Podcasts about Martha Graham

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

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

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

News; birthdays/events; game: I should have known that; word of the day. News; why is it good to travel with old beat up luggage?; game: 80's/90's trivia; 71% of moms would "do over" their lives if they could.  News; 5 good "bad" habits; game: think n sync; a competitive eater who ate at McDonald's for 100 days and lost weight! News; our dogs help us de-stress...but are you stressing your dog out?; do you look at the camera during a Zoom meeting or at yourself? are you concerned about the way you look?; goodbye/fun facts....International Choreographers Day...Choreographers are the masterminds behind all the beautiful dance moves and routines we see. While it is hard to pinpoint the exact time of the origination of dance, archaeological evidence suggests it has been around for centuries. We know that before there were any languages, there was performative communication. Dance made its way across the globe for different purposes...social, celebratory, ritual, and entertainment. The term ‘choreographer' is used for the first time in 1936 with credit given to George Balanchine for the Broadway show “On Your Toes.”  you've probably also heard of: Alvin Ailey, Martha Graham, Bob Fosse...but there are countless others who bring this art form to life!

By request from Rachael via Instagram (what's up Rachael!) asking me to discuss the uncomfortable state of being obsessed/in love with something but not yet good at it.What you'll hear:Creatrix applications are official open to waitlist!  Click here to get a reminder (I'll notify you if the spaces have been filled).How the discomfort between being a beginner and having high standards of excellent can manifest 2:26There are no shortcuts to development, and if there were, I'd advise against it 3:50Ambition is precious, and should be honored while it's breathing fire 4:25How this cognitive dissonance between where I was and where i wanted to be manifested for me when I was a beginning 6:00How to actively celebrate that which you already have on the table- make a brag list! 9:00How to include the AND while acknowledging your gremlins 12:00What an absolute fuckin legend you are for pursuing your love in spite of your gremlins 13:30If you want to read the full story about Agnes de Mille and Martha Graham, you can do that here. How you can deal if someone dismisses you when you tell them what you want 20:30Don't go back to sleep.xoRachelSign up here for monthly blasts and functional wooFind me on InstagramSupport this podcast on Patreon

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.

Ray Terrill | Dance Group has been performing in and around the Twin Cities since Ray relocated in 1994.Originally from the Pacific Northwest, he has extensive experience as performer, choreographer, teacher, presenter and arts program administrator.He started his professional modern dance career as a member of Martha Graham-based Repertory Dancers Northwest in Seattle Washington until relocating to Portland Oregon to work with the Mary Wigman-based modern dance company Oregon Dance Consort. In Portland, he eventually became co-artistic director of the company where he choreographed numerous original works, taught extensively and produced the contemporary dance season Pulse/Impulse for five consecutive years. He also served as guest artist with many well known regional dance companies and choreographed original dances for regional producing organizations.While in Portland, Ray collaborated with other dance professionals to found the statewide Dance Coalition of Oregon, a dance service organization, for which he served as Executive Director from 1991-1994.After relocating to the Twin Cities, Ray spent five seasons as a member of the Christopher Watson Dance Company while establishing the Ray Terrill Dance Group.Proficient in classical modern dance technique he has evolved a choreographic aesthetic described by critics as uniquely spiritual and lyrical on one hand while irreverent and quirky on the other. Aesthetically, Ray is inspired by wide-ranging music styles and is attracted to exploring provocative subject matter and complex emotion. He works hard to mine his material to expose the universal human experience. His more recent work has incorporated video, animation, and text as a backdrop to extend his choreographic ideas.In the Twin Cities, Ray has served as Board President for the Christopher Watson Dance Company, board member for Off-Leash Area, and advisor to the Walker Art Center's Tour Guide Council. Ray is also the sole producer of the annual Dances at the Lake Festival, a free open to the public performance, presented at the Lake Harriet Rose Garden in Minneapolis.Recently retired from his day job, Ray enjoyed a parallel career in the role of executive producer/management consultant to develop media-rich interactive communications and distance learning solutions for top 100 globalcorporations.Numerous government, foundation and corporate arts funding agencies have generously supported his choreography over the years and his dances have been presented in many venues including Seattle's On the Boards, Portland Center for the Performing Arts, Portland Art Museum, International Firehouse Cultural Center,Artquake, Festival of Physical Comedy, Walker Art Center, Weisman Art Museum, Lakeville Performing Arts, Art on the Edge, and Dances at the Lake Festivals. Over the years, Ray has taken advantage of the Fringe Festival performing circuit and has presented his dances at many including Minnesota, Chicago, Providence, Tucson, Salt Lake City and Denver.

