized as a Woman of Achievement. First as a dancer in East St. Louis with The Dunham Company and then as a working artist in St. Louis, she has fostered inclusiveness in the arts and provided numerous opportunities to minorities and those in underserved communities.

Susun Weed answers 90 minutes of herbal health questions followed by a 30 minute interview Dance therapist  Amber Elizabeth Gray Amber Elizabeth Gray  was, in her father's words, born “dancing and fighting”. A lifetime of dance and travel to explore movement and dance-based community and healing traditions has contributed to her passion for, and belief in, movement as life. Encouraged to study Haitian dance by Katherine Dunham initiated a pathway to her own initiation into Vodou. Haitian dance was her portal to Emilie Conrad and Continuum, a revolutionary movement practice  arising from Emilie's 5 years living and dancing in Haiti. Amber believes that every human beings birthright is embodiment. Her 25 years of work as a Dance/Movement Therapist, Continuum & Yoga teacher include time working and living in conflict and post conflict zones, exposing her to the harsh realities of human rights abuses. Her clients, all survivors of political violence, torture and war,  are co-collaborators and inspirers in the work she teaches, Restorative Movement Psychotherapy and Polyvagal-informed Somatic & Dance/Movement Therapy.

It's been a busy last few days highlighted by the StLouis Metropolitan Urban Leagues,”Salute to Blacks in Media,”downtown Luncheon. ———  It was the awards ceremony that was more than you could have ever imagined it would be! A special thanks Urban League President Michael Patrick McMillan and Vice President of Communications, Patricia Washington and their wonderful support staff.—— Congratulations to all of my fellow awardees. it was a great honor to have been selected with such a legendary group of radio, television and media professionals! —— Last evening we put the finishing touches another Black History Month , with a few special friends from the arts and entertainment community. ——— Robert Lawrence Salter aka Scotty Lawrence, joined us to talk about his new musical pursuits, including the release of his inspirational cd titled,”Scotty's Journey.” ——— Bob credits divine intervention, as his pathway toward fulfilling his life's destiny. ——- The ever amazing Bosman Twins, Dwayne an Dwight Bosman, have taken Chicago by storm , routinely selling out every show, at the Winters Jazz club, in downtown Chicago. ——— Between upcoming shows in Detroit and Atlanta, there's Joes Cafe, in Clayton where their sets consistently sell out. —— Ron Himes, founder and Director of the iconic nationally known, StLouis Black Repertory Company, talks extensively about the Reps touring company's play, celebrating the life Of StLouis Attorney Frankie Freeman.  The play is performed at schools throughout the StLouis Metro area. ——— Ron reminds us that the current play,”Light,” starring Coda Boyce, who we know from the Black Reps play,” Fire Flies,” is running now through March 5th. ——— Friend cabaret singer/ actress Laka Pronounced Lay-ka, shared her historical experience with StLouis's black culture, while performing the lead role in, Joe Hanrahan's ”StLouis Woman,” this past fall. ——— The one woman play featured biopics of StLouis natives, Tina Turner, Josephine Baker, Katherine Dunham and gospel legend, Willie Mae Ford. ——— StLouis Woman, ran for several weeks, at the downtown Zack Theater, receiving rave reviews while playing to full houses. ——— This is a very entertaining and interesting program befitting the end of, Black History Month 2023. ———

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

Part 2 of the episode of the Magnificent McBroom Sisters. Marsha was a well know model and actress turned Educator/Philanthropist. Dana a former dancer with Katherine Dunham, song writer ("Pull Up To The Bumper"...sung by Grace Jones) actress, ("Leadbelly) turned college professor. Lorelei and Durga were background singer to some of the most iconic rock group in history including The Rolling Stones and Pink Floyd, now performing as The McBroom Sister A wonderful episode of family love, education, and accomplishments. You will love it!Produced, directed, edited and host by Stephen E Davis

Betty Chavis spent years as a star recruiter for Michigan Technological University.  If young people of color were to find their way far North to Houghton, MI, they needed someone to trust. Michigan Tech turned to Ms. Chavis, a Detroit native who grew up exploring all of her curiosities. An early career in dance led to sharing the stage with the best as in Katherine Dunham. Then Ms. Chavis formed her own company, performed for legends and opened her own charm center for Motown's finest. Detroit and its suburbs were her playground, and her heartbreak.  Hosts Nicole Franklin and Bryant Monteilh enjoy a wonderful hour of stories--especially a most surprising scenario with an inebriated Queen of Soul. Ms. Chavis, who still drives her red Mustang convertible is charting her course for her next adventure. Join us!This episode made its debut on KBLA Talk 1580 in Los Angeles, CA.

A recording of a conversation that took place in 2002, moderated by Reginald Yates. We hear the voices of Donald McKayle, Cleo Parker Robinson, and Julie Belafonte in addition to insights and reflections from Katherine Dunham herself.

