Podcasts about Martha Graham

Pride Month keeps the celebration moving on We Drink & We Watch Things as we transition from the quiet, burning embers of 18th-century France to the bright, neon-soaked drag capital of South Beach. For our "G" selection in the lineup, we are throwing it back to 1996 for Mike Nichols and Elaine May's sublime masterclass in comedic farce: The Birdcage. Mix yourself something wonderfully refreshing - perhaps Lemar's "Straight" Bourbon - and get ready for a family dinner where absolutely nothing goes according to plan.This week, we celebrate the legendary chemistry between Robin Williams and Nathan Lane, looking at how Williams plays the perfect, anchored straight man (pun intended) to Lane's fiercely dramatic, Barbara Bush-redefining Albert. We bask in the glorious, scene-stealing supporting work of Hank Azaria as the perpetually barefoot Agador Spartacus and Gene Hackman as the ultra-conservative Senator Keeley, who unwittingly ends up in the drag escape of a lifetime. We also break down the film's incredible heart, discussing how beneath the chaotic Martha Graham choreography, the "eco-friendly" naked-boy pottery, and the frantic attempts to pass as straight, it is a deeply moving portrait of unconditional love and a radical defense of queer families.If you can instantly recite the difference between a John Wayne walk and a regular walk, or if you just want to hear us gush about the comedic genius of an Elaine May screenplay, this episode is pure joy. We're blending our adoration for this comfort-movie masterpiece with our usual casual banter, proving that when the world gets crazy, sometimes you just have to give 'em a little bit of Fosse, Fosse, Fosse!This episode VIDEO is live on YouTube AND Spotify!Follow us on Instagram to get ep sneak peaks and find out what's coming up. DM us what you want to hear about next!Interested in what we're watching off the pod? Check out Mackenzie or Lemar's Letterboxd!

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'A Wrinkle in Time'? Question 2: Which artist painted "The Great Wave off Kanagawa" Question 3: In which book does 'Mr Bennet' appear? Question 4: Which of the following characters does not appear in Shakespeare's 'A Midsummer Night's Dream'? Question 5: What is the profession of Michael Flatley and Martha Graham? Question 6: Which author wrote 'U.S.A.'? Question 7: With what art movement was Salvador Dali associated? Question 8: In whose Brooklyn rooming house does the narrator of 'Sophie's Choice' live? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailWhat does it take to leave your home country as a teenager, move to New York with nothing but a dream, dance your way through the entertainment industry alongside icons like Prince and Liza Minnelli… survive a life-altering health crisis… and then completely reinvent your life to help others heal from the inside out?On today's episode of the Today is the Day Changemakers Podcast, we welcome Monique Mannen — Cellular Health Educator with decades of experience in entertainment — helping bridge science, wellness, and real-life transformation.From winning a dance competition in the Netherlands that brought her to New York… to earning scholarships at Alvin Ailey, Joffrey Ballet, and Martha Graham… to appearing in over 50 music videos, more than 100 national commercials, film, television, and iconic projects alongside some of entertainment's most recognizable names — Monique's story is one of fearless determination, reinvention, resilience, and purpose.But perhaps her greatest transformation happened off stage.After battling years of undiagnosed health struggles that forced her to step away from the career that defined her identity, Monique found herself rebuilding not only her health… but herself. Today, she uses her voice, experience, and passion to educate others about cellular health, activation science, and what it truly means to advocate for your own well-being while protecting your peace, your purpose, and your joy.This conversation is powerful, honest, inspiring, and deeply human.Thank you so much for tuning in to the Today is the Day Changemakers Podcast. If today's episode inspired you, moved you, or reminded you of the power of reinvention, resilience, and connection, stay connected with us.Follow us on Facebook and Instagram at Today is the Day Live It, and subscribe to our YouTube channel, Today is the Day Changemakers, for more inspiring conversations with voices creating impact around the world.And if you haven't gotten your copy yet of Today is the Day. LIVE IT! — featuring courageous stories of leadership, transformation, resilience, and human connection — you can purchase it online through Amazon, Barnes & Noble, Walmart, Target, and other retailers.Because sometimes the most extraordinary transformations begin with one fearless decision to bet on yourself.TodaSupport the show

Multi-media essay 'Tracing a Legacy: Martha Graham's Centuryl Long Journey to Jacob's Pillow'  

"Yo no vuelvo. Esto es una pandilla de locos", dijo un actor de teatro y de doblaje nada más terminar de rodar su primera película. Cincuenta años después había participado en más de noventa y se había convertido en parte indispensable del cine español y de la memoria sentimental de sus espectadores. Hemos visto 'Landa', documental de estreno sobre el famoso actor navarro, a cuenta además de la reedición de la excelente biografía de Marcos Ordóñez, 'Alfredo el Grande'. ¿Qué es exactamente el landismo? ¿Sigue estando estigmatizado? ¿Y cómo ha envejecido el cine de Landa y su propia figura, no carente de algunas sombras y algo de mal carácter? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, hemos leído también 'Wigman: La danza o la vida', tebeo sobre la bailarina alemana expresionista Mary Wigman, que revolucionó la danza de su época, chocó con el nazismo y fue amiga de la legendaria Martha Graham.

"Yo no vuelvo. Esto es una pandilla de locos", dijo un actor de teatro y de doblaje nada más terminar de rodar su primera película. Cincuenta años después había participado en más de noventa y se había convertido en parte indispensable del cine español y de la memoria sentimental de sus espectadores. Hemos visto 'Landa', documental de estreno sobre el famoso actor navarro, a cuenta además de la reedición de la excelente biografía de Marcos Ordóñez, 'Alfredo el Grande'. ¿Qué es exactamente el landismo? ¿Sigue estando estigmatizado? ¿Y cómo ha envejecido el cine de Landa y su propia figura, no carente de algunas sombras y algo de mal carácter? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, hemos leído también 'Wigman: La danza o la vida', tebeo sobre la bailarina alemana expresionista Mary Wigman, que revolucionó la danza de su época, chocó con el nazismo y fue amiga de la legendaria Martha Graham.

"Yo no vuelvo. Esto es una pandilla de locos", dijo un actor de teatro y de doblaje nada más terminar de rodar su primera película. Cincuenta años después había participado en más de noventa y se había convertido en parte indispensable del cine español y de la memoria sentimental de sus espectadores. Hemos visto 'Landa', documental de estreno sobre el famoso actor navarro, a cuenta además de la reedición de la excelente biografía de Marcos Ordóñez, 'Alfredo el Grande'. ¿Qué es exactamente el landismo? ¿Sigue estando estigmatizado? ¿Y cómo ha envejecido el cine de Landa y su propia figura, no carente de algunas sombras y algo de mal carácter? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, hemos leído también 'Wigman: La danza o la vida', tebeo sobre la bailarina alemana expresionista Mary Wigman, que revolucionó la danza de su época, chocó con el nazismo y fue amiga de la legendaria Martha Graham.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/mas-noticias--4412383/support.ESCUCHAR RADIO 

SynopsisOn today's date in 1930, Leopold Stokowski and the Philadelphia Orchestra gave the first staged presentation in America of Igor Stravinsky's revolutionary ballet The Rite of Spring at Philadelphia's 4000-seat Opera House — and it was a hot ticket.The Philadelphia Inquirer noted “a milling mob fought and scrambled for entrance to the Opera House … there was a traffic tie-up of taxis and trolleys for blocks beyond, while dignified ladies were seen to pop out of automobiles like rabbits out of hutches, and scurry for blocks on foot, to avoid being late.” This was for what the newspaper described as, “the startling spectacle of bare-legged girls and men whirling madly and stamping upon the stage to an orgiastic fury of sound.”For its American premiere, the original costuming from the work's Paris premiere was retained, but the choreography was now by Léonide Massine, not Vaslav Nijinsky, and Martha Graham and her Corps de Ballet were the dancers, not Diaghilev's Ballet Russe.Stokowski, a passionate promoter of Stravinsky's score, had given its American concert premiere with the Philadelphia Orchestra in 1922 and, in 1940, it was Stokie and the Philadelphians who could accompany Walt Disney's dinosaurs in his animated Fantasia version of the famous Stravinsky score.Music Played in Today's ProgramIgor Stravinsky (1882-1971): The Rite of Spring; Philadelphia Orchestra; Leopold Stokowski, conductor; Disneyland WDX101

A native of the North Chicago suburbs, Ronna Rochell started dancing at age 5. At that young age, she started with creative movement classes, and by the time she was in junior high, she had evolved into a serious modern dance student. She was fortunate to have a fabulous teacher from junior high and high school who taught her the technique of Martha Graham and Alwin Nikolai.  Her dance teacher's name was Carol Walker, who later went on to serve as Dean of the Department of Dance at SUNY Purchase. At age 16, after studying dance for a summer at the American Dance Festival at Duke University, Ronna auditioned and made it into one of the premiere modern dance companies in Chicago, the Joseph Holmes Dance Theatre.  She was an apprentice with the company and performed with them as well. After dancing in college at the University of Michigan, Ann Arbor, she went on to pursue her MFA in dance at the University of Illinois, Urbana-Champaign, earning her degree in 1989.  Right before graduation, she auditioned and was accepted into the New Dance Ensemble apprentice program.  So after graduation, in 1989, she moved to Minneapolis and apprenticed with the dance company for one year.  Next, inspired by the Nancy Hauser Dance Company, she was invited to join the company in 1991.  Ronna was a member of the Nancy Hauser Dance company for two years. She finished her modern dance career dancing in a Walker Art Center sponsored event in Gerry Girouard's choreography on the beach of Cedar Lake in 1993! Since then she has gone back to her teaching roots and started her own business, BodyWisdom, teaching yoga, Pilates and fitness classes, as well as bringing chair yoga into senior living communities. More recently, she rebooted her dance career by going into musical theatre as she performed with Theatre 55 and had a fabulous time dancing in the productions of Pippin (2019) and A Chorus Line (2023). Now Ronna focuses on continuing teaching yoga and fitness classes, spending time with her three adult sons, tandem biking with her husband Steve, and enjoying cross-country skiing, even racing at the American Birkebeiner.  She is proud to say that she skied the Kortelopet at this event- 29 kilometers- and she just received her 10 year plaque for the Kortelopet - quite an achievement for her!