"You do an eclectic celebration of the dance! You do Fosse, Fosse, Fosse! You do Martha Graham, Martha Graham, Martha Graham! Or Twyla, Twyla, Twyla! Or Michael Kidd, Michael Kidd, Michael Kidd, Michael Kidd! Or Madonna, Madonna, Madonna!... but you keep it all inside." Nom Watch Review is back tonight for a Pride Special! Erric Ramirez leads the charge with Dixie Sintas, JP Rapozo & Liza Dean on films and shows that made an impact on the queer community! Whether it was queer directed, written, starred, or implied; Happy Pride Month! ------------------------------------------------------------- Nom Watch Review, where we review the latest film drop or a throwback celebrating a milestone while eating & drinking our favorite movie snacks & drinks. Erric Ramirez: https://www.instagram.com/hartl3ss7/ https://www.tiktok.com/@hartl3ss7 JP Rapozo:   https://www.instagram.com/jprapozo/ https://www.facebook.com/jp.rapozo Liza Dean:   https://www.instagram.com/theredbanshee/ Dixie Sintas: https://www.instagram.com/dixiemarie93 Don't forget to show Nom Talk some love https://www.instagram.com/nomtalknetwork/ https://www.youtube.com/c/NomTalkNetwork https://anchor.fm/nomtalknetwork https://www.facebook.com/NomTalk/ --- Support this podcast: https://podcasters.spotify.com/pod/show/nomtalknetwork/support

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.