Happy Birthday to Katherine Dunham, Helen Lewis, Gower Champion, Ron Smedley, and Ohad Naharin! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Is the work-life balance real? Can you raise a toddler, chase your goals, and overcome rejection all at the same time? Roxy Menzies would say yes. Listen to hear all her wisdom from her years abroad teaching, performing, and presenting to now returning to her hometown and finding ways to inspire others to love movement. If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co . And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe.In this episode you will learn about:What kind of stories are you telling? The balance of work and family. It's not always easy or sustainable Naming the role models for balance Finding the people in your corner to support who you want to show upPersistence over patience The indoctrination of rejection Episode References/Links:WebsiteInstagramTop Travel and Teaching Blog by RoxyGuest Bio:After years of teaching, treating, performing and presenting around the world, Roxy has returned and is now based in Toronto, Canada. Continually curious about the capabilities of the human body, mind and spirit, she is a lover of movement with an affinity for Women's Health and being an advocate for your own well-being.With a background in dance, Pilates, GYROTONIC® and Yamuna® Body Rolling, she infuses artistry, knowledge, soul and a "fierce sense of humour" into her sessions. She has taught in the Canadian Educational system, professional dance companies, Cirque du Soleil and European corporations.She still dabbles in the dance world after an extensive career in commercial and stage work including representing women for Nike Dance in Europe, training with The National Dance Theatre Company of Jamaica, dance pioneer Katherine Dunham and an original member of Toronto's first all female Hip Hop dance group.Roxy's vision is to guide, educate and create safe spaces for individual's to explore their own movement potential. She is an accomplished freelance writer for various publications, copywriter for wellness professionals, and has been a regular contributor to Pilates Anytime and Healthline.  If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox.ResourcesWatch the Be It Till You See It podcast on YouTube!Lesley Logan websiteBe It Till You See It PodcastOnline Pilates Classes by Lesley LoganOnline Pilates Classes by Lesley Logan on YouTubeProfitable PilatesSocial MediaInstagramFacebookLinkedInEpisode Transcript:Lesley Logan 0:00  Hello, Be It listener. I have a very special guest for you. Yeah, we have lots of special guests. But I have a very special guest for you. Her name is Roxy Menzies. And I, you'll hear my introduction to her how long we've been in each other's paths. And it's just, do you ever those people that you like see from afar, and you're watching them, and you're seeing what they're up to, and then your paths cross, and then you might not even know what things you have in common or how you'll affect each other. In fact, you probably won't. That's kind of how you, we're not psychics. At any rate, what's really cool about this woman is I have been able to see different chapters of her life over time. And it is incredible, it's amazing to see the strength and power this woman has and to watch how she has used that strength and power in different areas of her life, in different chapters of her life. And for those of you who are like, "Things aren't happening fast enough." For those of you who are like, "I've got, I've got young kids right now. I can't do all the things I want to do." This is episode for you. This is the episode for you. There are so many gems along the way. I want you whether you're washing dishes, walking the dog, pay attention, just listen to what she's saying. Because I think you're going to easily see yourself in her story. And we talked a lot about writing. And if you don't want to be a writer, I still want you to listen, because you can replace writing for anything that you are wanting to do. And I have a question about patients in there and the revelation around that is actually extremely important. I want you to hear it. And I love of course, I love the BE IT action items at the end but I really love her's. They're something you can do. They don't cost you any money. So y'all, here she is Roxy Menzies.Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guests will bring Bold, Executable, Intrinsic and Targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.Hey, Be It listeners. All right. I have Roxy Menzies with us today, and I am really thrilled to actually to get to see her face. We DM a lot. I have been watching her journey for a long time actually. She's a bold, incredible woman. She actually approached me many years ago when I was a baby blogger just trying to get my words out there. And her blog posts for traveling instructors is still one of our top blogs on our site. And I got to follow her from her life and in Turkey into Canada and then being a mom. And now she is this really I mean, she's always been writing but she has made it as a writer is doing some incredible thing. So Roxy, how're you doing? Here ...Roxy Menzies 3:23  Hey! (Lesley: Thanks for being here.) Oh my gosh, what an intro. Thank you. (Roxy laughs)Lesley Logan 3:28  I'm ... I'm being it until I see it in my next life. I'll be like an edification person, be that announcer through the stage. (Lesley laughs) And ... next we have. Roxy, can you tell everyone who you are, where you're at? What you rockin right now? What are you up to?Roxy Menzies 3:43  All right. All right. Good question. All right. So basically, I am a teacher of a Pilates, Gyrotonic. And yeah, I'm in a body rolling. I come from a background of dance. I've been traveling around the world teaching, presenting, performing and all of that, and I'm back in my hometown of Toronto, Canada. And I'm also a freelance writer and a storyteller, mostly for the writing is mostly within the realm of health and health and wellness for now. And I'm a mom of a rambunctious toddler. (Lesley laughs)Lesley Logan 4:17  She's, is she one, two?Roxy Menzies 4:19  No. she's, she'll be two and a half in July.Lesley Logan 4:22  Oh my gosh.Roxy Menzies 4:24  So she's almost reaching that independent stage. So I've been told. (Lesley laughs) But I have to be honest, I'm happy that she's quite energetic. You know, I don't think I'd want a kid that's just like, blahh, you know, (Lesley and Roxy laughs) no energy and not doing anything. So, so yeah. (Lesley: That's so funny.) Okay, she's my ride or die ...Lesley Logan 4:24  She's amazing. She's so beautiful. And she's so smart. And I love I love all the videos with her. I met a woman yesterday who, she's a school teacher and she has two boys and and so the doctor said, "You know your second son, he's he's an orchid. He's just an orchid." He said he really, you just you have really precious with him. And she's like, "I understand. I am a school teacher." So, um, so you, you, you, as you mentioned, you write for health and wellness right now and I think a lot of people probably wonder like they, I think a lot of people want to write. I think they think they're gonna write a book someday or maybe they'll write a story someday. What made you start writing, have you been writing your whole life? What what got you into it?Roxy Menzies 5:27  Ooh, good question. I feel like, I've always been writing. I've always loved stories, whether it's, you know, oral stories, I mean, my mom's a great ghost storyteller. But yeah, I love stories, I've loved reading. And, you know, I was I was very much into creative writing from a young child. But I never pursued it. So, so I just did little bits here and there. And then after high school, not so much. And then kind of sprinkled it in, throughout the years with, you know, not so much blog posts, but there were printed editions of, you know, community based companies and programs, and I just do one off here or there. And then, but I always want to do it more, I would probably say in the last six, six to eight years, it was it was a goal of mine to be doing more writing, (Lesley: Yeah) whether it was, you know, eventually a book of some sort. And just articles in general. For me, it's also therapeutic. I get a lot of things out of my brain and emotionally off of my chest, (Roxy laughs) from writing. (Lesley: Yeah) But yeah, I would say it's kind of always been there. But I've been growing with it. And I sort of, and how it became another income stream, wasn't so much on on purpose, I kind of fell into it. I just wanted to write and get my voice out there thinking that it would come back to, to my website and what I was doing, but then it became it became something else. And from there, I can see other pathways growing.Lesley Logan 7:08  Yeah. I think that's really cool that you mentioned that it wasn't necessarily the thought to do it as a living, it was more like it was just in you to do it. And I do think a lot of people might feel like, "Oh, if I'm not going to write for people, for people to pay me, maybe I like what's the point." But I love that you point out is is therapeutic, there is something, I do morning pages, and it's therapy. It's like, "Wat's on my mind right now?" And it's not for anyone else to read and then writing for things for people to read is is for me, I don't know about for you. It's like, this is something I feel like needs to is the question I'm hearing and I need the answer to be out there. And, and so I wonder though, you yes you mentioned you weren't like writing forever. So it's like you took a pause. And then you were like, "I really want to start doing this more." As it became an income stream. Was there anything that was like key, like holding you back? Or were you just like now like, there's no stopping me now? Like, was there any, you know, things you were kind of weighing, like, as an imposter syndrome around there? Because this is just like in the world of writing. And like, do you start to wonder about writing for other publications? What's the process that you go through as you're trying to get your work out there?Roxy Menzies 8:17  Oh, sure. Yeah, for sure. I'm sure I had impostor syndrome, I still do at time, because something that's come up a lot is people will say, "Oh, my grammar" and all that. And I am terrible with grammar. So that's something that I always felt, you know, could hold me back or I'm not as good of a writer because of, you know, these grammatical things. I don't have a journalism degree, you know, things like that. But, but things just kept coming up. And I also remember reading, I have a writing mentor, now, actually, and I read something that she had written, something along the lines of writers don't have to worry about grammar. That's what editors are for. Like you, as a writer, you are meant to express yourself and creatively get whatever story needs to be out there. And that really hit home. And that was almost like a huge relief for me. And the same was some of the editors I've had there. They say, "Don't worry about that. You know, that's my job. I take care of that." (Lesley: That is so cool.) And I guess it's not too too bad. (Lesley and Roxy laughs) You know, because I hear some horror stories about some editors out there, but so far, I've I've been pretty lucky.Lesley Logan 9:31  Yeah, I think I love that you heard that and I love that you say that because I do think that holds people back. A lot of people think they're not a writer or they think their grammar isn't good enough. And same, it's not for me either. I'm like, I feel like, "I, how did I miss, did I miss years of classes?" Like where did I get... (Lesley laughs)Roxy Menzies 9:50  I know like some people they talk about these, you know, grammatical things. So I'm like, "I have no idea what they're talking about." (Roxy laughs)Lesley Logan 9:56  When I was doing my flashcards, the Mat flashcards. I had one of the Agency members, who I know is like, she's like us like she's the person who's like, "Um, you missed the, it's a PDT, not PST," and it's like, "What is the difference? Is there a difference?" Like you know, like, doesn't matter. We all know what's going on, right? Anyway. So I was like, "Hey, can you read these?" And she's like, "Do you guys want to have an Oxford comma? Or are you guys not Oxford comma people?" And I was like, "What is an Oxford comma?" So then I like look up Oxford commas. And then I was like, "Oh, my God, it was a massive lawsuit, put the Oxford comma and because I don't want to get sued." (Lesley laughs)Roxy Menzies 10:31  Yeah, and those are funny things that come up. I mean, that's something that I mean, if we talk about it later, in the writing course, for Profitable Pilates, I talked about that. And usually, every publication will give you a guide to how their style is, and it will say, and like, some will say, "We don't use the Oxford coma, comma." Some will say, you know, "We do, we don't" and you know, other guidelines, like how many sources you can have, and, and they kind of guide you in that sense as well.Lesley Logan 10:59  That's so cool. That's so great. I mean, I think (Roxy: Yeah) there's the fear of the unknown, right? And also, maybe even the fear of what happens if it works out, like what happens if you all of a sudden start to write and then you know, what does that look like? What is ... So you're you weren't writing as an income stream, you were teaching dance and teaching Yamuna and Pilates. And now, do you only write or is that the main focus right now? Did your career just completely shift?Roxy Menzies 11:28  Um, it kind of felt like a did for a while because I did stop teaching. I mean, I, I would say probably from summer of 2019, I, I really started downsizing on the teaching, because we were moving abroad, and I was pregnant, and there was so much to do with that, like, my husband is not Canadian, so we had to get his papers. And, and you know, when (Lesley: That's a process.) me coming back into the country full time. Yeah. So there was so much and then of course, we know, the pandemic hit. So a lot of things shifted. And then by August of 2020, I stopped teaching completely. So I just, I couldn't manage all of it. I didn't have the energy, and I didn't and I didn't feel like I could give it, I could give clients or or, you know, group classes enough at that point. (Lesley: Yeah) Do you know what I mean? Like, I felt like I was being pulled in too many directions.Lesley Logan 12:23  Well, and also like, gosh, I mean, back then you had and a newborn, right? You had a newborn, you were back in a country you hadn't lived in personally for a while. You're trying to get your husband set up. There's a pandemic, it's a little hard to be teaching someone on Zoom when there's a baby crying in the background, like (Roxy: Definitely) I can, I think a lot of people listening are probably going, "Oh my God her too?" Like, they probably don't feel as alone. Because that especially that first six months to a year, depending where you were lived and what your kids ages were, it really did probably feel like for a lot people they had a pullback or or, or to understand that you only have so many priorities.Roxy Menzies 13:00  Oh, definitely. I mean, I think some of the stats have come out in regards to how many women left the workforce. (Lesley: Yeah, so many.) You know, and they're just slowly coming back into it. But it was actually good. It was it was a break. And I just started getting back into teaching, I would say February of this year. Yeah. So and that also is very minimal, how much I'm teaching because again, I have to balance everything out. Jazz, my toddler, she is only going to daycare part time. (Lesley: Yeah) And I'm, and I'm still trying to do some other things. And still, write. So I have to I have to watch how much teaching I take on. But it feels great. Like having that break was was amazing. And I feel like I've I've come back and I'm exploring, possibly a new way of teaching, (Lesley: Yeah) just because, you know, I do feel different in many ways, like, physically, emotionally. I mean you just grow.Lesley Logan 14:00  Yeah, I think that's, well, I think whether or not you had a kid the last two years, it's pretty hard to be. I feel like it'd be really hard to have been the same person that I was before (Roxy: Sure) the pandemic. You know, a lot of time spent with myself. You're like, "Why do we do this? How are we doing this?" I love that you are talking about that balance, though, because I do think a lot of moms particularly but parents in general, there's a balance there, right? It's like how much can you do have one thing while also spending time with your child? And is that a difficult conversation for you to have? Or are you is it easier now that it's been two and a half years with her? Is it ...Roxy Menzies 14:44  No, (Lesley and Roxy laughs) I can tell you this it is constantly changing. I feel like it's constantly changing because the I don't know I I always used to think there was a way to find a balance and lately I'm questioning that. (Roxy laughs) But maybe, maybe there isn't. And really, some things have to be like, I learned this from you, parking ideas, and parking things for now and coming back to it later. And, and I've really recognized that there really are phases in our life. And there are times where you have to put a focus on on certain things and other things