Stucco arches, red tile floors, exposed beams — the look and feel of the houses in the oceanfront towns of Santa Barbara and Montecito can be attributed to a woman architect known by one name: Lutah. The Ohio-born and California-bred architect Lutah Maria Riggs was on track to be a teacher, one of few professions to welcome women in the early 20th century, when she won a scholarship to Berkeley by selling newspapers. Like architect Julia Morgan before her, she gained entry to the university's Beaux Arts influenced architecture program – one of only four women in her class. Also like Morgan, she was talented enough to capture the interest and mentorship of the head of the program, John Galen Howard, and a series of other older male architects who helped her launch her career and chaperoned her travel to Mexico, Spain, and other countries whose architecture was highly influential in California in the 1920s. Riggs's most famous public project, the Lobero Theater in downtown Santa Barbara, was directly influenced by a serendipitous stop in Spain. Traveling on her own, Riggs took advantage of the network of women's hotels and clubs available in those days. She was always up for a dance, and was even friends with Martha Graham when the modern dance pioneer spent time in Santa Barbara. Her work has helped define the indoor-outdoor, casual, one-story style that is most identified with southern California today. That has made her houses highly prized for their luxurious materials, swoon-worthy views, and easy living. Unlike many architects who focused on public commissions, many of her houses are still extant, and the real estate agents know what they've got. Zoe Saldana lives in a Lutah today, and architecture enthusiast Ellen DeGeneres has in the past. Riggs – who lived until the 1980s – continues to be one of Santa Barbara's most celebrated architects.  Produced by Brandi Howell for the New Angle Voice Podcast presented by the Beverly Willis Architecture Foundation.The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson) with Nathan Dalton and Brandi Howell.The Kitchen Sisters Present is part of PRX's Radiotopia podcast network.

When photographers Ken Browar and Deborah Ory first began collaborating on what would become NYC Dance Project, they set out to create portraits that could honor the athleticism, artistry, and emotional force of dance. Their work has since become synonymous with a style of portraiture that is both elegant and explosive—capturing dancers in motion with a precision that reveals not only physical mastery, but also vulnerability, discipline, and grace. Over the years, their lens has been turned toward some of the world's most accomplished performers, translating movement into still images that pulse with life. That vision continues in their new book, Martha Graham Dance Company at 100, which celebrates one of the most influential institutions in modern dance. Through striking portraits and carefully sequenced images, the book honors the legacy of Martha Graham's groundbreaking choreography while foregrounding the contemporary artists who continue to embody and reinterpret that tradition. Rather than simply documenting performance, Browar and Ory create photographs that feel sculptural, theatrical, and deeply human—offering a tribute not only to dance, but to the enduring power of a company that helped redefine what modern movement could be. Resources Ken Browar & Deborah Ory / NYC Dance Project http://www.nycdanceproject.com/about-1 Martha Graham Dance Company at 100 https://www.amazon.com/dp/0762487445 Altadena Photographers https://www.altadenaphotographers.org/ Workshops & Upcoming Education with Ibarionex Perello Japan Spring Workshop 2026 An immersive photographic and cultural experience in Japan, focused on visual storytelling, observation, and creative growth. https://www.nobechicreative.com/ibarionex-perello-spring-workshop-2026-japan X-Pedition Hanoi A destination workshop centered on street photography, culture, and daily life in Hanoi, Vietnam. https://www.f8photographicworkshops.com/x-pedition-hanoi Raw Photo Fest An annual photography festival celebrating emerging and established photographers through exhibitions, talks, and community engagement. https://therawsociety.org/rawphotofest/ Support Ibarionex & The Candid Frame GoFundMe https://www.gofundme.com/f/perello-familys-journey-to-re-establish-our-life eBook Purchases https://www.ibarionex.net/ebooks Websites The Candid Frame PayPal Contribution Link https://www.paypal.com/donate Sponsors Charcoal Book Club https://charcoalbookclub.com Frames Magazine https://readframes.com Education Resources Momenta Photographic Workshops https://momentaworkshops.com/workshops/ Candid Frame Resources The Candid Frame Newsletter & Substack Blog http://ibarionex.substack.com/welcome Support the work at The Candid Frame by contributing via PayPal: https://www.paypal.com/donate You can follow Ibarionex on Instagram https://www.instagram.com/ibarionex/?hl=en and Twitter https://twitter.com/Ibarionex?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

Ann Hutchinson Guest's Century Plus (2022)

A new PBS docuseries called "We Are Our Time" explores the life of the legendary dancer and choreographer Martha Graham. Co-directors and co-producers Peter Schnall and Cyndee Readdean talk about the seiries, and Graham's impact on the world of dance, today. Martha Graham Dance Company will be performing at New York City Center April 8 through 12. Photo via Bettmann/Getty Images

Stāsta Jāzepa Vītola Latvijas Mūzikas akadēmijas Horeogrāfijas nodaļas docente, dejas pētniece Valda Vidzemniece. Producente Zane Prēdele. “Kustība nekad nemelo” bija amerikāņu modernās dejas horeogrāfes Martas Grēmas (Martha Graham, 1894–1991) bieži atkārtota frāze, viņas daiļrades moto. Marta bija dzimusi un augusi nelielā pilsētiņā netālu no Pitsburgas, Pensilvānijas štatā. Viņas tēvs bija ārsts,  kas specializējās psihiatrijā, viņu sevišķi interesēja cilvēka uzvedības un ķermeņa kustību simptomātiska izpēte. Kādreiz, kad Marta bija samelojusies, tēvs esot teicis, ka viņam nav grūti pateikt, ka meita mānās, jo kustība nekad nemelo. Vēlāk šī pārliecība kļuva par horeogrāfes daiļrades pamatprincipu. Marta Grēma bija spilgta radoša personība – dejotāja, horeogrāfe, pedagoģe, modernās dejas tehnikas pamatlicēja, viņas izveidotā inovatīvā kustību struktūra un dejas stils ietekmēja vairākas dejotāju un horeogrāfu paaudzes. Marta Grēma pievērsās dejai tikai 22 gadu vecumā, kad jau bija “gandrīz par vēlu”, bet kļuva par ietekmīgāko sava laika amerikāņu horeogrāfi. Pēc studijām “Denišoun” skolā, ko vadīja Ruta Sendenī (Ruth St. Denis) un Teds Šouns (Ted Shown), kā arī aktīvas dalības skolas koncertprogrammās (1916–1923) jaunā dejotāja uzsāka patstāvīgu karjeru un pēc dažiem gadiem (1926) izveidoja savu dejas kompāniju. Šogad tiek svinēta Martas Grēmas kompānijas simtgade, kompānija joprojām pastāv, lielajam notikumam par godu tiek rīkota pasaules koncerttūre un maijā jubilejas koncertprogramma būs skatāma arī Rīgā. Martas Grēmas māksliniecisko pārliecību ietekmēja vācu modernās dejas pārstāves Mērijas Vigmanes dejas filozofija un ekspresīvais izteiksmes veids. Arī Marta dejā gribēja paust savus un savu laikabiedru pārdzīvojumus tā, lai tas izskatītos dramatiski piesātināti un patiesi. Kā panākt, lai kustība nemelotu? Viņa sāk ar vienkāršu cilvēka ķermeņa funkciju – elpas darbību. Kas notiek ar cilvēka elpu, kad viņš smejas? Kā reaģē ķermenis? Kas notiek ar cilvēka elpu, kad viņš raud vai ir uztraucies? Kas notiek ar visu ķermeni un atsevišķām ķermeņa daļām? Pētījumi palīdzēja radīt kustību sistēmu un izstrādāt dejas tehnikas principus, kas balstās uz muskuļu sasprindzinājuma un atslābuma pretstatījumu, izpildāmu saiknē ar elpas darbību (angļu: Contraction & Release). Modernās dejas praksē beidzot parādījās detalizēti izstrādāta tehnika un treniņu sistēma. Dejas tehnikā bija daudz jaunievedumu, bet tie nebija pašmērķīgi kustību leksikas  meklējumi, galvenais horeogrāfes mērķis bija radīt motivētu, ekspresīvu un iedarbīgu dejas valodu. Daiļrades sākumposmā Marta Grēma pat noliedza jebkādu mīmisko izteiksmi, jo ķermeņa kustībai bija jārunā pašai, vēlāk gan viņa šo strikto nostāju mainīja. Martas Grēmas izrādes bija inovatīvas arī scenogrāfijas un kostīmu aspektā, viņai bija savdabīga muzikālā gaume un izpratne par mūzikas lomu dejas iestudējumos, bet, nenoliedzami, visi izrādes elementi kalpoja vienai idejai – radīt emocionāli iedarbīgu mākslas darbu. ASV modernās dejas laukā parādījās vēl arī citas jaunas dejas tehnikas, kas balstījās kopīgos teorētiskajos konceptos, bet atšķīrās ar dejas tehnikas pamatprincipiem, akcentiem, treniņstundas struktūru un metodiku. Tās bija Dorisas Hamfrijas, Hosē Limona, Lestera Hortona, Mersa Kaningema dejas tehnikas, kas joprojām tiek praktizētas un saglabājas dejas augstskolu programmās. * Marta Grēma “Žēlabas” (“Lamentation”) * Martas Grēmas horeogrāfija “Nakts ceļojums”