Before we get to the interview, a message from Anne:‘Hosting this podcast and interviewing all these amazing people has been such an enriching experience, and I had no idea the impact it would have on me and my listeners. With every conversation, I feel changed by my guests' stories. Because it is stories that stay with us, that and how people made us feel.'  On that note, dear listener, can you please do me a favour?If you enjoy Out of the Clouds, please rate and review the show on Apple Podcasts or Spotify. It helps make it stand out and will support booking of upcoming guests.'Episode NotesKnown in the yoga world as THE teachers' teacher, Annie Carpenter (@anniecarpentersmartflow) shares her story with Anne, who has been an avid student, first via online platform Glo.com, before attending live Zoom classes and IRL workshops with her in 2022. Annie's journey starts in Virginia, but she tells Anne how she found her path early on with dance, leading her to the Martha Graham company and New York City. From getting a scholarship to working at the junior company and briefly joining the main company, Annie found a calling in what she refers to as authentic self-movement and in teaching at the Martha Graham Center. An introvert, she shares with Anne how yoga became an essential part of her life, thanks to Integral yoga (Swami Satchidananda's school) which felt like a refuge from the competitiveness of the dance world.Annie explains how after a trip to LA and a conversation with her teacher Maty Ezraty, she impulsively relocated to the West Coast and turned to teaching yoga full time, training at Yoga Works under Maty and Lisa Walford. They go on to talk about teaching, about Annie's movement principles and energy, how to create inspiration for students, and why Annie founded her own yoga school, Smart Flow Yoga. Annie also shares why continuing to evolve is essential, as well as learning to let go of preconceived notions. She explains how she has learnt to tap into her students' expectations rather than relying on her own. Now based in Northern California, the teacher, who turned 65 this year, also talks about the stages of life, or ashrams, and she is learning to ‘retire' whatever is not supportive in her practice. Quoting Noam Chomsky, she says: "If you are teaching today what you were teaching five years ago, either your field is dead, or you are.” Annie also reveals  her passion for bird-watching, her mindfulness and pranayama practices, and how learning to be still was the doorway to her meditation practice. Finally, she answers the most delicate and profound question of all, one that Annie regularly asks her students: who is Annie? A joyous, profoundly thoughtful and inspiring interview. Enjoy!TakeawaysAnnie Carpenter's journey from dance to yoga and the influence of Martha Graham on her practiceThe importance of finding one's truth and balance in yoga practiceAnnie's development of Smart Flow Yoga and the principles behind itAnnie's role as a teacher's teacher and her experience teaching on Glow Glow Yoga offers a variety of teachers and practices that are both entertaining and beneficial.Teaching yoga via Zoom has its challenges, but it also allows for a more global community.Traveling for yoga teacher trainings can be both rewarding and guilt-inducing due to carbon emissions.Tapping into energy and using inquiry are important aspects of teaching yoga.Somatic movement and meditation can enhance the yoga practice and bring about self-discovery.Yoga philosophy, such as the Yuga Sutras, offers insights into time, space, and the human experience.There is a need for more accessible yoga classes that cater to beginners and focus on functional movement.Birdwatching is a passion of Anne's that connects her with nature and brings her joy. Birdwatching can be a meditative and calming hobby that allows for a deeper connection with nature.Daily rituals and practices, such as breathing exercises and yoga, can support well-being and balance.Continuous learning and evolution are essential in teaching and personal growth.Exploring the question of 'Who am I?' can lead to a deeper understanding of oneself and a sense of constancy.Connection, empathy, and self-discovery are key to finding happiness.Chapters00:00 Introduction to Annie Carpenter03:01 Annie's Journey from Dance to Yoga11:19 Annie's Early Yoga Experiences and Integral Yoga22:38 Creating Her Own School and Curriculum27:07 Movement Principles in Smart Flow Yoga31:45 Annie Carpenter: A Teacher's Teacher34:36 Teaching on Glow and the Future36:02 The Exciting and Beneficial World of Glow Yoga37:28 Teaching Yoga via Zoom: Challenges and Opportunities38:55 The Dilemma of Travel and Carbon Emissions42:17 Tapping into Energy and the Power of Inquiry