have to be by the wayside. And, (Lesley: Yeah) and then it'll change again, you know, they say, like, the seasons change. (Lesley: Yeah) So so I think that I'm still striving for a balance, like the the next thing for me is going to be like really self care, like when she, like I know, she's going to day... daycare full time in the fall. And I already know that I'm not going to be taking on too much, because it's going to be 'me time', it's going to be taking care of me. (Roxy laughs)Lesley Logan 15:49  Thank you for sharing that. You know, first of all, I used to listen to lots of podcasts about balance, and I heard people call it the work life blend, and then they are like, "No, it's the life work balance, because that's more alphabetical and we shove life before work anyways." And then my, like constantly I think about my yoga teacher, who would teach these balance workshops. And he said, "Balance is actually just controlling like, it's like, basically the space between falling." So when you are balanced, like in a handstand, you are working on not falling either backwards or forwards. It's (Roxy: Right) not like you're just up there. And it's like, chill beans, like it's work. (Roxy: Yeah, work of the balance. No.) (Lesley laughs) Nailed it. Where's my gold star?Roxy Menzies 16:31  You're constantly, it's constantly, you know, like, you're moving around, faltering, figuring it out.Lesley Logan 16:37  Yeah, like your, your fingertips are taking more weight than the heel of your hands, you're, you're contracting more muscles. And so I have stopped thinking that balance is easy. And nor is it like something that is sustainable, because, you know, eventually there's going to be something that tips the balance in one direction or the other. And it doesn't mean that, like, I'm not looking to have balance of some kind, but I think it's like, for me, and I love what you're saying for you. There is a season, you have a self care season ahead for you, you know, and ...Roxy Menzies 17:08  Yeah, that hopefully will stay, (Roxy laughs) forever. Forever in my life.Lesley Logan 17:13  Yeah, well let me know how that goes. But I and it's like, there are going to be seasons like, where you can actually for people listen, like you can work more towards whatever your work goal is because maybe the kids maybe your kid is in school, or maybe you have an extra time or you just have a flow, you know. Kareen Walsh did an episode like, it's okay for you to hustle. It's just what your hustle becomes a hassle. Right? When people are like, (Roxy: Yeah) grinding it out. And so, and thank you for sharing that because I ...Roxy Menzies 17:37  Right. And that's a season too, right? (Lesley: Yeah) Because, and that's the thing, you know, I feel like we get so many conflicting bits of information, right? Because because you'll get the you know what? Life shouldn't be about the grind. And then we get in, then we get the other one that's like, "Yo, I'm hustling, and I'm making it." And there are going to be times in your life. Like she said, like, you have to hustle. And you just know that okay, for this, whatever, 10 weeks, it's going to be tight. This is going to be I'm not going to be able to do this as much. And I'm gonna have to focus on this. But it can't. It's not sustainable, like you said, so it can't go on and on and on. It has to change. And that even goes back to what you were just saying about the balance. Right. (Lesley: Yeah) So so it's really interesting, but I want to share something with you, (Lesley: Tell me. Tell me. I love it. I love it.) On the round of be it till you see it. Well, there's two things I want to share with you. (Lesley: Yeah) So, I think it was a couple of weeks ago, I was sitting on the couch. And I was just thinking and I was like, "Oh, I know what my next be it till you see it is going to be." (Lesley: I'm so excited. What is it?) Because I've been feeling very, oh speaking of balance just a bit all over the place. And the house is messy. And I don't feel like our routines are set with with a toddler. And I was like, "You know what, I'm gonna be the organized mom until I see it." So that is the thing that I'm working on. And I've tried to have an image of who you'd like to have, like a role model and (Lesley: Yeah) it is so funny, because the things that keep popping in my head, you want to talk about things that are ingrained in you from society. Is that sort of not maybe like Stepford wife but like the homemaker like 50s with the apron and that's not the image that I want. Something like, "Who is a mom role model?" And just today I went Michelle Obama. (Lesley: Aah) Yes, that is that is the be it till you see it mom role model that I'm going for.Lesley Logan 19:31  Oh, yes. And and because she definitely to me represents organized mama like she really and she had clear boundaries and she felt like she wasn't (Roxy: Yeah) because I when I think of like those Stepford wife person, it's like, they're doing everything for everybody and she was like, "No, Mr. Obama President you will have dinner with us and actually ..." (Lesley and Roxy laughs)Roxy Menzies 19:53  Yeah. Exactly, you're gonna have to rework your schedule.Lesley Logan 19:55  Yeah. You know, I love this. I'm I'm trying to think of the book because there is one and I can't think of the name, but it will come to me and I will send it to you. It's about a guy who talks about how we do have these different roles that we can play. And he talks about how even Martin Luther King, he brings them upside. So he puts a glasses on when he would write. And it was kind of like his Superman kind of like, glasses thing, but becasue he didn't need them to write.Roxy Menzies 19:55  Yeah. We just to talk about that back in the day when I was dancing. You know, we used to say, because I was in this, we were like the first all female hip hop group in Toronto. And I remember a friend of mine saying one time, like, "You know, how you dress is gonna affect how you dance and the attitude," you know. So, so we were doing like, you know, really grounded, gritty, hip hop dancing. And she was like, "You know, we can't come in with your ballet tights and leotard." Like, you're not going to have that same, you know, feeling so so I get that when you say about the role or even sometimes, you know, especially like, you know, this whole work from home phenomenon that's gone on, and people are like, "Well, you know, what, you still wake up and you still put something on." (Lesley: Yeah) You know, or people just put on their lipstick. And I (Lesley: Yeah) get to work because that signifies that change ...Lesley Logan 21:11  Yeah, I changed my clothes. I've been changing my clothes after I try, if I'm like, today, I'm filming. So I'm completely in workout gear for this podcast. But typically, I will change out of workout clothes into real clothes. So that I'm like, real clothes. It's like they're all clothes. But they are like, (Roxy: Yeah) clothes people ... (Roxy: I got what you mean.) Yeah. So then I'm like, oh, so when I got, it... you show ... I show up differently. I show up for like, I'm, I'm here to work. And then when the workday is over, I'll change into like the clothesI walk the dogs and like it put those different things on. Amy Ledin, who I think you remember her from, she did the DACs. Remember her?Roxy Menzies 21:46  Yes. She's the one with the cards or the (Lesley: Yes) four things? (Lesley: Yes) Yes.Lesley Logan 21:52  Yes. So she actually has different names for different things. She has her health person, and she has a name for them. And she had her religious person, which was actually called, I want to say her name was Jane Maxwell after like a famous female minister and famous male minister. And like she met the names together, she ended up meeting John Maxwell. (Lesley and Roxy laughs) Because of this ...Roxy Menzies 21:52  Is like a confusing when you have too many though? (Lesley: Yeah, I mean ...) I would get, I would get confused and overwhelmed.Lesley Logan 22:20  Yeah, I know. But I think um, I really love going back to your like you how it's like, what would what would Michelle Obama as a organized mama do like right here. And that has been what helped me. That's why this podcast exists. It's what helped me be a CEO of my company, when I'm like, "I don't know how you grow company." Like, I know how to get clients. I don't know how to like scale a company. I don't know how to hire all these different team members. I've never thought about a corporate structure, all these things. And so I was like, "Okay, well, who do I need to be like, who is a female founder? Who I, who does this? What would she do? If she was ..."Roxy Menzies 22:57  Well that ... Yeah, sorry for interrupting you.Lesley Logan 23:01  No, you're fine. Go ahead.Roxy Menzies 23:02  I was gonna say it's, it was the same with writing. You know, I was like, I don't, I don't know how to do a blog for someone. Do I have to do, choose the pictures? Do I have to actually go into your website and put it into. I just send you the doc, like, there was a huge learning curve. And now I'm in this, this writing mentorship for a year. And I'm with this amazing cohort of women writers, and most of them are, they're all writers or publishers, or they have their own publishing house. And there's so much information. Again, so much stuff I don't know, like about the contracts or you know, if you want to self publish, how do you do that? What to look for in contracts? Like, the whole thing about the publishing industry. You know, there's so much there. And if you don't know where to start, you're, you know, you're swimming in unchartered waters, so to speak, (Lesley: Yeah) you know, so, so one, it helps. Yeah. I mean, you go for it, and you and you find, you start researching. But then also, it's like, you also need other people in your court. (Lesley: Yeah) You have to find the support or they find you and I think that happens when but like you said, when you be it till you see it, like if you're when you're solid in that and you've put out what you want, things will start coming to you (Lesley: I agree) that support that.Lesley Logan 24:26  I agree. I think like, a) you can put yourself in the rooms, like you put yourself also in a writing group you were writing before this group, but have you ... (Roxy: It fell into my lap, actually.) And that's because you were already out there writing like, it probably wouldn't have (Roxy: Right) fallen into your lap if you were just hanging out, wanting to be a writer.Roxy Menzies 24:42  No, not at all. And to be honest, I mean, I say that it kind of fell into my lap, but there are very few things I have like, because some people will look at the amount of writing I've done and just be like, "Wow, like, how did you do that?" And it's so much and I go listen. I am a person, I have had to almost push for everything. I do the following up, I check in. I mean, I was in touch with Pilates Anytime, from the first time talking to them about about writing. It was a full year till something was actually published under them. (Lesley: Thank you for saying that.) You know, so things take time. And it doesn't mean I was added every single day because I had other things going on, you (Lesley: Yeah) know, but, you know, a couple months later, and I was just like, "Hey, you know, checking in. Hey, what about writing for you da da da." And I've done that with so many things. That Balance Body blog, the conception of that was a year ago until it actually came out. And that was like finding the right place for it to be published. So so I don't want anybody to think that that there isn't work involved. There really is. (Lesley: Yeah) There is. And it's like you said, it's the preparation meets opportunity. (Lesley: Yeah) You know. (Lesley: Yeah) And you put things out there, but sometimes it does take time.Lesley Logan 26:02  Ah, thank you for sharing this these both those stories, because it is true. I think people go, "Oh, how to rock to get it. She must have just asked and then she got it." Nope. There's like waiting for crickets. I have to had to follow up with certain companies seven times, like, "Hey, just fallen back on this. Get back on the top of the thing." Like, and, you know, also, we talked about this before we hit record. But I had told Roxy, I'm so excited. I'm really excited. I had asked someone to be on this podcast, and they didn't respond. And I actually didn't even realize that they didn't respond until I went to ask him again. But I thought I was asking, I was asking but I guess I had, I had had her on my like dream list from when I was launching. And just so y'all know, when you're launching a podcast, the big names don't want to be on you unless you're a big name already. Because why (Roxy: Yeah) there's no audience to take from, there's no audience to glean from so you have to kind of earn your way to a place where you can get these people to like pay attention to you. That's why, hello, aka reviews matter people. (Lesley and Roxy laughs) So, their publicist is looking. So um, so anyways, I was, I was like, "Okay, I'm going to ask her again. We're headed over 100 episodes and asked her." And so I send the DM and then I after I hit send, I saw I saw that we'd asked her the first time and she didn't respond. And I was like, "Oh, my God, maybe I should take it down." And then I was like, "No, I'm gonna leave it up." And you know what? She responded with a 'Yes', that was a year long, yes, I waited for. And you have to follow up. I mean, I think a lot of people think that if somebody doesn't respond or says no, it's never. And it's like, you just don't know when they, when what you have to say, aligns with what they have going on.Roxy Menzies 27:42  Yeah, definitely. There's so many different things and sometimes messages, emails, they just fall through the cracks. (Lesley: Oh, I'm notorious for deleting emails.) You forget you go back in and you're like, "Hey, oh right, I forgot about that." I mean, people have so much going on as well. (Lesley: Right) I mean, even relates to business. I mean, I don't know how many how many sales points are there now? Like you have to ...Lesley Logan 28:04  Oh, yeah, it was I read it. I heard it the other day. It's over 20, now. Girl, it's over 20. So what she means by that is, you pre pandemic was 7 to 17 touch points before somebody would click doesn't mean they buy, it means they click and they know this from ads. It's like how many times does someone have to see an ad before they click on it 7 to 17. It is over 20 now. It is in there's just so much going on. And it's so easy for someone opened up an email their kid to tug on their shirt, there, they spill their coffee, then they didn't even read the email, then they go to open their email, it's gone. It's already unread. So worth the following up, worth of following up. Okay, let's talk really quick because I am obsessed with your approach to things. And I've been in awe and read. I've read every blog that has ever been shared by you, to me, and I love your words. And I'm all I always find myself going, "Yes, yes." So I ... (Roxy: You're the best cheerleader ever) (Roxy laughs) Oh, I like, I'm like, "Yes." Well, especially, we'll put the link to the the recent core article you wrote. Because I'm I'm really am obsessed with it.Roxy Menzies 29:11  I think part two is out today, actually. (Lesley: Oh, great.) So as we speak, it's been it's been put up. Lesley Logan 29:16  Great, because then when this airs, we have both links in it. That's amazing. So um, so I think it was ... I have we had talked about you doing a course a lot for a while. And there was like, you know, it was (Roxy: Yeah) it was not a no, but it was like, "Okay, I'll think about it." And I was like, ... (Lesley laughs)Roxy Menzies 29:33  That's how the best things have happened. I mean, this studio, I'm working at downtown. It was the same thing. This girl used to dance with. She sent me a DM. She said, "Are you ready to start teaching?" This was back in late November, early December. And that I mean talk about snob. I was kind of like, "Hmm. I don't know but I'll check it out." (Lesley and Roxy laughs) And then it was the weirdest onboarding process and I love this place. Like it feels like home and my husband, I haven't said because you never say that about any place in studio. So it's, it's, yeah, I mean, things can kind of pop up. And I remember when you you mentioned that to me, and I think Jazz was really small at the time. (Lesley: Yeah) I don't even think she was quite yet a year. And I was kind of like, "Yeah, maybe blah, blah, blah." But you planted the seed. That's the point. (Lesley: Yeah) And then things I started thinking about, "Oh, well, what could that be? That'd be interesting." And then I was getting all these questions in regards to writing. So I was like, "Oh, this could be something interesting." And then it kind of grew from there. But yeah, but I mean, that also took time, right?Lesley Logan 30:38  Took time, it took a long time, I think it was almost a year as well. And so y'all we'll put it in the notes but if you are, if you're listening to this, you're like, "Oh, I wanted to write. Oh, that's I thought about that." Roxy actually created a course for Profitable Pilates, which is our fitness business coaching company. And it is, I have to say like, first of all, I think it puts my courses to shame, it is so thorough, it is so