Peter Stathas, founder and artistic director of Peter Stathas Dance, and company dancer Lauren Twomley, are in the studio this month for a conversation that stretches across generations of New York dance history!Peter and Lauren talk about how embracing curiosity and risking the unexpected keeps dance fresh, meaningful, and connected across generations. Peter began his dance career at SUNY Purchase before performing with the José Limón Dance Company. Then, he spent 30 years as a physical therapist and entrepreneur before returning to choreography in 2016. He talks about how emotional the experience was for him of returning to dance and gives his advice for other dancers who are stepping back into the studio or back on stage after some time away. In 2018, the duet Assuage sparked the creation of his company, rooted in a mission to create dance that reflects the human experience while advocating for sustainability, collaboration, and equity in the field.In February of this year, Peter Stathas Dance Company presented its program, What We Hold, a cross-generational program at the Mark Morris Dance Center. The evening brought works from the 1980s back into the studio and onto the stage — not as a form of nostalgia, but as a living conversation across time, as the company describes it. These pieces were set on a new generation of dancers navigating today's dance landscape.Born in Brooklyn and a graduate of SUNY Purchase with a BFA in Dance and a minor in Arts Management, Lauren is one of those dancers. She has worked with a range of choreographers and has performed masterworks by Martha Graham, José Limón, and Merce Cunningham. She joined the Limón Dance Company in 2019 and now serves not only as a dancer with Peter Stathas Dance, but also rehearsal coordinator and social media manager. She's also a teaching artist with the José Limón Dance Foundation, where she explores the deconstruction of Limón Movement Principles to make the technique more accessible and approachable.In this interview, we talk about lineage, how dancers are constructing a moment in time and becoming part of history in the process, what it means to carry someone else's artistic work in your own body, and how love, care, and devotion make a sustainable life in dance. Check it out!Learn more about Peter Stathas Dance: peterstathasdance.comSupport the company: https://peterstathasdance.com/support/Follow Peter Stathas Dance on Instagram: instagram.com/peterstathasdanceSubscribe to The Adult Ballet Studio on YouTube: @adultballetstudioMusic in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310Artist: http://incompetech.com/@eblosfield | theadultballetstudio@gmail.comSupport this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link Hosted on Acast. See acast.com/privacy for more information.

En este episodio Ima Nazca y Paola Abán hablan de las diferencias entre un proceso creativo y la ley de la atracción. Tras el éxito y la buena recepción de su primer disco "UN SOLO REZO", la cantautora española-argentina nos habla de la importancia de la comunidad como clave de sus logros, de sus fuentes de inspiración y conexión, del derecho a manifestarnos como seres creativ@s. Una inspirador ae interesante conversación que nos da una perspectiva alternativa a la que solemos escuchar sobre el éxito.https://open.spotify.com/artist/1TS9CIrss5ylsCmRJW2zej?si=myizK3AKR_yp69VOUHl5AgReferencia: Busca la carta de Martha Graham a Agnes de Mille.

"Dance Talk” ® with Joanne Carey and special guest Kanon SuginoIn this episode of "Dance Talk” ® , host Joanne Carey interviews dancer and choreographer Kanon Sugino, who shares her journey from a young dancer in New York to a recipient of the Clive Barnes Award. Kanon discusses her experiences at LaGuardia High School, the challenges of company life, and the differences between modern and contemporary dance. She reflects on her cultural identity as a Japanese American dancer and how it influences her choreography. Kanon encourages artists to take up space and share their voices through art.Kanon Sugino is a Japanese American dancer and choreographer born and raised in New York. She attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts and SUNY Purchase College, graduating Summa Cum Laude with a BFA in Dance and a BA in Arts Management. Kanon has worked with Nimbus Dance, and is currently a company dancer with Doug Varone and Dancers and MICHIYAYA Dance. She has performed in works choreographed by Doug Varone, Bill T. Jones, Keerati Jinakunwiphat, Jie-Hung Connie Shiau, Norbert De La Cruz lll, Gregory Lau, Fredrick Earl Mosley, Peter Chu, Darrell Grand Moultrie, MICHIYAYA, Merce Cunningham, Martha Graham, and more. As a choreographer, she has presented work at the We Belong Here: AAPI Festival, split bill performances at Arts On Site and the Triskelion Theater, and self-curated shows at the Puffin Room Art Gallery and the Triskelion Theater.During her time at Purchase College, she took on the role of co-leader of the Conservatory of Dance's Racial Equity Group, and was awarded the Distinguished Leadership Award for her work. Additionally, Kanon was named the Jadin Wong Fellow for Dance with Asian American Arts Alliance as well as an Honored Artist for Dance with the Clive Barnes Foundation in 2024. Kanon has taught at SUNY Purchase's Conservatory of Dance, New York Theatre Ballet, and at Doug Varone and Dancer's summer and winter intensives in addition to various colleges in the U.S. while on tour with the company.Learn more about Kanon:⁠https://www.kanonsugino.com/⁠“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠Please leave us a Review.Please help support the podcast:⁠⁠⁠https://gofund.me/e561b42ac⁠⁠

Olga Roberts is a former professional ballet dancer and Master Pilates Teacher whose career spans Europe, Australia, and the United States. She was accepted into the Birmingham Royal Ballet at the age of 13 and later trained at the Rambert School of Ballet and Contemporary Dance under former principal dancers Margaret Porter, Anya Linden, and Diana Vere, all partners of Rudolf Nureyev. Her contemporary training included techniques developed by Martha Graham, Merce Cunningham, and Gaga, alongside choreography studies under Dr. Ross McKim, former Artistic Director of Rambert School.Olga holds a Foundation/BA (Hons) Degree from Rambert School and a specialist Teaching Diploma in Contemporary Dance from the Laban Centre in London. She began Pilates training at the age of 11 and later completed 2.5 years of Master teaching Pilates training in Body Control Pilates under Master Teacher Jenny Colbourne, a second-generation Pilates educator trained by Joseph Pilates' protégé Jerome Andrews. She also trained with Master Pilates Teacher Dreas Reyneke, who worked with principal dancers of The Royal Ballet.She is the founder of Body Intelligence Pilates, an advanced movement and conditioning method designed for dancers, athletes, and rehabilitation clients. Olga is an active member of the Royal Academy of Dance (RAD), Pilates Alliance Australasia, and the International Association of Dance Medicine (IADM).In this episode, we discuss: Why Intelligence Beats Intensity in MovementDiscipline of Ballet, Wisdom of PilatesThe Real Core: Beyond Six Packs Alignment Isn't Aesthetic - It's Transformational Why the Right Teacher Isn't OptionalWith podcast host Mark SephtonHope you'll enjoy the episode! Hosted on Acast. See acast.com/privacy for more information.