in Teaching44:43 Exploring Somatic Movement and Meditation in Yoga57:31 Insights from Yoga Philosophy: The Yuga Sutras01:09:10 The Need for Accessible Yoga Classes01:12:04 Finding Joy in Birdwatching01:13:29 Birding: A Meditative and Calming Practice01:20:22 Daily Rituals for Well-being and Balance01:25:22 Continuous Learning and Evolution in Teaching01:32:40 Exploring the Question of 'Who am I?'01:43:29 The Significance of Connection, Empathy, and Self-Discovery in Happiness***Selected links from episodeYou can find Annie at https://www.smartflowyoga.com/about-annie-carpenter/on Instagram - https://www.instagram.com/anniecarpentersmartflow/and on Facebook - https://www.facebook.com/annie.carpenter1And all details for her upcoming class schedule and teacher trainings are available here  - https://www.smartflowyoga.com/or find Annie's classes on Glo - https://www.glo.com/Selected links from episodeMartha Graham on Wikipedia - https://en.wikipedia.org/wiki/Martha_GrahamAnd https://marthagraham.org/The classic piece Appalachian Spring - https://www.youtube.com/watch?v=nM5-CsI713gIntegral Yoga - https://integralyoga.org/Savasana pose - https://www.yogapedia.com/definition/6582/savasanaAli McGraw Yoga, Mind & Body - https://www.youtube.com/watch?v=qmW5Og4VBg8Eric Schiffman - https://erichschiffmann.com/Sally Kempton - https://www.sallykempton.com/Swami Satchidananda - https://integralyoga.org/founder/Maty Ezrati - https://matyezraty.com/Kia Miller - https://www.kiamiller.com/Triyoga London - https://triyoga.co.uk/Diana Rilov - https://www.dianarilov.com/Feldenkreis - https://feldenkrais.com/Alexander Technique - https://alexandertechnique.com/Bonnie Bainbridgecohen - https://bonniebainbridgecohen.com/The Glo Podcast - https://podcast.glo.com/The yoga sutras of Patanjali - https://en.wikipedia.org/wiki/Yoga_Sutras_of_PatanjaliSiddhis - https://www.thecontemplativelife.org/blog/yoga-sutras-patanjali-siddhis-mystic-powersThe prothonotary warbler - https://en.wikipedia.org/wiki/Prothonotary_warblerSlow birding, the book by Joan E. Strassmann - https://www.amazon.com/Slow-Birding-Science-Enjoying-Backyard/dp/B09SN7L7WMScrub jays - https://en.wikipedia.org/wiki/California_scrub_jayThe four ashrams of life - https://yogasvi.com/the-four-ashrams-of-life/Abhinivesha - https://www.yogapedia.com/definition/5533/abhiniveshaAnnie's favourite word 'molt' - https://www.merriam-webster.com/dictionary/moltOut of the Clouds' playlist - https://open.spotify.com/playlist/4Viqm1uiiHtM5Y0FwTCtFR?si=9c1d46979d784abaAnnie's choice for what song best represents her is I'll Take You There by the Staple Singers - https://open.spotify.com/track/5xHfZxFBcMA2akGVMM1bdk?si=fb01ff20b53c42b7An Immense world by Ed Yong https://www.goodreads.com/book/show/59575939-an-immense-world***If you enjoyed this episode, click subscribe for more, and consider writing a review of the show on Apple Podcasts, we really appreciate your support and feedback. And thank you  so much for listening! For all notes and transcripts, please visit Out Of The Clouds on Simplecast - https://out-of-the-clouds.simplecast.com/  Sign up for Anne's email newsletter for more from Out of the Clouds at https://annevmuhlethaler.com. Follow Anne: IG: @_outoftheclouds or  @annvi  This episode is brought to you by AVM Consulting Struggling to connect with your audience? Feeling disconnected from your brand's purpose? Is motivating your team becoming a daunting task?AVM Consulting offers a unique blend of coaching, consulting, and storytelling services designed to help your brand connect authentically, align with your values, and inspire your team to achieve greatness.With a track record of success in working with fashion and luxury partners worldwide, AVM Consulting, led by industry expert and certified coach Anne Mühlethaler, is your trusted partner in achieving your brand's vision. Ready to transform your brand and drive meaningful change? Don't wait any longer. We like to make magic happen.FIND OUT MORE ABOUT AVM CONSULTING HERE. ***If you enjoyed this episode, click subscribe for more, and consider writing a review of the show on Apple Podcasts, we really appreciate your support and feedback. And thank you so much for listening!  For all notes and transcripts, please visit Out Of The Clouds on Simplecast - https://out-of-the-clouds.simplecast.com/   Sign up for Anne's email newsletter for more from Out of the Clouds at https://annevmuhlethaler.com.  Follow Anne and Out of the Clouds: IG: @_outoftheclouds or  @annvi  Or on Threads @annviOn Youtube @OutoftheClouds For more, you can read and subscribe to Anne's Substack, the Mettā View, her weekly dose of insights on coaching, brand development, the future of work, and storytelling, with a hint of mindfulness.