robust. It is incredible how helpful and supportive it is, for people who are wanting to write, you really thought of a lot of things that I didn't even think you would like even think to ask you to include. And I'm really grateful, because it's so funny. On the last day, we did a promo for everyone, just as like a launch promo, and it's a very affordable course. So you can just go get it. But on the last day of that promo Pilates nerd had read, had been a post, did you see this comic post? (Roxy: Oh ...) It was like a guy who looks like he probably has never worked out just like hanging out in a chair. And he's like, to... like all tired. And he's like, "Oh, I'm writing, ah, wellness article." (Lesley and Roxy laughs) You know. And, and the whole idea was like, "We need people, too who are in wellness to write wellness articles." And that's why your course exists. Because so many of us get upset by the articles we see, you know, case in point, and somebody texted me last week, like, "What's this?" And I was like, "Why don't you just contact the writer and of the at the newspaper and say, 'Hey, have you ever thought about interviewing someone who actually teaches?'" Like, (Roxy: Right) you know, because (Roxy: Excuse me) they're only there, the articles that are out there are from the people who pitch them, they can't pitch, they can't, they can't publish articles that don't exist and aren't being pitched to them. And so I really am grateful for the course that you have, because as you ...Roxy Menzies 32:28  You are so right about that, because since since this, I've joined a couple of like freelance writing groups. And I've seen job opportunities come up, I mean, in things that I mean, all kinds of subjects. And, and there are writers out there, I mean, they, they have no experience in it nothing. And they're just like, "Oh, I can write about that." There was one that really bothered me, because cuz she was specifically looking for diversity and inclusion, paper and writing. And that should literally be people that are (Lesley: Yeah) that are experienced and, and know about that work and (Lesley: Yeah) all kinds of people from the woodworks, like, "Oh, I can write, I can write." Because they're just looking for writing gigs. So they just figure they can research whatever. (Lesley: Yeah) And, and it can come up.Lesley Logan 33:17  Yeah, and you know, that's the difference. I mean, I can read article, and know, like, "This person has never done it before. They don't know." Like I can, (Roxy: Yeah) because I am in the wellness industry, or the business industry. But people who are not are gonna read the article. And they're gonna go, "Oh, that's, that's the yoga and Pilates. The difference is breathing." And it's like, ah huh, it's a little bit more complex on that. (Lesley laughs) (Roxy: Definitely) Well, y'all ...Roxy Menzies 33:45  I'm actually writing something about Gyrotonic. And that's taken a lot. I've been pushing for that for a while, because I'm like, "Hey, you know, everybody knows about Pilates and yoga. Let's try and cover some other modalities as well." (Lesley: Yeah) That's finally coming. So again, that's I pushed for that, kept reminding. Hey, you know.Lesley Logan 34:00  Okay, so I feel like the common theme is following up and patience. (Roxy laughs) So (Roxy: Yeah) so were you always just because I'm curious now. Were you always a patient person? Or did you learn that through this career that you've created? Or is it in the last ...Roxy Menzies 34:19  ... I wouldn't use the word patience. I would not use the word patience. (Lesley: Okay) And I'm sure my husband be like, "She is not patient at all." (Lesley and Roxy laughs)Lesley Logan 34:27  You're persistent then.Roxy Menzies 34:29  Yeah, persistent would be a better word. (Lesley: Okay) I mean, there are some things I just like you feel called to do. (Lesley: Yeah) You know, like, like, even with this one that came out with Balance Body. I pitched it to another big Pilates place. And it didn't go like like myself and the editor. We're just on very different trajectories. So then I was able to like I checked in with people I was like, "Anybody connected to Balance Body. I think that would be a great company to to get this piece out with." And, and yeah, and it took some time to get through the channels and get in and pitch this idea. And then they were like, "Oh, we love it, we think it would be great actually." And for it to go. So it's really yeah, I would say I'm more driven and (Lesley: Yeah) persistent than anything else. I mean, they're there obviously, for some things, there comes a point where, you know, you have to stop or whatnot. (Lesley: And you just know ... feeling?) Like, I don't, I don't call them every single day or anything like that. But I will, I will ask, I think if you don't ask, it won't happen. You have to be willing to ask (Lesley: Brilliant) and put yourself out there.Lesley Logan 35:43  So so then, so then people are gonna want to know, how about the rejection? Like, how often does that happen? How does it hurt? Do you just move on to the next thing, because it's part of the gig. Like, I mean, rejection ...Roxy Menzies 35:54  Well, it happens all the time. And also, you know, I'm also coming from being a dancer. So I mean (Lesley: Yeah, you're used to be.) ... talk about rejection. (Roxy laughs)Lesley Logan 36:04  That's how they indoctrinate you with rejection. And that because I'm in a group with a girl who's a dancer, she's like, "Rejection?" She's like, "You get rejected for being you." That's like, it's like, (Roxy: Oh, totally) at least with your writing you can go, "Well, it's a blog post is not actually me." But like with dancing. It's like, "hmm, I don't like that your hair ..." Roxy Menzies 36:21  You're too tall. You're this, you're that. Yeah. So rejection, but does it hurt? Of course, it's still, it's still, sometimes it'll sting. And it depends, I think on on so many different factors, like what else is going on? Like, you know, "I've I've been sleeping enough? Am I sort of grounded?" And, you know, because if you're in a in a pretty decent place, you can handle rejection a lot better. But I'm also somebody who I will feel the feels, I will give my ego a moment to have its little temper tantrum, not in public. You know, like off to the side privately or I talked to a friend and I'm just like, "Oh, my gosh, blah, blah, blah." I have that moment and then I move on.Lesley Logan 37:02  Yeah, (Roxy: You know) I think that is, I don't think enough people allow themselves to feel the feels like and I think that you, you have to because all the studies have been like, you know, there's the body keeps score, there's a book called Burnout, like keeping all of that inside and just acting like it doesn't bother you is also the opposite. And, you know, I am I'm hoping to get this person someday I want who wrote the book on rejection on the pod, because fear of rejection is real. But also something he said is like, you will be rejected more times in life than you will not. Like it's just part of life. You like, (Roxy: That's true) it's impossible for you to be rejected less than not, because there's only so much time in the day for you to do things.Roxy Menzies 37:46  Well, yeah, that's true. That's true. And then you can usually, I don't know, I like once I passed the little ego part, there's usually the moment where you can find the positive in it, or sometimes it's really a blessing in disguise. Like, there have been things where something didn't work out, and it bummed me out, or, you know, or somebody ghosted me about a possible job. And I was like, "What happened?" Like I still I don't understand and it was a blessing, because I thought if I did work with that person, that would have been a nightmare. (Lesley: Right) You know, so sometimes you have to, you have to trust in how, in how some things end up. There's always gonna be other doors that, that open. You but you still have to keep putting yourself out there and being driven. And when I was when I first came back in 2019, I was pregnant, I was just like, "I'm gonna audition for every pregnant thing out there." You know, before I give birth, thinking that there would be a ton of jobs there was literally because I didn't have an agent. There was literally like three pregnant jobs that came up in the span of four months that I booked the last one. And, and it was just nuts. And again, you wouldn't get it you know, you feel rejected, but I remember listening to I don't know, it was some podcasts about this actress and she had said that she's pretty well known. She's not like, like, you know, one of the Avengers (Lesley: Yeah) like known but she's like a really well known actress. I can't remember her name right now. But she had said that when she started auditioning her grandmother who did acting had said to her that it takes 60 auditions before you book one. (Lesley: Wow) Yeah, so she, so she literally kept score. And even her agent was like, "How are you still here? Like all these other actors and actresses given up by now?" She goes, "Because my grandma told me it would take 60." And I think she said it was in the 50s like, audition that she finally booked this role that jump started her career.Lesley Logan 39:52  Yeah, it is. I think you're I think the theme and it'll be in the recap is like persistence. This is a persi... like that it is the key to anything because also, it goes with like Seth Godin - The Dip, right? In every career, there is a dip where like a bunch of people bow out, they quit, they get out of the game. If you can get through that, you get to the other side, and there's very few people. And so for (Roxy: Right) by her 50th audition, there's very few people who've kept going. And so now she's auditioning against a few people with experience in auditioning that (Roxy: Right) are good enough to get it, you know, and I think Brad has his like 200 rejections, he's like, really like, he doesn't he doesn't he doesn't mind a rejection because he's like, "Okay, that's one down. That's one down." He's gotta go. (Roxy: Right. He's keeping a tally.) Yeah, yeah. And I think like, if we can maybe the moral for everyone is like, maybe you have to get 60 rejections before you get one. But like, so (Roxy: yeah) count them and go, "Okay, that's, I'm getting closer. I'm getting closer. I'm getting closer." Roxy Menzies 40:54  I would always say to though, I mean, have other things going on as well. Like, I'm somebody who was never put all your eggs in one basket. My problem would be I probably have too many baskets. (Lesley laughs) I'm working on like narrowing the basket.Lesley Logan 41:08  You know, I understand that I had to narrow ... a whole team that like, "You have to narrow down your baskets and here is an ideas parking lot." (Lesley laughs) And it's I'm very grateful. Like I'm very grateful for those things because they have allowed me to do what I'm doing now. Roxy, you are just amazing. Y'all we're gonna come back in just a second. But Roxy's course is available on Profitable Pilates, we'll put the link below. When you buy that course, not only do we pay our course contributor, you also we donate a percentage of every sale to the Cupcake Girls Organization, which is actually helping stop human trafficking and also allow sex workers to have rights. So I'm really excited about what they are doing. They're incredible. Alright, Roxy, where can people find you? Where can they read your writing, stalk you, hire you for work? What's going on?Roxy Menzies 41:55  All right. All right. Well, you can start with my website, which is my name, roxymenzies.com. I have my full writing portfolio on there. And it's, as everyone knows, a website is a work in progress. So it's constantly being like updating and adding things in. And you can also find me on Instagram at @roxyspiral. And it's a r o x, y. (Lesley: Yeah) I can't stand that are r o x i e, personally ... It's r o x y. And please check out Wednesdays because I do Writing Tip Wednesdays.Lesley Logan 42:25  I love your Writing Tip Wednesdays. I'm so glad you started that. And it's I mean, you've been doing it for several weeks. And by the time this comes out, it'll be you know, probably a couple months, but it's, I am reminded of something like, "Oh, yeah, that that's great." Like, I love it. So it's sometimes it's a confidence builder, sometimes the lightning and you're just wonderful, and generous. And and ...Roxy Menzies 42:44  Thank you. You too, my goodness.Lesley Logan 42:46  Thank you. We try. We're trying every day like, how do we help more people that just be successful what they want to do, and I'm grateful for you being on this podcast. Before I let you go though, you must. I know we've talked a lot about things but just to wrap it up in case people do the TDLR whatever. TLDR - too long, didn't read and they just swipe till the end. BE IT action items - bold, executable, intrinsic, targeted steps people can take to be it till they see it. What do you have for us?Roxy Menzies 43:13  It's gonna be a real shocker, write it down. (Lesley: ooh) Right? I mean, there are studies out there that show once you write something down, it has a higher chance of being achieved. Plus, it creates more bandwidth in your in your head. So that would be my number one thing, whatever it is that you want to be or whatever your dreams or goals, write it down and keep it somewhere. You know, for everyone, it will be different. If you're if you're a visual person, you need to see it. That would be the one thing I would say. And of course, it's coming from a writing perspective. (Lesley: Yeah) And other than that, I would say just getting really clear on your 'why' and your 'what'. Like, 'what is it that you really want' and 'why do you want it' and be and know that it can change and it will change and allow it to change, periodically.Lesley Logan 44:10  Yeah, yes. That's the ... allow it to change is so key. Roxy, you are a wonderful person. I know I said that. But I gotta say it again before I wrap this up. Now please check her out. Follow on Instagram. How are you going to use these tips in your life? Screenshots this episode, tag @roxyspiral, tag the @be_it_pod with your favorite takeaways. Do yourself a favor if you have a friend who you're like, "Oh my gosh, they need to hear this." Text it to them. You know, a lot of things in my life have changed because someone sent me a podcast and it's like, "Oh, that's exactly what I need to hear today." And you don't even what we often think we have to buy people gifts or do things like this or sit down have confident you could just send them a podcast episode. And rate and review the podcast so more people hear about it. Until next time, Be It Till You See It.That's all I've got for this episode of the Be It Till You See It podcast! One thing that would help both myself and future listeners is for you to rate this show and leave a review. And, follow or subscribe for free wherever you listen to podcasts. Also, make sure to introduce yourself over at the @be_it_pod on Instagram! I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us help others to BE IT TILL YOU SEE IT. Have an awesome day!‘Be It Till You See It' is a production of ‘As The Crows Fly Media'.Brad Crowell 45:26  It's written, produced, filmed and recorded by your host, Lesley Logan and me, Brad Crowell. Our Associate Producer is Amanda Frattarelli.Lesley Logan 45:38  Kevin Perez at Disenyo handles all of our audio editing.Brad Crowell 45:42  Our theme music is by Ali at APEX Production Music. And our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 45:51  Special thanks to our designer Jaira Mandal for creating all of our visuals (which you can't see because this is a podcast) and our digital producer, Jay Pedroso for editing all videos each week so you can.Brad Crowell 46:03  And to Angelina Herico for transcribing each of our episodes so you can find them on our website. And, finally to Meridith Crowell for keeping us all on point and on time.  Transcribed by https://otter.aiSupport this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Doctor in Theology, Principal of the Detroit High School for Fine & Performing Arts, Pastor of Fellowship Chapel, and my BIG cousin are only some of the titles held by Mayowa Reynolds. Joining me for a second Detroit is Different interview we discuss the role of mentoring and teaching. Her passion as a child was sparked and flourished through dance. Mayowa is one of the few and proud formerly trained Katherine Dunham dancers. Her start honing a craft and talent in a competitively formal space has empowered her role reaching heights of success. Today her passion is to inspire others and empower their dreams. We discuss differences between students today and ‘back in the day,' and so much more. This was a fun and colorful interview which will inspire you. Detroit is Different is a podcast hosted by Khary Frazier covering people adding to the culture of an American Classic city. Visit www.detroitisdifferent.com to hear, see and experience more of what makes Detroit different. Follow, like, share, and subscribe to the Podcast on iTunes, Google Play, and Sticher. Comment, suggest and connect with the podcast by emailing info@detroitisdifferent.com Find out more at https://detroit-is-different.pinecast.co Send us your feedback online: https://pinecast.com/feedback/detroit-is-different/7fa7dc66-8b42-44f2-9be2-16cb02c7dd3d