#HerkeseSanat Dans sanatında bilgi ve miras, bedenden bedene aktarılır. 100 yıl önce New York'ta kendi dans stüdyosunu, dans okulunu kuran bir dansçı kadının hikayesini, bugün önemli dans sanatçılarından bir başka kadından dinleyeceğiz. Dans sanatçısı, koreograf ve eğitmen Tuğçe Tuna rehberliğinde, yüzyılın en etkili sanatçılarından kabul edilen Martha Graham'la tanışıyoruz. Birazdan NTVRadyo'da. Tuğçe Tuna, Martha Graham'ı tanıtırken, onun Cave of the Heart - Kalbin Mağarası adlı eserini de anlatıyor. İlk kez Martha Graham Dance Company tarafından 1946 yılında sahnelenen eser, aşkın yıkıcı gücü, tutkular üzerine bir çalışma. NEDEN TUĞÇE TUNA? Ödüllü koreograf, çağdaş dans ve disiplinlerarası performans sanatçısı, beden okuyucu, akademisyen olan Prof. Tuğçe Ulugün Tuna, toplumsal dönüşüm aktivisti olarak dans ve hareket terapisi odağında çalışmaktadır. Varoluşla olan iletişimini beden, hareket bilimi ve dans sanatı üzerinden kuran sanatçı koreografilerinin katmanlarını oluştururken kavram, beden ve mekân çeşitliliğiyle, yenilikçi ve bireysel formlar geliştirmektedir. Sanatçı 1993'den beri koreograf, akademisyen, çağdaş dans sanatçısı, çağdaş dans jürisi, dans ve hareket terapisti olarak Türkiye genelinde ve uluslararası festival, organizasyonlar, dans akademileri, bienaller'de vb. çalışmalarını sürdürmektedir. NEDEN HERKESE SANAT? Uzak durduğumuz sanat dallarıyla tanışıyor, o sanat dalının seyircisi olmayı öğreniyoruz. Çünkü anlamak için tanışmak gerekir. Nacide Berber'in hazırladığı program cumartesi 12.30, pazar 18.30'da NTVRadyo'da. Herkese Sanat programı kayıtları, radyoda yayınlandıktan sonra ntvradyo.com.tr adresinde ve podcast platformlarında. #ntvradyo #herkesesanat #dans #marthagraham #tuğçetuna

Broadway newcomer Wesley Wray, currently starring in Buena Vista Social Club, joins host Joel Crump for a new edition of Broadway Time at Carmine's. About Wesley: Wesley Wray (Young Ibrahim) Broadway debut! BFA Musical Theatre student at the University of Michigan (class of ‘26) and proud native of Miami, Florida. Wesley is a member of the Peter London Global Dance Company, celebrated for its distinctive Afro-Caribbean movement style. Wesley's extensive training includes studying at the Alvin Ailey School, where he honed his skills in Martha Graham, Lester Horton, and ballet techniques. He further developed his classical acting at the Royal Academy of Dramatic Art, where he not only performed as Amiens and Silvius in Shakespeare's As You Like It, but also composed the music for the production. While attending Michigan, Wesley has been seen in A Chorus Line (Mike Costa), Guys and Dolls (Harry the Horse), and most recently in Shaina Taub's Twelfth Night (Duke Orsino). His most notable film credit includes working as a stand-in for Little in the Oscar-winning film Moonlight. Wesley is thrilled to make his Broadway debut, originating a role in such a beautiful, culturally enriching production. He is deeply grateful to his community for supporting him in reaching this dream. IG: @wesleywwray "Broadway Time at Carmine's" features Broadway stars over lunch in engaging conversations at the iconic Carmine's Times Square eatery. For more, visit www.BWayTime.com, and follow:

Cold Spring company looks to expand With five ballet programs in the can, two more in the works and a troupe of professional dancers that gel well, the Cold Spring Dance Company is entering an ambitious phase since incorporating as a nonprofit in 2019. Last weekend at her studio, artistic director Cally Kordaris debuted The Greek Ballet: Resurrection, which combines classical ballet, contemporary movement and Greek folk dances. At one point, the four female dancers struck poses resembling images found on ancient vases. "I like to call it 'expressive ballet,' " says Kordaris, who nurtured the piece in her imagination for decades. To spread her love of dance, she built a professional studio three years ago at the top of a Philipstown mountain where she has lived since 2014. Her handpicked group of dancers, which ranges from six to 10, depending on the piece, come from prominent companies in the city, including Martha Graham, Twyla Tharp and Dance Theater of Harlem. In these troupes, cast members learn a few vignettes and rehearse them for months. For The Greek Ballet, Kordaris put eight dancers in an Airbnb for four days and, after learning the steps, they presented two performances. "One challenge is that not all of us have danced together before," says Kara Walsh, who freelances. "We enjoy coming up here so much, but we call it a 'work retreat' because we're at it nonstop to make this happen." They pick up the complicated steps quickly because "the brain transfers the muscle memory to the body in a way that's hard to explain," says David Wright, a member of Dance Theater of Harlem. "Repetition also helps." The company presents work twice a year when professional seasons end. An hour after the final performance on Dec. 7, the dancers hustled off to the train station and Nutcracker gigs. The troupe appreciates the studio's sprung floor, which gives a little and reduces wear and tear on their legs, says Wright. After leaping like basketball players, the male dancers landed with gentle thuds. Kordaris' 45-minute ballet animates 2,500 years of Greek history, "something we absolutely revere," she says. "As Greeks, we take it so seriously it's almost like a religion in itself." The professional production, with a light show and voiceovers, recounts many dramatic moments throughout the ages. Of the seven movements, four are set to Greek music. Despite the demanding athletic choreography, which sometimes resembled gymnastics and ice-skating twirls, the dancers moved with amazing grace, even when holding a partner over a shoulder before dropping them to the ground like feathers. Ramona Kelley made a sit-up look fluid and elegant. In another segment, after using the entire stage and expending the equivalent time of someone dribbling a soccer ball the length of a pitch and back, Micah Bullard kept his breathing under control as his chest barely moved after the lights went down. Now that the company is building momentum, Kordaris wants to bring her work to a broader audience in Putnam County or Beacon and plans to pitch producers and impresarios in New York City and beyond. "I've been in a cocoon the last few years, and now that we have five cohesive pieces and a solid core of dancers, it's time to make some moves," she says. For more information, see coldspringdance.org.

The Basilica of St. Mary Institute for Faith and Culture Presents: Beauty and the Beast, an Exploration of the Power of Beauty, Part 4 With Fr. James Searby  In this fourth class of Beauty and the Beast, we explore beauty as communion, the way beauty draws us out of isolation and into relationship. Through Maurice's tenderness, Belle's self-giving, and the gradual healing of the Beast's house, Fr. James Searby shows how beauty creates openness, vulnerability, and shared life. Drawing on Scruton, Simone Weil, Martha Graham, theatre, liturgy, and the communal nature of art, this episode traces how beauty breaks self-enclosure, makes space for others, and restores what fear and hurry have disordered. It also looks at the danger of cultural elitism in the arts and why beauty belongs to everyone, not to a select few. At its heart, this class reveals how beauty invites us into a deeper communion with God and one another, preparing the way for next week's theme of beauty as contemplation.

Learn more at TheCityLife.org

durée : 01:56:39 - Fictions / Théâtre et Cie - Isadora Duncan, Martha Graham, Merce Cunningham : trois danseurs du XXème qui ont révolutionné l'art de la danse et renouvelé sa pensée dans le monde.

durée : 01:56:39 - Fictions / Théâtre et Cie - Isadora Duncan, Martha Graham, Merce Cunningham : trois danseurs du XXème qui ont révolutionné l'art de la danse et renouvelé sa pensée dans le monde.

durée : 00:27:20 - Les Midis de Culture - par : Marie Labory - Aujourd'hui, au menu de notre débat critique des spectacles avec "Graham 100" pour le 100e anniversaire de la Martha Graham Danse Company au théâtre du Châtelet & "La luz de un lago" du collectif espagnol El Conde de Torrefiel présenté dans le cadre du Festival d'Automne à l'Odéon - Théâtre de Paris - réalisation : Laurence Malonda - invités : Laura Cappelle Sociologue et chercheuse en danse, professeure associée à l'université Sorbonne-Nouvelle et chercheuse au Centre de la recherche sur les liens sociaux (CERLIS); Victor Inisan docteur en études théâtrales, dramaturge et critique 

À l'occasion du centenaire de la Martha Graham Dance Compagny, le Théâtre du Châtelet à Paris rend hommage à la grande chorégraphe des États-Unis. Martha Graham a marqué et initié la danse contemporaine. Elle a formé de grands créateurs comme Merce Cunningham et a été sollicitée par des interprètes vedettes comme Rudolf Noureev et Mikhail Baryshnikov, ou encore Liza Minnelli et Madonna. Au programme du Châtelet : des œuvres phares de Martha Graham et une invitée d'honneur, la danseuse étoile Aurélie Dupont, qui n'est pas remontée sur scène depuis dix ans. Le centenaire de Martha Graham, c'est jusqu'au 14 novembre au Théâtre du Châtelet à Paris. 