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

* WARNING* Suicide is briefly mentioned in this episode. Guiding New Dance Teachers Hosted by: Anna Harsh Guest Debora Engerman shares her story of how and why she became a Ballet teacher. She offers tips and advice of how new teachers can be more confident and ways to cope with nervousness. Deborah Engerman trained under Wally Saunders in Pikesville, Maryland, from 1977 to 1979, and with the Baltimore Ballet School (formerly the Maryland Ballet School) under the direction of Wendy Robinson from 1979 to 1985, in the RAD (Royal Academy of Dance) tradition. Her classical studies also included training with Petrus Bosman, David Keener, and Christine Hennessy at National Academy of the Arts and Virginia School of the Arts. While pursuing her Bachelor of Arts in International Policy and Management Studies at Dickinson College from 1986 to 1990, she continued her study of classical ballet with the teachers of Central Pennsylvania Youth Ballet. Her dance training includes Vaganova technique, French methodology, Martha Graham technique, and the Dance Education Program at Towson University. She has staged ballets including The Nutcracker and Swan Lake: Act II. For more than three decades, dancers under Engerman's tutelage have gone on to earn professional contracts and danced with companies including American Ballet Theatre, Ballet Inc., Boston Ballet, Complexions Contemporary Ballet, Hubbard Street Dance Chicago, Nashville Ballet, Texture Ballet, Universal Ballet, the Vienna Opera Ballet, the Washington Ballet, and on Broadway. She has also coached dancers for numerous international competitions, such as the Prix de Lausanne, the Varna International Ballet Competition, and Youth America Grand Prix. Her student Adrienne Canterna took the Junior Gold Medal at the 1998 Jackson USA International Ballet Competition. For most of 2010, Engerman toured Europe as ballet mistress for Rock the Ballet, of Sweetbird Productions. Order Anna's Book: https://a.co/d/8QJa4I6 ORDER Let's Talk about Fifth: https://www.amazon.com/Lets-Talk-About-Fifth-Teaching/dp/B0CBT4YCSN/ref=cm_cr_arp_d_pl_foot_top?ie=UTF8 Deborah's website: https://www.deborahengerman.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/anna-harsh/message Support this podcast: https://podcasters.spotify.com/pod/show/anna-harsh/support

fWotD Episode 2528: Appalachian Spring Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Saturday, 6 April 2024 is Appalachian Spring.Appalachian Spring is an American ballet created by the composer Aaron Copland and the choreographer Martha Graham, later arranged as an orchestral work. Commissioned by Elizabeth Sprague Coolidge, Copland composed the ballet for Graham; the original choreography was by Graham, with costumes by Edythe Gilfond and sets by Isamu Noguchi. The ballet was well-received at the 1944 premiere, earning Copland the Pulitzer Prize for Music during its 1945 United States tour. The orchestral suite composed in 1945 was played that year by many symphony orchestras; the suite is among Copland's best-known works, and the ballet remains essential in the Martha Graham Dance Company repertoire.Graham was known for creating the "Graham technique" of dance; in the 1930s, she began commissioning scores from various composers, often related to American history and culture. Around the same time, Copland incorporated relatable and accessible musical characteristics of the Americana style to increase his music's appeal to the general public; he first implemented this in earlier ballets like Billy the Kid and Rodeo. The initial scenario for Appalachian Spring devised by Graham was revised many times by both her and Copland; the title characters' names were changed numerous times and other characters from the early revisions were cut in the final production. Originally orchestrated for a thirteen-piece chamber orchestra, the score was arranged into various suites by Copland for different purposes; the original ballet featured eight episodes, three of which were cut in the well-known orchestral suite.The ballet takes place in a small settlement in 19th-century Pennsylvania. There are four main characters: the Bride, the Husbandman, the Pioneer Woman, and the Revivalist; the last is accompanied by four Followers. Appalachian Spring follows the Bride and the Husbandman as they get married and celebrate with the community. Themes of war are present throughout the story; it is suggested that the Husbandman leaves for war, causing worry and anxiety among the community. Shaker themes also influenced the ballet, notably in the music, where Copland incorporated a theme and variations on the common Shaker tune "Simple Gifts".This recording reflects the Wikipedia text as of 01:11 UTC on Saturday, 6 April 2024.For the full current version of the article, see Appalachian Spring on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Emma Neural.

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

In this episode of SLANT podcast, join host Dana Tai Soon Burgess as he delves into the captivating world of dance with renowned choreographer Michael Mao. With over 60 works showcased across the globe, including iconic venues like The Joyce Theater and BAM, Mao's creative vision has mesmerized audiences from New York to Beijing. Join the conversation as Mao shares insights into his diverse influences, spanning from his training under Martha Graham to his experiences performing internationally. Discover the intricate tapestry of movement, culture, and creativity that defines Michael Mao's extraordinary career.