Katherine Dunham (1909-2006) was a pioneering, multi-talented woman, who brought a unique celebration of Black culture to the public eye. She blended disciplines to create never before seen performances, and even toured the world to show it off. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejeda. Special thanks to Shira Atkins.Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitterTo take the Womanica listener survey, please visit: https://wondermedianetwork.com/survey 

This week I chatted Chima Olujie, Alvin Ailey school alum, founder of Horton Technique Australia, and a fellow nerd. We talked about the difference between modern dance and contemporary, as well as many of the great modern dance pioneers; Isadora Duncan, Martha Graham, Merce Cunningham, Jose Limon, Katherine Dunham and, of course, Lester Horton. Find her here: CHIMĀ #ʜᴏʀᴛᴏɴᴛᴇᴄʜɴɪǫᴜᴇAU (@chichichanel13) • Instagram photos and videos Horton Technique Australia (@hortontechniqueau) • Instagram photos and videos Home | Horton Technique Australia

This is the first half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. Appropriately for the final day of Women's History Month, this episode focuses largely on two great female choreographers -- Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course – and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance – like that of many other black artists – has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Although its name suggests otherwise, Stormy Weather (1943) is pure sunshine! This week, we discuss our favorite songs and dances from this groundbreaking movie-musical featuring an all-Black cast. In this story, Bill Williamson is a former soldier trying to win the heart of the beautiful and talented Selina Rogers, while also trying to rise to the top of show business. The cast of Stormy Weather (1943) consisted of some of the most brilliant performers of their day; we had so much fun discussing the backstories of Bill Robinson, Lena Horne, Cab Calloway, Fats Waller, Katherine Dunham, The Nicholas Brothers, and so many more! Grab your rain boots and umbrella, and splash around with us as we look closer at this darling classic!Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!—Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/FacebookTwitter: @oldsoulpodInstagram: @oldsoulmoviepodcast

Two animal stories in this episode: the first about how choreographer Katherine Dunham got a little too real while preparing her version of Giuseppe Verdi's Aida at the hotel and then the tropical jungle created by composer and ladies' man George Kleinsinger, complete with tropical birds, piranha and a 7-foot python.

To create one's own world takes courage -Georgia O'Keeffe It takes courage to create.  It takes courage to be vulnerable, to share your art with the world. Courageous is one word I would easily use to describe the artists in attendance at The World Choreography Awards that took place in December 2021 at The Globe Theater in Los Angeles. Wisdom and inspiration were abundant throughout my conversations with attendees and award nominees/winners that I am excited to share in this latest podcast session. https://youtu.be/hD3g2o4DAlM   https://youtu.be/qZ0efg_ivx4 A few takeaways from this session: It's important to honor and know dance history, and where dance forms originate from. Events like The World Choreography Awards are important to continue celebrating the work and creativity that goes into dance media. Taking care of mental health needs to continue being forefront in dance and other creative arts. Keep creating and supporting other creators and collaborators. The importance of mentorship and training the next generation will help the longevity and integrity of dance and art. Links from this session: https://worldchoreographyawards.com (World Choreography Awards) https://manospr.com (Manos Public Relations) https://msaagency.com/portfolio/katy-tate/#social (Katy Tate) https://www.instagram.com/kent_boyd/ (Kent Boyd) https://www.instagram.com/joyakazi/?hl=en (Joya Kazi) https://www.saleemaheknight.com (Saleema E. Knight) https://www.instagram.com/christian.jd.vincent/?hl=en (Christian Vincent) https://www.chloearnold.com (Chloe Arnold) https://kickacustomdesign.com (Marika Soderlund-Robison) https://la.blocagency.com/talent/choreography/christopher-scott/ (Christopher Scott) https://shop.therealcarmit.com (Carmit Bachar) http://kdcah.org/katherine-dunham-biography/ (Katherine Dunham) https://www.moncelldurden.com/ (Moncell Durden) https://timesofindia.indiatimes.com/travel/destinations/a-walk-through-india-the-famous-classical-indian-dance-forms-and-their-state-of-origin/as75446157.cms (Classical Indian Dance) Other episodes of interest: https://annettbone.com/captivate-podcast/87-2/ (#087 How to Have Longevity in Your Dance Career (With Christian Vincent)) https://annettbone.com/captivate-podcast/thriving-in-the-betweens/ (#211 Thriving In The Betweens) https://annettbone.com/captivate-podcast/episode-212/ (#212 Silver Linings in a Pandemic) Would you review The DancePreneuring Studio? I would be extremely appreciative if you would subscribe and leave your feedback on Apple Podcasts or Spotify. It really helps if you do it through the native Apple Podcast App on your smart device. Thanks so much!

On this episode, Rob chats with Beyond Boundaries Program Class of 2025 student Ella Urton who has interests in studying Urban Studies and Dance at WashU in addition to her other passions including working at SWAP (Sharing With A Purpose), one of WashU's many STEP (Student Entrepreneurial Program) businesses, visiting St. Louis area museums, and museum curation. During the chat, we talk about Ella's course schedule from last Fall and her upcoming Spring courses in Beyond Boundaries, local dance legends Josephine Baker and Katherine Dunham, plants (and who she does and does not trust caring for them), binge-watching Last Airbender (and others) with her mom while virtual learning, and her challenges with bleach unintentionally ruining her clothes. Listen and SUBSCRIBE!

In this episode, Cite Black Women Podcast host interviews Dr. A. Lynn Bolles about her pathfinding work on Black women and the politics of citation in anthropology. A Lynn Bolles, Ph.D. is Professor Emerita in the Department of Women's Studies and an affiliate faculty member in Anthropology, African American Studies, Comparative Literature and American Studies at the University of Maryland College Park. She is the author/co/author of 5 books that focus on women, work and political economy in the English-speaking Caribbean and the Diaspora and over 80 articles that are interdisciplinary and intersectional. Her, “ 2001 “Forging a Black Feminist Tradition in Anthropology,” in Irma McClaurin's volume, 2013 Transforming Anthropology article, “Telling the Story Straight: Black Feminist Thought in Anthropology,” other critical biographical work on Vera M Green, Irene Diggs, and Katherine Dunham and her forthcoming intellectual biography of Black women anthropologists, “Faceless and Voiceless No More” makes Bolles the leading figure in the contributions of Black women anthropologists to the field. In 2013 she urged “ cite Black women “ and that call is being answered

"We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.” -Albert Einstein Even though we are coming out of this pandemic, seems like yesterday and it seems like a lifetime when things were shut down and we were navigating and figuring things out.  Regardless of circumstances, life requires us to navigate change and figure things out. As I've been navigating my journey coming back to dance in 2014 after two decades, it didn't dawn on me that dance has been a huge component of my healing process in dealing with the negative relationship I had with myself and in turn how that affected my relationship with others. During the pandemic I had a delightful exchange with dancer, choreographer, somatic and creative recovery coach Morgyn Danae and I am happy to share this conversation that reminded me of the healing and meditative benefits of dance and movement.  3 Takeaways from this session: Dance and movement are meditation. Meditation comes in different forms and can be experienced in different ways. Trauma is stored in the body and there are methods to address and release trauma. Dance, movement and meditation go beyond the aesthetic and performative aspects. Dance is a healing art. Other episodes of interest: https://annettbone.com/captivate-podcast/episode-212/ (Silver Linings in a Pandemic) https://annettbone.com/captivate-podcast/thriving-in-the-betweens/ (Thriving in The Betweens) https://annettbone.com/captivate-podcast/128-2/ (The Rise of Sensual Fitness) Links from this session: https://morgyndanae.com (MorgynDanae.com) https://www.davebrubeck.com/ (Dave Brubeck Quartet) https://thebeatles.com (The Beatles) http://kdcah.org/ (Katherine Dunham) https://marthagraham.org/ (Martha Graham) https://isadoraduncan.org/ (Isadora Duncan) https://en.wikipedia.org/wiki/Carmen_Miranda (Carmen Miranda) Would you review The DancePreneuring Studio? I would be extremely appreciative if you would subscribe and leave your feedback on Apple Podcasts or Stitcher Radio. It really helps if you do it through the native Apple Podcast App on your smart device. Thanks so much!

Sara Burke, Founder of the City Studio Dance Center and Katherine Dunham Dancer, stopped by to speak with Nancy about her career as a dancer, including her work with the legendary Katherine Dunham.  She also shares two writings she has done recently, “I Bear Witness To” and “Musings on Creativity.”  Sara Burke at the City Studio Dance Center “Sara Burke is the owner and director of The City Studio Dance Center in St. Louis, Missouri which she founded in 1986.  Sara is a choreographer, dancer, dance instructor, photographer, and author and arts diversity consultant.  Sara consults for local dance companies and works with young dancers helping them start Company's.  Sara relishes her role as “mentor”.   She has danced around the world. One of her biggest goals and accomplishments was to learn Dunham Technique from the legendary Katherine Dunham.  She studied with Miss Dunham in East St. Louis in the 1970's and danced with the Dunham Company.  Sara's experiences studying and dancing Dunham Technique changed her life and she has been committed to promoting diversity through the Arts ever since.” From "Rust Belt to Artist Belt" The City Studio Dance Center features ongoing classes in Jazz, Dunham Technique, Hip Hop/Street Jazz, Pilates & Yoga. The City Studio Dance Center    

Tämän päivän jaksossa olemme Legendojen jalanjäljillä ja pääosassa jaksossa on… Katherine Dunham! Dunham oli mustan feminismin ja afrikkalaisen diasporan tärkeä puolustaja. Titteleidensä (antropologi, etnologi, kirjailija, tutkija, aktivisti, humanisti ja tanssija) lisäksi hän oli tietenkin paljon muutakin - häntä on kutsuttu ”mustan tanssin matriarkaksi ja kuningattareksi”, mutta miksi? Tämä ja moni muu asia selviää tämän päivän jaksossa. Ei muuta kuin jakson pariin kuuntelemaan tämän legendan elämäntarina - tiivitetyssä muodossa, tietenkin! Jaksossa käytetyt lähteet:https://danceartjournal.com/2020/03/07/the-history-of-dance-is-feminist-the-greatest-female-choreographers-who-changed-the-world-of-modern-dance/http://kdcah.org/katherine-dunham-biography/https://www.gcu.edu/blog/performing-arts-digital-arts/who-katherine-dunhamhttps://www.stylist.co.uk/visible-women/katherine-dunham-technique-dance-choreography-influences-facts-accomplishments-anthropologist/203207 See acast.com/privacy for privacy and opt-out information.

Welcome to It's A Wonderful Podcast!! A wonderfully unique musical this week and a celebration of the best Black American entertainers of the early 20th Century as Morgan is joined by Jeannine to talk STORMY WEATHER (1943) starring an All-Black cast including Lena Horne, Bill Robinson, Fats Waller, Katherine Dunham & Cab Calloway!! The It's A Wonderful Podcast Theme by David B. Music. Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST SHIRTS: https://www.teepublic.com/user/g9design Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

Poetka, etnografka, tanečnica, filmárka. Maya Deren. Dnes o nej hovoríme ako o matke abstraktného filmu. I keď jej filmografia pozostáva iba z niekoľkých titulov, ovplyvnila množstvo umelcov. Od začiatku bola fascinovaná ľudským telom a pohybom, pričom v centre jej záujmu bol najmä tanec. Tento fokus dal vzniknúť novému umeniu, ktoré bolo označené ako choreocinema. I keď Maya Deren nebola prvou umelkyňou, ktorá skúma vzťah tanca a filmu, vo svojej experimentálnej tvorbe posunula filmový tanec za hranicu tela. Po tom čo ju choreografka a etnografka karibského tanca Katherine Dunham nasmerovala k domorodej kultúre na Haiti, objavovala nielen ich tanec, rituály, ale aj kult voodoo. Derenovej experimentovanie s vizuálnymi nápadmi je inšpiratívne dodnes. Mariana Jaremková venovala Mayi Deren ďalšiu časť cyklu relácie RTVS Rádia DEVÍN Fenomény a rozpráva sa o nej so študentkou Katedry audiovizuálnych štúdií Filmovej a televíznej fakulty VŠMU Barborou Nemčekovou.