À l'occasion du centenaire de la Martha Graham Dance Compagny, le Théâtre du Châtelet à Paris rend hommage à la grande chorégraphe des États-Unis. Martha Graham a marqué et initié la danse contemporaine. Elle a formé de grands créateurs comme Merce Cunningham et a été sollicitée par des interprètes vedettes comme Rudolf Noureev et Mikhail Baryshnikov, ou encore Liza Minnelli et Madonna. Au programme du Châtelet : des œuvres phares de Martha Graham et une invitée d'honneur, la danseuse étoile Aurélie Dupont, qui n'est pas remontée sur scène depuis dix ans. Le centenaire de Martha Graham, c'est jusqu'au 14 novembre au Théâtre du Châtelet à Paris. 

durée : 01:57:56 - Musique matin du vendredi 07 novembre 2025 - par : Gabrielle Oliveira-Guyon - Comme tous les vendredis, place à nos chroniqueurs. Cap sur Marseille avec Roselyne Bachelot qui nous parle du baryton Victor Maurel, le créateur de "Falstaff" de Verdi, quand Hippolyte Pérès nous initie à la technique de la chorégraphe Martha Graham, à l'honneur au Théâtre du Châtelet. - réalisé par : Yassine Bouzar Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Join "Dance Talk” ® with Joanne Carey and special guest Janet Eilber this episode of  "Dance Talk” ® with Joanne Carey, host Joanne Carey  speaks with Janet Eilber, the artistic director of the Martha Graham Dance Company. They discuss Janet's early beginnings in dance, her time at the Juilliard School, being a teenager in NYC as well as her experiences with the Martha Graham Technique, and the profound impact of Martha Graham's teachings on her career. Janet shares insights into her roles within the company, the creative process of Martha Graham, and the legacy she aims to uphold as artistic director. They also explore the upcoming celebrations for the 100th anniversary of the company, innovative projects, and the importance of engaging audiences through open rehearsals.Janet Eilber has been Artistic Director of the Martha Graham Center of Contemporary Dance Company since 2005 pioneering new forms of audience access to the Graham legacy. Ms. Eilber is a graduate of the Juilliard School where she was mentored by teachers of the Graham and Limón legacies and directed by José Limón in several of his classics. While still at Juilliard, she was invited to join the Graham Company where she worked closely with Martha Graham for almost a decade. She danced many of Graham's greatest roles, had roles created for her by Graham, and was directed by Graham in most of the major roles of the repertory. She soloed at the White House, was partnered by Rudolf Nureyev, starred in three segments of Dance in America, and worked with Graham's major collaborators such as Isamu Noguchi, Aaron Copland and Halston.  She has since taught, lectured, and directed Graham ballets internationally for companies such as the Dutch National Ballet and the Paris Opera Ballet. Apart from her work with Graham, Ms. Eilber has co-starred in films such as Whose Life is it Anyway? with Richard Dreyfuss, and Romantic Comedy with Dudley Moore.  She was featured in several television series in the 1980s, and danced and acted on and off Broadway directed by such greats as Agnes DeMille and Bob Fosse. For her performance in Stepping Out directed by Tommy Tune, she was nominated for a Drama Desk Award for Featured Actress in a Play. Ms. Eilber received four Lester Horton Awards for her reconstruction and performance of seminal American modern dance. She served as Director of Arts Education for the Dana Foundation, guiding the Foundation's support for Teaching Artist training and contributing regularly to its publications. She is a Trustee Emeritus of the Interlochen Center for the Arts and was recently honored with a Doctorate of Fine Arts from the Juilliard School.At the 2022 celebration of the 50th anniversary of her first performance with the Martha Graham Dance Company, Ms. Eilber received a congratulatory letter from President and First Lady Biden saluting her half-century contribution to the arts in America.  She is married to screenwriter/NYU professor John Warren, with whom she has two daughters, Madeline and Eva.To find out more⁠https://marthagraham.org/company/⁠⁠⁠⁠Follow the company on Instagram@marthagrahamdance⁠“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Today's episode starts out on a disappointing note. My guest Rian Stone, video essayist and author of the novels Softbone: Down and Out in New Kowloon and The Dog Walker, thought he was coming on to talk to his professional-wrestling hero, “Lightning” Lou Perez. I'm sorry I had to break the kid's heart—I am not that Puerto Rican guy—but I think I made up it up to Rian. We talked about culture as a weapon (see Jackson Pollock and Martha Graham); what it's like to host a stand-up show with Bill Burr in the lineup; my good friend and Ski School alum Dean Cameron; and why Rian (and you) should see The Naked Gun reboot. Turns out, Rian and I are a rare breed: We like things. And we want to get back to making things that are fun and seeing things made that are fun too. Check out my book, That Joke Isn't Funny Anymore: On the Death and Rebirth of Comedy https://amzn.to/3VhFa1r     Watch my sketch comedy streaming on Red Coral Universe: https://redcoraluniverse.com/en/series/the-lou-perez-comedy-68501a2fd369683d0f2a2a88?loopData=true&ccId=675bc891f78f658f73eaa46d Rock XX-XY Athletics. You can get 20% off your purchase with promo code LOU20. https://www.xx-xyathletics.com/?sca_ref=7113152.ifIMaKpCG3ZfUHH4  Attorneys on Retainer https://attorneysforfreedom.my.site.com/signupattorneysonretainerus/s/?promoCode=LU51ZEZ324  Support me at www.substack.com/@louperez    Join my newsletter www.TheLouPerez.com  Apple: https://podcasts.apple.com/.../the-lou-perez.../id1535032081  Spotify: https://open.spotify.com/show/2KAtC7eFS3NHWMZp2UgMVU  Amazon: https://music.amazon.com/.../2b7d4d.../the-lou-perez-podcast  YouTube: https://www.youtube.com/playlist?list=PLb5trMQQvT077-L1roE0iZyAgT4dD4EtJ  Lou Perez is a comedian, producer, and the author of THAT JOKE ISN'T FUNNY ANYMORE: ON THE DEATH AND REBIRTH OF COMEDY. You may have seen him on Gutfeld! , FOX News Primetime, One Nation with Brian Kilmeade, and Open to Debate (with Michael Ian Black). Lou was the Head Writer and Producer of the Webby Award-winning comedy channel We the Internet TV. During his tenure at WTI, Lou made the kind of comedy that gets you put on lists and your words in the Wall Street Journal: “How I Became a ‘Far-Right Radical.'” As a stand-up comedian, Lou has opened for Rob Schneider, Rich Vos, Jimmy Dore, Dave Smith, and toured the US and Canada with Scott Thompson. Lou has also produced live shows with Colin Quinn, the Icarus Festival, and the Rutherford Comedy Festival. For years, Lou performed at the Upright Citizens Brigade Theater (both in NYC and L.A.) in sketch shows with the Hammerkatz and his comedy duo, Greg and Lou. Greg and Lou is best known for its sketch "Wolverine's Claws Suck," which has over 20 million views on YouTube alone. In addition to producing sketch comedy like Comedy Is Murder, performing stand-up across the country, and writing for The Blaze's Align, Lou is on the advisory board of Heresy Press, a FAIR-in-the-arts fellow, and host of the live debate series The Wrong Take and The Lou Perez Podcast (which is part of the Lions of Liberty Podcast Network). Learn more about your ad choices. Visit megaphone.fm/adchoices

L'émission 28 minutes du 10/07/2025 La chorégraphe Blanca Li nous immerge dans le Bal de ParisChorégraphe, danseuse, réalisatrice, metteuse en scène et aujourd'hui présidente de la Grande Halle de la Villette, Blanca Li n'a jamais cessé d'élargir le champ du possible. Son œuvre est une œuvre du mouvement, au sens propre comme au figuré. Née à Grenade, formée à New York chez Alvin Ailey et Martha Graham, elle mêle flamenco, hip-hop, danse baroque, ballet classique, robots et réalité virtuelle dans un travail jubilatoire et sans frontières. Fondatrice de sa compagnie en 1992, elle impose dès "Macadam Macadam" une danse urbaine sur scène, puis enchaîne avec "Al Andalus", "Elektrik", "Robot", ou encore "Le Jardin des Délices". Artiste populaire et pionnière, elle signe aussi des clips pour Daft Punk ou Beyoncé, des défilés pour Jean-Paul Gaultier et des comédies musicales pour les Folies Bergère. Première femme chorégraphe élue à l'Académie des Beaux-Arts, elle a parfois dérouté par son éclectisme assumé, mais toujours ouvert des voies nouvelles. Son actualité : le retour du "Bal de Paris", bal masqué en réalité virtuelle, récompensé à la Mostra de Venise, est à découvrir du 21 septembre au 2 novembre à la Seine Musicale. Un moment d'extase collective où le spectateur devient danseur. L'avion moins cher que le train : faut-il payer plus cher l'aérien ?Avec plus de 12 millions de billets vendus pour juillet et août, la SNCF s'attend à un été record. Rien que pour le premier grand week-end des vacances, 1,3 million de voyageurs étaient attendus à bord de 2 400 trains TGV, Ouigo et Intercités. Mais si le train séduit toujours, il reste souvent plus cher que l'avion pour voyager en Europe. Une étude conjointe de Greenpeace, UFC-Que Choisir et Réseau Action Climat révèle qu'un billet de train coûte en moyenne 2,6 fois plus cher qu'un billet d'avion pour des trajets européens. Un paradoxe, alors que les épisodes caniculaires de ce début d'été rappellent l'urgence climatique. Faut-il rendre l'avion plus cher pour inciter à des choix plus écologiques ?  Enfin, Théophile Cossa nous parle du trafic de drogue sous marin et Marjorie Adelson s'intéresse à l'essor des espaces strictement féminins, en Chine.28 minutes est le magazine d'actualité d'ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement 10 juillet 2025 Présentation Jean-Mathieu Pernin Production KM, ARTE Radio

In the sixth episode of Sage Advice, ⁠Hamza Khan⁠ welcomes tech educator, entrepreneur, and AI adoption advocate ⁠Avery Swartz⁠ for a hilarious and heart-expanding conversation about clarity, kindness, and carving a human path through the digital world. As the founder of Camp Tech and co-lead of AI Skills Lab Canada, Avery is on a mission to demystify technology and make AI accessible for everyone—especially women and non-binary entrepreneurs. Together, she and Hamza explore what it means to lead with radical empathy in an age of algorithms. They riff on everything from the wisdom of Martha Graham to the quiet devastation of burnout, and from maternal loss to the surprising poetry of website planning. Avery shares how the best advice she ever received became even better once she reframed it—inviting us not to seize the day, but to pluck it gently. With humour and honesty, she challenges hustle culture, dismantles tech gatekeeping, and offers a more gracious, grounded approach to learning, leading, and living. Avery's timeless advice: 1) Pluck the day, 2) Be where you are, and 3) Don't be a dick. This episode is a masterclass in compassionate clarity—with some of the best one-liners in Sage Advice history.