On this episode of the ABP, we have interview our special guest Charlie! If you haven't checked out our Instagram live interview you can see it here! We had the opportunity to talk with Charlie about her goal to create a space that women and people of color feel comfortable in breweries. Additional topics that were discussed were about Charlie's experience with social media, growing up in a multiracial household, growing up as a dancer, GATORS, finding a community of women in craft beer, responsibility with content and so much more! Make sure to follow Charlie on Instagram @hops_and_charlie Beers consumed during this show: Charlie: Crowns and Hops | HBCU - a hazy double dry-hopped IPA from one of the most popular Black-owned breweries! Chris: Desperate Times Brewery | German Style Pilsner - I mean...it is what it sounds like. Tyler: Two Locals | Prolific - A hazy IPA with a prolific amount of ingredients brewed by Philly's first Black-owned brewery! To check out one of Katherine Dunham's performances [discussed on the show] click here. To support the show you can share this episode with friends and family, rate & review the show, follow us on Instagram, support us on Patreon, and/or buy something from our shop! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/alternative-blacks/support

Dunham. The single word conjures connection. Katherine Dunham revolutionized dance in America. Her life was an undulating umbilical cord back to our Motherland. With a Ph.D. in anthropology, she studied sacred traditional dance techniques and offered Black people a technical way to exercise the trauma of separation from our spiritual inheritance. She was ancient and modern and we are her daughters. She taught us to love our bodies, our Blackness, our culture. And she dedicated her entire life - 96 years on the planet - to freeing Black people, starting with her own community in East St. Louis. Dunham’s impact on the world was deeply therapeutic. Boldly connective. A cultural revolution. There is no American modern dance movement without Katherine Dunham. She is the matriarch of Alvin Ailey AND The Dance Theater of Harlem. Because of her work, I fully understand the power of my own mother’s Holy Ghost dance. I understand that there is such a thing as full-body worship....that the African diaspora has to remember - or learn again - the art of riding Spirit to transform circumstance. And that healing and unifying our own bodies is a prerequisite to unifying our body politic. (Today’s episode is dedicated to Dr. Linda Goodrich, the Dunham-trained teacher in Sacrament who taught my 22-year-old, God-fearing body to root into the earth, roll with the wind, and rise with the sun. To emote, undulate, AND to perform the rites of our foremothers. Rites of generosity, gratitude, sensuality, fearlessness. There is a dance for them all.)Today, we invite you to experience the full-bodied legacy of Mrs. Katherine Dunham as we walk together in the community. Ashé.Join GirlTrek’s Black History Bootcamp - 21 Cosmonauts at blackhistorybootcamp.com to receive specially curated emails with survival tips, speeches + dedicated songs to listen to for each episode. Together we will discover the stories of 21 women who were ahead of their time.Disclaimer: We do not own the rights to the music played during this broadcast. Original content can be found here:Hot Boy | Bobby Shmurda:https://open.spotify.com/track/0rFke7eNFHbGuGJUdRgjB2?si=nAVuZ8IHTb2RyXqEICzjbAHalifu's Dunham Class Progression:https://www.youtube.com/watch?v=b_s2P-Bxl3EEICzjbAYe | Burna Boy:https://open.spotify.com/track/3FskQrDXcY24ur2fCvz35O?si=uh9M-Y-iR_u8B1Lj6sB-Lw

Strike a Match

Ambyr Amen-Ra joins Data Brunch to talk about data that covers decades worth of international travel and performances by legendary dancer, choreographer, and activist Katherine Dunham. Ambyr shares stories of the data's journey to ICPSR, as well as her own personal connection to Dunham and the communities she built. Links from this episode: Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry: https://www.dunhamsdata.org/ Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry, Everyday Itinerary, 1950-1953: https://doi.org/10.3886/ICPSR37698 (ICPSR 37698) Dunham's Data webinar recording: Digital Methods for Dance History: Finding Arts and Culture Data in Unexpected Places: https://youtu.be/gJaICwWtIy4 ICPSR jobs: https://myumi.ch/7ZxmB Joining the Data Revolution: Big Data in Education and Social Science Research (applications due March 22) https://myumi.ch/BoQmo Rewind: Love Data Week 2021: https://cms.icpsr.umich.edu/love-data-week-2021-international-events

"The Black Arts Movement" by Larry Neal: https://www.jstor.org/stable/1144377?origin=crossref Carnival of Rhythm by Katherine Dunham: https://www.youtube.com/watch?v=3lTcPgmZoj8 Fanga Dance performed by Pearl Primus: https://www.youtube.com/watch?v=BtPvsUwHXsE Revelations by Alvin Ailey: https://www.youtube.com/watch?v=kDXerubF4I4 Balante Dance performed by Chuck Davis African American Dance Ensemble: https://www.youtube.com/watch?v=8ys9uv_8HPc --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

My father met a woman who would forever shape him as and artist and a man. She became a signature mentor, and provided him with character building guidance that he still draws from to this day. That woman, was the great African-American dancer, choreographer, creator of the Dunham Technique, author, educator, anthropologist, and social activist Katherine Dunham. Dunham had one of the most successful dance careers in African-American and European theater of the 20th century, and directed her own dance company for many years. In 1964, Dunham settled in East St. Louis, and took up the post of artist-in-residence at Southern Illinois University in nearby Edwardsville. Because of her community mindedness and activist heart, she located her school in the Black community of East St. Louis, Illinois. In this episode he describes their meeting and collaboration and the important place her mentorship holds in his life. In 2016 I took a gamble on me. After being signed to M.C. Hammer‘s record label, and releasing an album that DID NOT catapult me to fame and fortune, I went back to college and became a teacher. My first job was as a high school English teacher in Memphis, Tennessee, and talk about trial by fire! That was 1998 and since then I have worked steadily at high schools, colleges, universities and even prisons! But it wasn't until 2016 that I realized that all THE OTHER gifts I share; the POETRY PERFORMANCE and READINGS, the LECTURES, TALKS, and PRESENTATIONS, the CURRICULUM WRITING, the ARTICLE WRITING, and now the RETREAT HOSTING and AIRBNB EXPERIENCE LEADING, should have a home. Feminine Pronoun Consultants, LLC is that home. Welcome. This PODCAST is just one of the ways you can plug in, collaborate, and benefit. Go here for others: www.FemininePronoun.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/treasure-shields-redmond/support

Ytasha Womack is an award-winning author, filmmaker, independent scholar, and dance therapist. She is a leading expert on Afrofuturism, the imagination, and its applications. Ytasha frequently lectures on the subject across the world. Her book Afrofuturism: The World of Black Sci-Fi and Fantasy Culture is the leading primer on the subject and taught in colleges and universities. Afrofuturism is also a Locus Awards Nonfiction Finalist. Ytasha directed the Afrofuturist dance film A Love Letter to the Ancestors From Chicago and was a screenwriter of the romantic comedy Couples Night.  Ytasha talked to Aleks about her early love of dance, libraries and the movie The Wiz...and about the icon who inspired her scholarship and art. She also talks about how she looks to the past and present to help her understand how the future might be. To find out more about Ytasha Womack go to decolonizemars.org. You can find her on Twitter at @ytashawomack And if you want to know more about Katherine Dunham and the Katherine Dunham Center for Arts and Humanities go to kdcah.org 

Rabbi Susan Talve is the founding rabbi of Central Reform Congregation, the only Jewish Congregation located within the city limits of St. Louis. When other congregations were leaving the city for the suburbs, Rabbis Susan joined with a small group to keep a vibrant presence in the city to be on the front line of fighting the racism and poverty plaguing the urban center.During the conversation, she refers to her relationship with choreographer and social activist Katherine Dunham who made her home in East St. Louis. In 1992, the then 82-year-old Dunham staged a hunger strike  to protest the US Government's denial of asylum to Haitian boat people.  Rabbi Talve describes her interaction with Dunham at that time.   Rabbi Talve discusses her congregation providing sanctuary to protesters during a 2017 demonstration. Here is coverage in St. Louis Jewish Light: Central Reform Congregation of St. Louis provides shelter during protests.Rabbi Talve discusses her involvement in the movement to close the Medium Security Institution, commonly known in St. Louis as “The Workhouse” , a jail housed in a decaying building whose inmates are often held there because they cannot pay bail. The St. Louis Board of Alderman voted recently to close The Workhouse later this year.As Rabbi Talve discusses, she and Central Reform Congregation commissioned an artist to create a mosaic floor inspired by mosaic floors found by archeologists in ancient synagogues in Israel. See the artwork here and read more about it here.December 9, 2015, Rabbi Talve was a guest of President Obama at the White House Hanukkah Reception, along with Israel's President Reuven Rivlin. Click here to watch her remarks and blessings. For questions and comments, email Rabbi Ed Bernstein at myteacherpodcast@gmail.com.Follow the My Teacher Podcast on social media:Twitter: @PodcastTeachFacebookInstagram

Episode 3 - Frida Kahlo, Gyo Fujikawa, Katherine Dunham and Mary Blair   Frida Kahlo What happened to Frida's leg? How did she disguise it? Why did she end up doing so many self-portraits? Why did she not classify herself as a ‘surrealist'? How did she show her Mexican culture in her work?   Gyo Fujikawa What did Gyo paint as a child? What happened to Gyo's family during WW2? Which books did she write and illustrate herself? What do you think the author means by ‘characters of many ethnicities' ?   Katherine Dunham How old was she when she had her story published? What was the name of the group she created that was the first black ballet company? Where in the Caribbean did she travel? What do you think the word ‘matriarch' means?   Mary Blair What did Mary start out life as doing? Why do you think her husband was chosen for the trip and not Mary? Name some of the films Mary worked on? Have you seen any of these? Which ride did Mary design? Find a picture/video of it and see if you can understand her style.

All too often, artistic expression proves inaccessible to everyday people, a kind of luxury out of reach for those struggling to make ends meet. Katherine Dunham understood this reality when she first turned her attention to East St. Louis in the 1960s. And so does Leverne Backstrom, one of a handful of dedicated community members still carrying on the world-renowned dancer and choreographer’s legacy there today.

Qual é o ingrediente secreto da Disney? E qual a relação da Disney com o Jazz? Foi assim que nessa semana Henry Chuang iniciou o Papo Curvo com Talita LC. Chega junto e escuta essa dança elaborada em pensamento (ou seria o contrário?) que, ainda que nem tudo seja, é puro jazz! Temas abordados nesse episódio: Magia Disney Elementos Poéticos X Elementos Físicos Potência da Imaginação Disney X Jazz (Música e Dança) Tipos de Jazz Elemento Improvisacional Jogo/ Brincadeira Criação Artística X Contexto (Espacial e Sonoro) Elaboração Artística Arte X Esporte (Semelhanças e Diferenças) Arte X Culinária/ Gastronomia (Semelhanças e Diferenças) Experiência Estética Arte X Educação Arte X Comunicação Arte X Socialização Arte X Rito Religioso Matriz Afro-Diaspórica do Jazz Hibridismo/ Hibridação “Mestiçagem” Influência Indígena X Jazz Influência Europeia X Jazz Influência Hindu X Jazz Stage Dance (Dança de Palco/ Jazz) Danças Modernas X Danças Jazz Danças das Américas (Norte, Central/ Latina, Sul) Corporeidade do Jazz Fisicalidade do Jazz Efeito Jet Lag Cultural Linguagem e Cultura Viva Cultura de Corpo Relação Observador-Observado Autonomia X Processo de Aprendizagem Autodidatismo Corpo X Dança X Vida Referências Citadas: Fantasia (filme de animação/ 1940) Fantasia 2000 (filme de animação/ 1999-2000) Mogli - O Menino Lobo (filme de animação/ 1967) A Princesa e o Sapo (filme de animação/ 2009) Katherine Dunham http://kdcah.org/ Matt Mattox https://www.youtube.com/watch?v=RvPJrJzv5uM Jack Cole https://www.youtube.com/watch?v=Q3s3-_kJRrs Jerome Robbins http://jeromerobbins.org/ Bob Fosse https://www.youtube.com/watch?v=t14vhjUwe_o Firmino Pitanga @firminopitanga Paulo Freire “Pedagogia da Autonomia” Vem Junto! Youtube | TAH concept

Robert & Russell meet artist Shawanda Corbett, best known for her ceramics, paintings and performances. Shawanda is a recent recipient of The Turner Bursary which replaces the Turner Prize 2020, recognised for her significant contribution to contemporary art in the UK during the past 12 months. We discuss the themes within “Neighbourhood Garden”, her current debut solo exhibition at Corvi-Mora gallery in South London, studying at the Ruskin at Oxford University, her admiration for her tutor Lynette Yiadom-Boakye, the ceramics of Magdalene Odundo and her love of jazz music including Eric Dolphy, Charles Mingus, Alice Coltrane & John Coltrane. We discuss cyborg theory and growing up with a disability, the question of “what is a complete body?” and the influence of Bauhaus and Sci-Fi. We consider the importance of collaboration in creating her performances particularly with choreographers, notably her brother Albert Corbett and the role and vital energy of, and connection to, the audience. We discuss theatre and dance such as Pina Bausch and Katherine Dunham who kept dancing even when in a wheelchair later in her life. Finally we discuss family and her experiences growing up, her memories of childhood and her inspiring grandmother Mary Bells who was a big supporter and ally to the trans and gay community in New York during the AIDS crisis of the 1980s.Shawanda is pursuing a doctoral degree in Fine Art at the Ruskin School of Art and Wadham College, University of Oxford. "Her practice-led DPhil focuses on the relationship between differently-abled body and abled body as cyborgs. In replacing disability theory with cyborg theory, Corbett’s practice is challenging her to be the primary maker and performer in her conceptual practice. She applies prosthetic making and the transitional period for prosthetics to techniques in filmmaking, analogue photography, and live performances."Visit her current solo exhibition at Corvi-Mora, running until 31st July 2020. https://www.corvi-mora.com/Follow @Cyborg_Artist on Instagram and official website website https://www.shawandacorbett.com. You can also view images at her gallery too @CorviMora. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Liz and Maris sketch out a very quick overview of American Modern Dance!  Full disclosure, we decided to rerecord this episode because our first try was too long and we only got to the 1960s (that's only halfway through...). We do a much better job this time around if we do say so ourselves. We hit on dancing in the woods, Isadora Duncan, Martha Graham, José Limón, Katherine Dunham, Merce Cunningham, Jerome Robbins, Alvin Ailey, and so many more. Liz and Maris also talk about separating art from the artists and cancel culture. And the painter that Maris can't remember the name of is Paul Gauguin.  Dancers Did That? is a dance history podcast by dancers, not historians. We welcome comments and corrections! --- This episode is sponsored by Anchor: The easiest way to make a podcast. https://anchor.fm/app --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Links referenced in/relevant to today's episode:-Francesca Hayward's Harper's Bazaar interview, Amanda Morgan's Dance Magazine interview, and Gabrielle Salvatto's Interview En L'Air post-The New York Times' Q&A with Melanie Greene and J. Bouey-The Dance Union's Instagram page and Linktree (including donation info and Town Hall links)-The official Katherine Dunham website-The Juneteenth March Facebook event page

Orson Welles called her “the most exciting woman in the world.” And she was. Eartha Kitt sang in 11 languages. Danced with Katherine Dunham. Broke boundaries for Black women in Hollywood when she played Catwoman. She was nominated for Tony Awards, Grammy Awards, and Emmys. And still, she felt unwanted, unloved. At the end, she was asked to summarize her life in six words. She said, “Rejected, ejected, dejected, used, accused, abused.”Join the 21 Day Black History Bootcamp at https://bit.ly/blackhistorybootcamp to receive specially curated emails with inspiring words, survival tips, speeches + dedicated songs to listen to for each featured legendary Black woman.Disclaimer: We do not own the rights to the music or speech excerpt played during this broadcast. Original content can be found here:Eartha Kitt - Live 1968: https://www.youtube.com/watch?v=HdsHKw6939kEartha Kitt Interview: https://www.youtube.com/watch?v=MpPq8vlld_E&mc_cid=6605522284&mc_eid=b187d8127e

Korantema Anyimadu is a London-based jazz dancer and independent curator working in heritage and the arts. In 2019, she won a Making History award from the Mayor of London for her exhibition, Plaits, Princesses, and Pink Moisturiser - an exploration of Black Hair Stories. Korantema is deeply passionate about cultural heritage, and in today’s episode we talked about her research in West African dance, her experience as a solo jazz dancer today, and her research into black hair history. Any feedback for the show? Get in touch at hello@swingstuff.com Support the podcast on Patreon! If you like the show, please leave us a review and rate us on Apple Podcasts! It helps others find the show, and gives Ruby a warm and happy feeling of love and validation. Host, Producer, Editor: Ruby BellVery Special Guest: Korantema AnyimaduShow Art, Technical Support, and Unwavering Moral Support: Jonathan TopfSweet Sweet Music: ‘Tea for Two’ by the Shirt Tail Stomperswww.swingstuff.com

K-D. FaSho Track 33: Last Words 3 Tips Griot Time: F$%^ Dec 25 Whatchu jam'n to? Free Nationals - Gidget feat. Anderson .Paak & T.Nava Quote: "I used to want the words ‘She tried’ on my tombstone. Now I want ‘She did it.’" Katherine Dunham  Dime Dilemma: Who has a smooth cedi? ROI: Life Insurance Sankofa: Allow someone to share something with you.   Show Links Urban Don Saga by D.C. Green   Connect with me/Books/Subscribe/Vote for "Best Of" 4sho.xyz/kd

Listen to Harlem legend, Nana Camille Yarbrough, as he talks writing, being an artist, with host Danny Tisdale, on The Danny Tisdale Show.Join Nana Camille Yarbrough, as she talks Katheryn Dunham, Josephine Baker, Paris, her recent reading “Celebrating Nana Camille's Journey as an Artist and Cultural Custodian at the Schomburg in Harlem and more with host Danny Tisdale, on The Danny Tisdale Show.In honor of Black history month we have Harlem's Nana Camille Yarbrough has done it all In the arts as a performer, singer/musician, actress on the stage, television, and film. She is an acclaimed author and poet, and as a dancer who trained under the legendary Katherine Dunham. You would be hard pressed to find a medium in the arts that Nana Camille Yarbrough has not contributed to in very fervent ways.And on February 14th she was at the Schomburg Center in Harlem on February 14th, 2019 in New York reads, “Celebrating Nana Camille's Journey as an Artist and Cultural Custodian.”SUBSCRIBE to our YouTube channel for more videos: www.youtube.com/harlemworldmagazine.comwww.facebook.com/harlemworldmagazine.comwww.harlemworldmagazine.comSupport the show (https://www.patreon.com/theharlemworldmagazinepodcast)

She did --- Send in a voice message: https://anchor.fm/famousquotes/message

In honor of Black History Month, Annika discusses Katherine Dunham, world renowned dancer, choreographer, activist, and teacher. But first, Katie covers Olive Thomas, the original flapper girl and the "Most Beautiful Girl in New York." Want show updates? Follow us on social media!Instagram: @not_your_fathers_historyTwitter: @NYFHpodcast Artwork: www.laurenheathart.com Music: @SwingWhale

Directed by Andrew Stone and starring an array of top talent including, Lena Horne, Bill Robinson, Cab Callaway, Katherine Dunham, Fats Waller, The Nicholas Brothers, Ada Brown, Dooley Wilson, and so many more, it’s an incredible film from a music and dance perspective and a troubling film from the perspective of accurate portrayals of the characters in the film, not to mention almost zero character development. There’s a lot to cover in this film and we do our best.

Terri and Dom continue the conversation started in last week’s episode this time focusing on goal setting and overcoming procrastination. We all have been guilty of procrastination and Terri lets us in on when she realized she had to stop procrastinating to help reach her goals. What’s keeping you from following through and being accountable? They ask us, “what does try really mean?” and how does that affect the accomplishment of our goals. Then Terri and Dom use real life and personal examples to walk us through using SMART goals to get things done. As always, they give us some other invaluable “Pro tips and Game Changers”. Be sure to log on to the website to check out the goal setting worksheet that will put you on the path to achieving your dreams.   Quote of the Day: “I used to want the words ‘She tried’ on my tombstone. Now I want ‘She did it’.” – Katherine Dunham   Takeaways: SMART GOALS Specific Measurable Achievable Results-focused Time-bound   Resources Mentioned: Therapy for Black Girls Psychology Today Goal Mapping Workbook   Where to find us: Twitter: @HERspacepodcast Instagram: @herspacepodcast Facebook: @herspacepodcast Website: herspacepodcast.com Email: herspacepodcast@gmail.com

Katherine Dunham and Anna Pavlova were remarkable for their eras and Harmony Bench describes how they brought innovations to dance, not only in their on-stage work but in how they traveled the world.

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music's African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field's prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Movement, performance and following your flow - that’s what today’s episode is all about. Sam’s joined by director and choreographer to the stars Alexandra Green and broadcaster, burlesque performer and drag performer Wayne Carter.And it's a 20th Century period with today's inspiring women: Katherine Dunham and Marsha P JohnsonAlexandra: "Everything that we are is movement”Wayne: “These are the people that paved the way to make us as free and comfortable as we can be”Alexandra explains how she loves to work daily with dancers to coach and coax confidence out of them and help their talent grow. Ali also has some showbizzy credits working on music videos and in film with stars like Jess Glynne, Emeli Sande and Stormzy. She’s picked Katherine Dunham as her inspirational woman from a list of incredible dance mothers. This anthropologist, dancer, author, scholar and activist has been described as a one-woman revolution. Born in Chicago in the early 20th Century, she lived as a catalyst for change and used dance to challenge issues such as segregation, racism and treatment of refugees in the arts and beyond.Wayne talks about using laughter to question the norm. Having started on stage in Australia, he moved to the UK and transitioned from stand-up comedy into his gender-bending drag.They discuss how drag has moved towards the mainstream and how London helped Wayne expand his creative career on a new level. He picks Marsha P. Johnson, one of the first trans women present at the '69 Stonewall riots, as his inspiring woman. They question why this person and the role of trans women is often overlooked in historical accounts of society-shaping events such as Stonewall.Wayne talks about the importance of remembering historical events such as Stonewall when enjoying the rallies, marches and cultures that are being experienced and celebrated by wider society today. We also find out about the importance of finding a safe space and community when overcoming challenges of depression and anxiety.The guys also cover seeking identity and gender through movement and why we need to get past tired gender stereotypes!Follow our guests:Alexandra Greenhttp://www.alexandragreendance.com@alexandragreendance on Facebook@allygreendance on Twitter and InstagramWayne Carter@1waynecarter on Twitter@drivingyouhomopodcastDriving you Homo podcasthttps://itunes.apple.com/gb/podcast/driving-you-homo/id1306391887?mt=2@periodspodcast See acast.com/privacy for privacy and opt-out information.

"He's got educated feet!"  Stormy Weather (1943) starring Bill "Bojangles" Robinson, Lena Horne, Dooley Wilson, Ada Brown, Katherine Dunham, Fats Waller, Cab Colloway and The Nicholas Brothers!Race In Film Article Next time: Porgy and Bess (1959)

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham's multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham's influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham’s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham’s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham’s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham’s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham’s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham’s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham's multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham's influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.  