Join "Dance Talk” ® with Joanne Carey and special guest Anna SperberIn this episode of  "Dance Talk” ® , host Joanne Carey interviews choreographer Anna Sperber, who shares her journey into the world of dance, her education, and her artistic identity. They discuss her upcoming piece 'Beacons' at the American Dance Festival, the role of the audience in dance, and the creative process behind choreography. Sperber reflects on the influence of motherhood and Martha Graham on her work, the importance of somatics, and her initiative 'Class, Class, Class' aimed at fostering new teaching talent. The conversation culminates in her thoughts on receiving the Bessie Award and her excitement about returning to ADF.Anna Sperber is a Brooklyn-based choreographer and performer. Her work has been described by The New York Times as “immediately compelling” and “wonderfully strange” with “moments of theatrical magic.” Her performances are rooted in the poetic potency of choreography and its potential for perceptual transformation, embodying a tension between formality and chaotic wildness.Sperber received a 2022 New York Dance and Performance “Bessie” award for Outstanding Choreographer / Creator for Bow Echo (2021). Her work has been presented and commissioned by The Kitchen, The Joyce Theater UNLEASHED Series, The Chocolate Factory, Baryshnikov Arts Center, Roulette, Gibney Dance, and Dance Theater Workshop in New York City, as well as by the American Dance Festival in Durham, NC. Sperber has received fellowships and residencies at MacDowell, Yaddo, Bogliasco Foundation in Bogliasco Italy, the Marble House Project, as a Schonberg Fellow at Dance The Yard, Dance Initiative in Carbondale Colorado, Center for Performance Research, Gibney Dance DiP (Dance in Process), Brooklyn Arts Exchange, Lower Manhattan Cultural Council, and Movement Research. Her work has been supported by New Music USA Live Music for Dance, Mertz Gilmore Foundation, The Jerome Foundation, and Brooklyn Arts Council, Cafe Royal Cultural Foundation, and a 2025 NYSCA Grant to Individual Artists. Sperber has collaborated extensively with esteemed experimental composers and live musicians as well as visual designers in New York City. These interdisciplinary collaborations are crucial to the integration of visual and sonic landscapes with the moving body in her work. As a performer, she has worked with many New York-based choreographers including luciana achugar and Juliette Mapp.Sperber was a co-founder of classclassclass, designed to nurture new dance teachers while offering reduced class rates, and has taught as a guest artist at American Dance Festival, Movement Research, Freeskewl, Gibney Dance, Hunter College, George Washington University, and Wayne State University. Sperber founded and ran BRAZIL, a studio and intimate performance space in Bushwick, Brooklyn from 2004 to 2014 and Sunset Space from 2019-2020. More about Annahttps://www.annasperber.com/See the performance at American Dance Festivalhttps://americandancefestival.org/event/anna-sperber/2025-06-25/“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Mark and Kenny unsheathe their swords to discuss this powerful and beautiful ballad about mortality, battle, inspiration, and the pulsating humanity that lies beneath it all. Special Guest Jesse Factor joins the conversation to discuss remixing Martha Graham & Madonna together in his thrilling dance show The Marthaodyssey and the many muses found in his work as both a dancer and a choreographer - and mega fan Manny Melendez shares a poem inspired by the song and his own philosophy of artistic endurance. Plus, the All I Want To Do is Talk About Madonna Institute launches its Call for Projects - get those artist statements together!Find Jesse Factor here: www.jessefactor.com

Join "Dance Talk” ® with Joanne Carey and special guest Lloyd MayorIn this episode of "Dance Talk” ® , host Joanne Carey speaks with Lloyd Mayor, director of the Clive Barnes Foundation, about his journey in the dance world, the influence of Martha Graham, and the importance of resilience in the performing arts. They discuss the role of the Clive Barnes Foundation in supporting emerging talent, the future of dance and theater, and the significance of movement as a form of therapy. Lloyd shares insights on navigating the dance industry, the challenges faced by dancers, and offers advice for aspiring artists.LLoyd Mayor is of Swiss and British nationality and was born in Geneva, Switzerland, and trained at the Rambert School of Ballet and Contemporary Dance in London. After entering the Martha Graham School with a full scholarship, he joined the Martha Graham Dance Company as a soloist dancer from 2012 to 2022. Mr. Mayor performed a wide range of lead roles in Martha Graham's repertoire as well as contemporary collaborations with Pam Tanowitz, Nacho Duato, Andonis Foniadakis, and Richard Move's “The Show (Achilles Heels),” first danced by Mikhail Baryshnikov. For the Martha Graham Company's 90th anniversary in April 2016, Mr. Mayor danced with former Étoile and former artistic director of the Paris Opera Ballet, Aurélie Dupont. Mr. Mayor also continues to teach around the world, sharing the knowledge of the Graham Technique. Outside of dance, Mr. Mayor is a vibrant real estate agent with Berkshire Hathaway HomeServices and takes great pride in being a global multilingual and multicultural professional who always puts forward the experience of collaborative effort and being of service to his clients' needs. In 2014, he was honored with the Clive Barnes Dance Award, and is now Director of the Foundation. Lloyd Mayor is passionate about keeping Clive and Valerie Taylor Barnes's legacy alive so that young talent can keep being recognised and celebrated.More about the Clive Barnes Foundationhttps://www.clivebarnesfoundation.org/Tickets to the Annual Awards June 9that the National Arts Club https://www.zeffy.com/en-US/ticketing/15th-annual-award-clive-barnes-ceremony-and-anniversary“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

This one goes out to all my actor pals.

In this episode, I sit down with Ane Arrieta, a company dancer with the legendary Martha Graham Dance Company. Ane takes us through her unique path, from training at the Academy of Newport Contemporary Ballet in Rhode Island to discovering modern dance in college, and ultimately joining one of the most prestigious dance companies in the world.Ane shares behind-the-scenes insights into life as a Graham dancer, from intense rehearsals and international tours to performing historic roles and preparing for the company's upcoming 100th anniversary season. If you've ever wondered what it takes to dance for the Martha Graham Dance Company, this episode is for you!Key Topics:✨ How Ane's childhood Nutcracker performances sparked her passion for dance ✨ What drew her to modern dance and why she fell in love with Graham technique✨ The resilience required to navigate the dance world as a graduating college senior during COVID-19✨ How Ane transitioned from Graham 2 to the Martha Graham Dance Company✨ The physical and mental demands of Graham technique and how she stays injury-free✨ What a typical week looks like for a Graham dancer—rehearsals, touring, and self-care✨ The thrill of performing Martha Graham's iconic works and what's next in her careerConnect with Ane:INSTAGRAM: instagram.com/anearrietaWEBSITE: https://marthagraham.org/Links and Resources:Get your copy of The Intentional Career HandbookSet up ticketing for your next event with DRT (Make sure to mention that The Brainy Ballerina sent you!)1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

Tulsa artist, Trueson Daugherty, talks about how a famous quote from Martha Graham has influenced his life and, consequently, his artwork.

Dave Brisbin 3.16.25 Mid-century dancer Martha Graham said that no artist is ever satisfied with their work at any time. That there is a strange, “divine dissatisfaction, a blessed unrest” that keeps them marching and more alive than others. This is a blueprint for excellence and recipe for disaster depending on whether a balance can be maintained. We've been applying this blueprint to our spiritual lives, and balance is no less critical there. The power in Graham's statement lies in the paradox of living positively in a state of dissatisfaction and unrest. Far from blessed, we see those states as negative, and if we think of dissatisfaction as discontentment with our current circumstance, they are. But looking at dissatisfaction as the opposite of complacency—being so satisfied with our own abilities and situation that we see no need for improvement or possibility of growth—opens a door. In spiritual terms, there is always more in heaven and earth than we can hold at any moment. Like drinking from a fire hydrant, we are aware of the flow, but our mouths can only hold so much. We see how much is getting past us, yet we're not thirsty. Each moment is just enough; filled right to the brim, no more or less. But if we've avoided complacency, we can use our dissatisfaction, the awareness of the flow, to stoke our desire to grow and be able to hold more of that flow in the next moment, which will also be just enough. Always a delicate balance. So easy for divine desire and anticipation to slide into obsession, where powerfully intrusive thoughts create distress that require compulsion, repetitive physical and mental behavior, to relieve the distress. But like compulsive hand washing over an obsession with germs—it's never enough. Every one of us needs dreams and goals, desire and hope, something to plan and work toward. Without a striving for excellence, human life loses the sense of meaning and purpose that makes life worth living. But if dreams become obsessive and work compulsive enough that we never experience our moments as enough, dissatisfaction is no longer divine. Merely discontented. Keeps us marching, but less alive.