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham’s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham’s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham's multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham's influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora (Oxford University Press, 2017) offers new insight about how this remarkable woman built political solidarity through the arts. One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. The author makes the argument that Dunham was more than a dancer she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life. The book examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. Katherine Dunham: Dance and the African Diaspora analyzes Dunham’s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and also traces Dunham’s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. Dance historian Joanna Dee Das is a dancer, a scholar, and an Assistant Professor of Dance at Washington University in St. Louis. She is passionate about teaching dance history from a global perspective and linking theory and practice in the classroom. Her research interests include dance in the African Diaspora, musical theater dance, the politics of performance in the twentieth century, and urban cultural policy. She received her Ph.D. in History from Columbia University, her M.A. in American Studies, from New York University, and her undergraduate degree in Dance and History, also from Columbia University. Her writing has appeared in Dance Research Journal, Journal of American History, Journal of African American History, Journal of Urban History, and Studies in Musical Theatre. This is her first book. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at james.stancil@intellectuwell.org.   Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forbearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Andrew Wood, SFIAF  He founded the Festival in 2002. Prior to that I had over 10 years experience as a presenter and an artist manager working at places such as ODC Theater, Life on the Water, the Ethnic Dance Festival and the San Francisco Mime Troupe. 2. Eugene Redmond, Annual Tribute to Miles Davis, Henry Dumas, and Katherine Dunham. Three artistic giants who greatly impacted this city and the world will be honored Friday, May 19, 2017, at 6:30 pm in the Multipurpose Room of Building “D” on the Higher Education Campus of Southern Illinois University Edwardsville (SIUE), 601 J.R. Thompson Dr., East St. Louis (62201).Three artistic giants who greatly impacted this city and the world will be honored Friday, May 19, 2017, at 6:30 pm in the Multipurpose Room of Building “D” on the Higher Education Campus of Southern Illinois University Edwardsville (SIUE), 601 J.R. Thompson Dr., East St. Louis (62201).

The banjo links disparate musical and cultural traditions — from Africa to the Caribbean to the United States — and its history is deeply interwoven with the history of those places. In this podcast, host Robert Newman talks with Laurent Dubois about this history and his book, The Banjo: America’s African Instrument, published earlier this year by Harvard University Press. Laurent Dubois is professor of history and romance studies and faculty director of the Forum for Scholars and Publics at Duke University. He is a specialist on the history and culture of the Atlantic world, with a focus on the Caribbean and particularly Haiti. His previous books include Haiti: The Aftershocks of History (2012), Soccer Empire: The World Cup and the Future of France (2010), Avengers of the New World: The Story of the Haitian Revolution (2004), and A Colony of Citizens: Revolution and Slave Emancipation in the French Caribbean, 1787–1804 (2004). Dubois worked on The Banjo: America’s African Instrument while he was a Fellow at the National Humanities Center in 2008–09. As a Fellow at the Center again this year, he is working on a biography of dancer, choreographer, and activist Katherine Dunham.

Story: Nichts hätte der neue Polizeichef von Algiers lieber, als den berüchtigten Juwelendieb Pepe Le Moko hinter Gitter zu bringen. Inspektor Silmane wird mit der scheinbar unmöglichen Aufgabe betraut: Denn Pepe ist ein Volksheld bei den Bewohnern des alten Viertels, die ihn und seine Bande immer wieder vor dem langen Arm des Gesetzes beschützen. Nun soll Pepes einstiger Komplize Carlo als Informant das Vertrauen des Gaunerkönigs erschleichen und seinen Taten ein Ende setzen. Doch zu Fall bringen wird den tragischen Held Pepe die Liebe... DVD: 28.04.2016 (Koch Media) Casbah Film-Noir, Drama, Krimi, Musical Land: USA 1948 Laufzeit: ca. 89 min. FSK: 16 Regie: John Berry Drehbuch: Leslie Bush-Fekete, Arnold Manoff Mit Yvonne De Carlo, Tony Martin, Peter Lorre, Märta Torén, Hugo Haas, Thomas Gomez, Douglas Dick, Katherine Dunham, Virginia Gregg, ...

Story: Nichts hätte der neue Polizeichef von Algiers lieber, als den berüchtigten Juwelendieb Pepe Le Moko hinter Gitter zu bringen. Inspektor Silmane wird mit der scheinbar unmöglichen Aufgabe betraut: Denn Pepe ist ein Volksheld bei den Bewohnern des alten Viertels, die ihn und seine Bande immer wieder vor dem langen Arm des Gesetzes beschützen. Nun soll Pepes einstiger Komplize Carlo als Informant das Vertrauen des Gaunerkönigs erschleichen und seinen Taten ein Ende setzen. Doch zu Fall bringen wird den tragischen Held Pepe die Liebe... DVD: 28.04.2016 (Koch Media) Casbah Film-Noir, Drama, Krimi, Musical Land: USA 1948 Laufzeit: ca. 89 min. FSK: 16 Regie: John Berry Drehbuch: Leslie Bush-Fekete, Arnold Manoff Mit Yvonne De Carlo, Tony Martin, Peter Lorre, Märta Torén, Hugo Haas, Thomas Gomez, Douglas Dick, Katherine Dunham, Virginia Gregg, ...

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Jeff Liberman, dir. The Amazing Nina Simone opens in Bay Area theatres this weekend. Visit theamazingnina.com We open with a tribute song by Sam Waymon, Ms. Simone's younger brother, friend and band member. 2. Billy X Jennings, Black Panther Party Archivist speaks about a new exhibition at the Oakland Public Library. He is speaking 10/24, 2 p.m. at the Bradley C. Walters Community Room, 125 14th Street, Oakland. Visit itsabouttimebpp.com 3. Charles Blackwell, poet, painter, joins Dr. Eugene Redmond to speak about Eugene B. Redmond Collection and Learning Center, SIUE, which just opened Oct. 19, 2015.  See http://www.siue.edu/news/index.shtml He is Poet Laureate of East Saint Louis [Illinois], Emeritus Professor of English, Founding Editor of Drumvoices Revue, former Chairman of Creative Writing Committee at Southern Illinois University-Edwardsville). Before he began his 15-year stint at CSUS, however, he spent two years (1967-69) as Teacher-Counselor and Poet-in-Residence at Southern Illinois University's Experiment in Higher Education in East Saint Louis. At EHE, he taught with Henry Dumas, Joyce Ladner, Oliver Jackson, and Katherine Dunham, serving as a Senior Consultant to the latter at her Performing Arts Training Center. . . .  

BCFHN presenters: Laura Elaine Ellis is Executive Director of the African& African American Performing Arts Coalition (AAAPAC), a San Francisco based, non-profit organization, founded in 1995 by a collective of artists who were looking to create better performance opportunities for African and African American performing artists as well as produce shows that reflect the aesthetic and cultural representation of the African and African American experience.  Kendra Kimbrough Barnes, Director, holds a BA in Dance, from San Francisco State University and a MA in Arts Administration from Golden Gate University. She graduated with honors and is a recipient of the "Who's Who Among Students in American Universities and Colleges" award and as of 2008 the "Who's Who Among American Women".  Guest Choreographer: Gregory Dawson, Dawson Dance SF (2007), has premiered From Bruch to Brahms, Bach Goldberg Variations, Were You There?, and On the Way to the 16th St Bart Station at The Lund Dance Theatre, Valencia for the California State Summer School of the Arts (CSSSA). Gregory Dawson began his studies in Chicago at Ruth Page School of Ballet and then left for Southern Illinois to study ballet and Haitian dance with Katherine Dunham. He moved to San Francisco where he studied with Evelyn Schuert at Shawl-Anderson Dance Studios and with Alonzo King at Dance Central. Mr. Dawson left for New York in 1982 to study with The Dance Theatre of Harlem. From 1983-1986 he danced with Theatre Ballet Canadian, returning to the Bay Area to perform with Oakland Ballet, Berkeley Ballet Theater, Sacramento Ballet, and the San Francisco Opera Ballet. Mr. Dawson joined LINES in 1987 and danced for 18 years with the company.We close with an interview with Mr. Henry Delton Williams, designer for Motown who is bringing Martha Reeves to the African American Museum and Library, Feb. 6, 7:30 p.m.

I can still remember being an undergraduate student, going from dance class to dance class and working as hard as I could each day. In the midst of all of that sweat and hard work, I was often curious about the techniques I was required to study. Sure, we had courses in dance history – but very seldom was a link made between what we did in the studio and what we learned in those courses. Often, movement exercises were presented with very little context. I always wanted more…I wanted to know not just what we were supposed to do but why and how those approaches to movement were developed. Through independent study and some guidance from my teachers, I was able to whet my appetite but admittedly, I was often left wanting more. I’m excited that today’s dance students and educators have resources that will help them fair much better than I did. One such resource is Introduction to Modern Dance Techniques (Princeton Book Company, 2011), the first book by choreographer, dancer and teacher, Joshua Legg.  This user-friendly and accessible text is designed to provide readers with a comparative approach to classical modern dance techniques – including the work of Merce Cunningham, Katherine Dunham, Martha Graham, Lester Horton, and many others. Packed with historical content, beautiful photographs and high quality lesson plans, Joshua’s book is well-suited to meet the needs of both students and educators looking to bridge the gap between history and practice in order to enrich and inform their study of modern dance. An accomplished dancer, choreographer and master teacher,  Joshua Legg’s writing has appeared in both Dance Teacher and Dance Spirit magazines. He has taught at several institutions including Harvard and his alma mater, Shenandoah University. In addition to writing and teaching, he maintains his own pick -up dance company – you can learn more at www.joshualegg.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

I can still remember being an undergraduate student, going from dance class to dance class and working as hard as I could each day. In the midst of all of that sweat and hard work, I was often curious about the techniques I was required to study. Sure, we had courses in dance history – but very seldom was a link made between what we did in the studio and what we learned in those courses. Often, movement exercises were presented with very little context. I always wanted more…I wanted to know not just what we were supposed to do but why and how those approaches to movement were developed. Through independent study and some guidance from my teachers, I was able to whet my appetite but admittedly, I was often left wanting more. I’m excited that today’s dance students and educators have resources that will help them fair much better than I did. One such resource is Introduction to Modern Dance Techniques (Princeton Book Company, 2011), the first book by choreographer, dancer and teacher, Joshua Legg.  This user-friendly and accessible text is designed to provide readers with a comparative approach to classical modern dance techniques – including the work of Merce Cunningham, Katherine Dunham, Martha Graham, Lester Horton, and many others. Packed with historical content, beautiful photographs and high quality lesson plans, Joshua’s book is well-suited to meet the needs of both students and educators looking to bridge the gap between history and practice in order to enrich and inform their study of modern dance. An accomplished dancer, choreographer and master teacher,  Joshua Legg’s writing has appeared in both Dance Teacher and Dance Spirit magazines. He has taught at several institutions including Harvard and his alma mater, Shenandoah University. In addition to writing and teaching, he maintains his own pick -up dance company – you can learn more at www.joshualegg.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

To kick off Emory's King Week Celebration, poet Eugene Redmond read in honor of the 20th anniversary of his publication Drumvoices Revue and the 25th anniversary of the EBR Writers Club. The reading followed a conversation moderated by Richard A. Long, Emory University professor emeritus of interdisciplinary studies. Attendees learned about Redmond's lifelong dedication to preserving the artistic legacies of performers, poets, and musicians such as Katherine Dunham, Henry Dumas, and Miles Davis. Through his journal, Redmond has helped shape the literary cannon of a generation.

To kick off Emory's King Week Celebration, poet Eugene Redmond read in honor of the 20th anniversary of his publication Drumvoices Revue and the 25th anniversary of the EBR Writers Club. The reading followed a conversation moderated by Richard A. Long, Emory University professor emeritus of interdisciplinary studies. Attendees learned about Redmond's lifelong dedication to preserving the artistic legacies of performers, poets, and musicians such as Katherine Dunham, Henry Dumas, and Miles Davis. Through his journal, Redmond has helped shape the literary cannon of a generation.