Twenty-four thousand men were crowded into Knockaloe Interment Camp in 1914 because they had been found guilty of being in the wrong place, at the wrong time, with the wrong last name.Tightly confined behind barbed wire, those men grew increasingly weak, feeble, stiff and awkward until a man named Joseph was shoved through their gate on September 12, 1915.He gave his fellow prisoners strength, stamina, flexibility and grace.They never forgot him.When the war was over and those men were released, Joseph boarded a ship for America. While onboard that ship, he fell in love with a woman named Clara who was also headed to America. When they arrived in New York, Joseph and Clara opened a studio on 8th street that would send ripples across the world.The rest of this story is about how those ripples became a wave.George Balanchine sent his ballet dancers to Joseph on 8th street to gain strength, stamina, flexibility and grace.Martha Graham sent her modern dancers to Joseph on 8th street to gain strength, stamina, flexibility and grace.The best dancers on Broadway went to Joseph on 8th Street to gain strength, stamina, flexibility and grace.George Balanchine became known as “The Father of Modern Ballet.”Martha Graham is shown in Apple's famous “Think Different” video as one of the 17 people that Steve Jobs felt had changed the world.Broadway, Ballet, and Modern Dance were lifted to new heights.When those ripples from 8th Street reached California, the “Golden Age of Hollywood” began.Gene Kelley danced with a light post and sang in the rain to the thundering applause of America.Slim, elegant, and incredibly strong, Fred Astaire did impossible things effortlessly.Ginger Rodgers did exactly what Fred did, but backwards and in high heels.A young man was known for his slogan, “Float like a butterfly, sting like a bee.” He brought strength, stamina, flexibility and grace to the world of boxing.Like Martha Graham, this young boxer was chosen to appear in Apple's famous “Think Different” video as one of the 17 “crazy ones” who changed the world.He had been the heavyweight champion of the world for 5 years when a 10-year-old boy named Michael elevated dancing to an even higher place with the help of his 4 older brothers. Those 8th Street ripples of strength, stamina, flexibility and grace had splashed back from the California coast and were now rippling through Motown.Charles Atlas and Joseph Pilates were born one year apart and lived an almost identical lifespan.Charles Atlas gave men bulging biceps that other people could admire.Joseph Pilates told us how to gain the strength, stamina, flexibility, and grace to do whatever we want to do.What do you want to do?– Roy H. WilliamsPS – Joseph loved Clara until the day he died.Are your employees happy to follow you, or do they avoid you like a skunk at a garden party? Phillip Wilson says the more accessible you are as a leader, the more your business will thrive. But when leaders create a gap between themselves and their employees, they lose top talent and nudge workers toward unionization. Listen in as the famous Phillip Wilson explains to roving reporter Rotbart why “Approachable Leadership” is the only elevator that can lift employee morale, productivity, and retention. The button has been pressed and this elevator is about to up-up-up! But we're holding the door open for you, hoping that you'll join us at MondayMorningRadio.com

Episode Summary: Christina Ricucci, a dynamic artist who blends singing, songwriting, acting, dancing, and choreography. Christina shares her journey from starting dance at age two to competing and training rigorously, achieving national titles, and landing performances featured in Disney projects. She reflects on how Lyme disease, diagnosed in her teenage years, drastically shifted her career, leading her to explore music and acting. This illness ultimately led to the release of her first self-written single, Ophelia, marking a creative milestone. Now teaching dance, choreographing, and producing music, Christina offers valuable advice for aspiring artists, highlighting the importance of adaptability, passion, and creative exploration. This episode is filled with insights for anyone navigating creative careers and personal transformation. Show Notes: (00:00) - Introduction to the podcast and guest, Christina Ricucci (02:00) - Christina's early start in dance and first performances (05:00) - Transition from dance to music and songwriting (08:30) - How Lyme disease impacted Christina's career and forced a pivot (12:00) - Embracing other creative outlets: music, acting, and songwriting (15:30) - The current role of dance in Christina's life: teaching and choreography (18:00) - Advice for young dancers exploring multiple creative avenues (22:00) - Q&A with Business of Dance mentees (40:00) - Christina recommends summer programs and intensives for dancers (44:00) - Reflecting on competitive dance and ballet training (49:00) - Christina shares memories from Showstoppers and other dance competitions (51:00) - Final thoughts from Christina on following your passion and embracing creativity (53:00) - Closing remarks and sign-off Biography: Christina Ricucci is an alternative singer-songwriter, actress, and dancer/choreographer based in Los Angeles, CA. She draws inspiration from life experiences, pain, love, happiness, poetry, and, of course, art, in her creative endeavors. As a dancer and choreographer, Christina has trained extensively in ballet, contemporary, jazz, lyrical, tap, hip hop, and musical theater. She has furthered her training at intensives with prestigious institutions such as The Juilliard School, Nederlands Dans Theater, Cedar Lake Contemporary Ballet, American Ballet Theater, Hubbard Street Dance, Complexions Contemporary Ballet, Martha Graham, Limon, and Batsheva/Gaga. Christina has choreographed award-winning pieces and has taught dance workshops and choreography across the country. Christina is an 8-time National Champion soloist and has toured the U.S. and Canada as a demonstrator with both the JUMP and NUVO Dance Conventions. She was awarded the prestigious National Title of “Best Dancer” from the Dance Awards, the Hope Award from YAGP, and was a Gold Medalist at the World Ballet Competition. She has also appeared on the covers of Dance Spirit magazine as their Cover Model Winner and Inside Dance magazine. Christina's dance career led to her first acting job at age 12, when she was cast as a ballerina in a Disney project. After enduring several years of Lyme Disease treatment, she expanded her creative pursuits to include acting and music. She has won “Best Actress” awards at multiple film festivals. In 2019, Christina was the featured vocalist on Nowhere Near, an international award-winning soundtrack. Her music weaves dark pop with contemporary production, and her upcoming project includes the release of her first single, Ophelia, inspired by John Everett Millais' painting based on Shakespeare's Ophelia. The debut EP is expected to be released in late 2024. Connect on Social Media: https://www.instagram.com/christinaricucci https://www.facebook.com/christina.ricucci

Robert Greene visits Google to discuss his latest book, "Mastery." What did Charles Darwin, a middling schoolboy and underachieving second son, do to become one of the earliest and greatest naturalists the world has known? What were the similar choices made by Mozart and by Caesar Rodriguez, the U.S. Air Force's last ace fighter pilot? In Mastery, Robert Greene's fifth book, he mines the biographies of great historical figures for clues about gaining control over our own lives and destinies. Greene culls years of research and original interviews to blend historical anecdote and psychological insight, distilling the universal ingredients of the world's masters. Temple Grandin, Martha Graham, Henry Ford, Buckminster Fuller—all have lessons to offer about how the love for doing one thing exceptionally well can lead to mastery. Yet the secret, Greene writes, is already in our heads. Debunking long-held cultural myths, he demonstrates just how we, as humans, are hardwired for achievement. Originally published in April of 2013. Visit http://youtube.com/TalksAtGoogle/ to watch the video.

As the heat of summer rises on Rodeo Drive, how better to stay cool and chic than in the most versatile, enduring and fluid garment of all time –– the Caftan! So says the man with more than thirty of them, Cameron Silver, author of the new book Caftans: From Classical to Camp.Silver talks with Rodeo Drive - The Podcast host Lyn Winter about the history, design and appeal of the caftan, which he says is the most universal and ancient garment in the world. “It is this wonderful garment of comfort that's size inclusive, that's gender fluid, that can be modest or sexy. It can be voluminous or follow the lines of the body, it can be luxurious, or very accessible.”He points out that the caftan, essentially a square of fabric with holes for the head and arms, kept plain or highly ornamental, has been worn by Jesus, Moses, Muhammad and Buddha. “It is this cultural garment of incredible reverence in Morocco,” says Silver; it was worn with high camp by the singer Demis Roussos and extraordinary grace by Elizabeth Taylor, Grace Kelly and numerous other celebrities. It has been styled by the likes of Fortuny, Yves Saint Laurent, Valentino, Marc Bohan for Dior, Karl Lagerfeld, Emilio Pucci, Rudi Gernreich, and Oscar de la Renta. Silver, who conducted the interview wearing a lightweight, hooded, 100% cotton caftan designed by Trina Turk, has taken his book on the road from Texas to Mykonos. He notes that wherever he goes he finds an enthusiastic “caftan caucus” of people wearing and talking about caftans, which he says is the quintessential Athleisure garment, counterintuitively more glamorous than body hugging clothes.It's not “just a sack,” says Silver. “The reality is that when you wear it, you have to really move your body; you become a Martha Graham dancer, even if you have two left feet like me.” SIlver, who was previously Fashion Director for H by Halston for QVC, adds that “Halston famously did his first runway shows featuring caftans and in the late 60s and 70s they became even more popular.” Right now, he says there is a caftan renaissance, with variants appearing at all the runway shows. “It may have taken a Western and European fashion several decades to really understand that it's a good idea to have a caftan in your collection.”Even though Silver wears his caftans in all seasons, he says this floaty garment, that can be worn from day into evening, is especially appealing in the summer. “It is the garment of the people. Regardless of your size or your gender, or your means or your location, there is a caftan waiting out there for you.”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 AlfonsoVisit the website:https://rodeodrive-bh.com/podcast/Join us on Instagram:@rodeodrive Hosted on Acast. See acast.com/privacy for more information.

Merriam-Webster's Word of the Day for May 27, 2024 is: glean • GLEEN • verb To glean is to gather or collect something bit by bit, or in a gradual way. Glean can also be used to mean “to search (something) carefully” and “to find out.” // Neil has a collection of antique tools gleaned from flea markets and garage sales. // They spent days gleaning the files for information. // The police used old-fashioned detective work to glean his whereabouts. See the entry > Examples: “Not only did procuring money to maintain her company figure in Graham's acceptance of the occasional theater job during the 1930s; perhaps, too, she thought that being associated with a successful play could bring new audiences to her dance performances. There can be no doubt that she gleaned something from each experience outside the rigorous and profoundly idiosyncratic works she created for her company, even if she learned that there were some projects she would prefer never to undertake again.” — Deborah Jowitt, Errand into the Maze: The Life and Works of Martha Graham, 2024 Did you know? While it is certainly true that one must reap what one sows (that is, harvest the crops that one plants), what should be done about the grain and other produce left over that the reapers missed? Well, friends, that must be gleaned—waste not, want not, after all. It's a finicky business, too, picking through stalks and under leaves and whatnot. When it was first used in English in the 14th century, glean carried both the sense of “to gather grain or other produce left by reapers” and the more figurative meaning of “to gather information or material bit by bit,” reflecting the slow, gradual, painstaking work of scouring the fields. Over the years, and especially in the 20th and 21st centuries, glean has also come to be used frequently with the meaning “to find out, learn, ascertain.” This sense has been criticized by folks who think glean should always imply the drudgery involved in the literal grain-gathering sense, but it is well established and perfectly valid.

Born and raised in Pennsylvania, the 97-year-old Pittsburgh-based artist and sculptor Thaddeus Mosley has a deep and enduring obsession with wood. In his late 20s, he began to use the material for art, carving sculptures in his basement studio, and with his sculpture-making now spanning 70 years, his enduring dedication to his craft is practically unparalleled. Represented by Karma gallery since 2019, Mosley has only now, in the past decade or so, begun to receive the international recognition and attention he has long deserved. In his hands, wood sings; he shapes and carves trees into striking abstract forms that often appear as if they're levitating while honoring and preserving their organic, natural character. As with the work of his two main influences, Constantin Brâncuși and Isamu Noguchi, Mosley, too, strives to make sculptures that, in his words, beyond today, “will be interesting in a hundred tomorrows.”On the episode, he talks about the language that poetry, music, and sculpture all share; his early years as a sports writer for a local newspaper; and his life-transforming relationship with the Carnegie Museum of Art in Pittsburgh.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Thaddeus Mosley[4:13] Sam Gilliam[17:24] Carnegie Museum[21:08] Carnegie International[21:08] Leon Arkus[21:08] “Thaddeus Mosley: Forest”[21:08] “Inheritance”[24:20] Isamu Noguchi[27:53] Constantin Brâncuși[28:28] University of Pittsburgh[28:28] Martha Graham[46:15] Floyd Bennett Field[46:23] Ebony magazine[46:23] Sepia magazine[46:23] Jet magazine[46:23] Pittsburgh Courier[54:34] John Coltrane[51:37] Li Bo[51:37] Dylan Thomas[56:21] Bernard Leach[57:45] Langston Hughes[57:45] Countee Cullen[57:45] Harriet Tubman[57:45] Fannie Lou Hamer[57:45] “The Long-Legged Bait”[57:45] “Air Step - for Fayard and Harold Nicholas”[57:45] The Nicholas Brothers

Darla Murray Loomis has been a seeker for much of her life, traveling the world to find what she longed to find. Each place she went, she found something meaningful. But, Darla didn't find what she was looking for out in the world - she found it within, what Darla calls this treasure inside herself. When Darla came to the Hoffman Process, she'd already found this treasure. What brought her to the Process was the realization that she had emotions stuck inside ready to be set free. Darla was ready to free herself through the work of the Process! Through the work of the Process, the cathartic work, especially, Darla found the freedom she was looking for. She took the opportunity afforded by the strong container of the Process to acknowledge, feel, and express her anger. Darla came to respect her anger and know that it has a purpose. Darla shares how doing the Hoffman Process "unclogged the channel", the channel through which the divine source expresses itself through her. As an artist and creative, she keenly knows the need to keep this channel open. This is a truth-telling conversation about how difficult it can be to live a surrendered life, be authentic, and speak the truth of your being. This is Darla's intention. She speaks of it with sincerity and humility. More about Darla Murray Loomis: Darla Murray Loomis has created nurturing, creative spaces and places in the beauty and spa industry in small businesses for over three decades. She's a third-generation entrepreneur in her family. As a successful business owner, author and artist Darla has been a leader, teacher, and mentor inspiring other women to honor their feminine heart to guide a profitable business, and to create workplaces that create harmony between people, the planet, and profits for the business of life. Darla lives by the clarity of her example, demonstrating a balance between work, family, self-care, fun, and exploration. Darla is a teacher and mentor empowering women creatives and entrepreneurs. She has traveled the world studying different spiritual traditions to continue her transformation and healing. She loves sharing the way, through her personal adventures and transformational journey to inspire others to create a life they can call their own, while authentically recovering our voices and self-expression. Darla explores her deepest and truest self through the art of play and creativity. Darla believes all that nurtures strengthens. She lives in Telluride, Colorado, with Peter, her husband of 23 years. She loves art, mountain biking, hiking, and traveling. Find out more about Darla at TruthBeautySpirit.com. As mentioned in this episode: Ah Haa School for the Arts in Telluride, CO The movie, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe The Feminine/Masculine or Yin/Yang Sides of Creativity Quote Drew references: “There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. "It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” ― Martha Graham, American modern dancer, and choreographer. Flow-state, named by the psychologist Mihály Csíkszentmihályi in 1970. "Surrendering to the arms of the creative." Writing that came out of Darla's meditation. A Blended Family Shamanism

For over twenty-five years, Cate Blanchett has been as vital as any performer we have. In the lead-up to this Sunday's 96th annual Academy Awards, we're returning to our special talk with Cate. To begin, we unpack her femme fatale turn in Nightmare Alley (6:06), the way director Guillermo del Toro wrestles with truth and deception in the neo-noir (9:34), the first time Blanchett understood her gift for shapeshifting (11:18), the lasting presence of her late father (14:46), an early job as a script reader that changed how she approached her craft (19:14), the challenge of getting comfortable with “being seen” (22:40), a prophetic encounter with a psychic while filming The Gift (25:46), and how becoming a parent clarified her purpose (31:58). On the back-half, we sit her work in I'm Not There (34:52) and Manifesto (38:54), her affinity for the Eastern philosophy of imperfection (42:33), words of wisdom from dancer Martha Graham (48:00), and how she's beginning to accept the “divine dissatisfaction” of being an artist (51:54). For questions, comments, or to join our mailing list, reach me at sf@talkeasypod.com. See omnystudio.com/listener for privacy information.

This week we get into Deborah Jowitt's new biography of Martha Graham, but first Jeremy and Reid chat about the Bon Appétit family and the Swans vs. Capote. Errand Into The Maze ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠➩ WEBSITE⁠ ◦ ⁠YOUTUBE ⁠◦⁠ ⁠⁠INSTAGRAM⁠⁠ ⁠ ⁠➩ SUPPORT W/$.99⁠ ◦ ⁠PATREON⁠ ◦ ⁠THE MERCH⁠ ⁠➩ REID⁠ ◦ ⁠JEREMY⁠ ◦ ⁠JACK⁠ ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠➩ withdanceandstuff@gmail.com⁠

WE'RE BACK, RAMMIES! We are kicking off 2024 with a highly requested episode, Betty Ford. Betty Ford was far more than a first lady. She was an unapologetic feminist, an advocate for women's health, and a pioneer in substance abuse recovery. From her early years as a dancer under Martha Graham, to dancing in the White House, we take you through Betty's remarkable story of boldness, bravery, and recovery. This is Betty Ford! Breast Cancer tools and resources can be found HERE Resources and tools for addiction recovery from the Betty Ford center can be found HERE Follow us in instagram at ⁠@Rightanswersmostly ⁠and on TikTok at ⁠@Rightanswersmostly⁠ Join our Patreon at ⁠https://www.patreon.com/rightanswersmostly⁠