Victoria Philips, author of "Martha Graham's Cold War: The Dance of American Diplomacy." The book explores some of the ways in which the renowned dancer and choreographer was utilized by the American government as a diplomatic tool at the height of the Cold War.

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.

Joey Anderson (he/they) is a movement-based artist and educator based in his hometown, Salt Lake City, Utah. He is currently a member of FLEET Co-Op, directed by Shelby Taylor, which just concluded its inaugural year. In collaboration with FLEET, Joey contributed in building and performing their immersive show, “Monomyth,” last Fall as well as their work shown at 801 Salon in May 2023. He also premiered his solo show, “Where Love Lived First,” at Burnswood Studio, which explored Dr. Kübler-Ross' “Stages of Grief" and how they manifest in the body. Before his time with FLEET, Joey apprenticed with SALT Contemporary Dance for their 2021-2022 season. During this time, he had the pleasure of performing in SALT's Fall and Spring shows as well as in outreach performances in the schools in Salt Lake County. As a freelance artist, Joey has performed both internationally and across the US. He has performed at Dock 11, The New Stage of the National Theatre in Prague, RAD Dance Festival, and Breaking Ground. Locally, Joey has performed in “reBloom” funded by the National Endowment for the Arts, multiple shows sponsored by Repertory Dance Theatre, 801 Salon (his own work), and the LDS Arts Festival. Joey graduated from Brigham Young University (BYU) in 2021, where he earned his Bachelor of Arts in dance. As a student, he was a member of their touring company, Contemporary Dance Theater (CDT), under the direction of Nathan Balser (2018-2019) and then Keely Song (2019-2021). Before CDT, he also was a member of their outreach company, Kinnect, under the direction of Marilyn Berrett and Heather Francis, which integrated movement to teach Utah's K-6 core curriculum in schools. Joey's education at BYU took him beyond its campus and in 2018, he performed at Dance and the Child International's (daCi) conference in Adelaide, Australia with Kinnect. Then, in 2019, he toured with CDT in Germany and the Czech Republic. In addition to his degree, Joey has received technical training through b12, Impulstanz, FLOCK, and NVA & Guests. Between his education and career, Joey has had the honor of performing work by Martha Graham, Antonin Rioche, FLOCK, LAJAMARTIN, Jesse Obremski, Jenn Freeman, Olivier Wevers, Garrett Smith, Shane Urton, Francisco Gella, and Joni McDonald. https://www.jandersonoey.com/

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

It was a mystery: two dancers—one white, one Black—captured on stage in 1959 in a photograph found in a museum archive. Who were they? But a search for their identity uncovers much more: a forgotten history of art and integration. When the pursuit of modern ideals promised a better world, and the pursuit of art promised personal freedom. The farther from the New York spotlight, the better. You can watch Martha Graham's 1959 TV broadcast of "Appalachian Spring" here: https://www.youtube.com/watch?v=XmgaKGSxQVw And Katherine Dunham's "Ballet Creole" from 1952 here: https://www.youtube.com/watch?v=iSTuO5E9_1g

Welcome back to another episode of Cliffs Notes from a Curious Mind! This is an abbreviated list of the top 7 things that I've learned, loved, listened to, and/or labored over. Today's topics are:1) A bit of Martha Graham's wisdom2) the vibrant spirit of John Batiste's 'American Symphony' (and his upcoming tour).3) we peer through the lens of 'fundamental attribution error,' encouraging a deeper understanding of our judgments. 4) Dacher Keltner's book, 'Awe' takes us on a  tour of wonder, inspiring us to seek out the extraordinary in the ordinary.5) We dabble in neuroscience and find the healing properties of tears.6) Brene Brown on finding friends who protect our light.7) Rick Rubin and his advice on Metta Practice***Bonus Quote at the end!Follow LeAnna and Curating the Curious:Instagram: @curating.the.curious @leanna_azzolini_photographyWebsite:leannaazzoliniphoto.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

في هذا البودكاست، يلتقي ريكاردو كرم اعتدال حيدر، حورية الرقص الشهيرة. ولدت اعتدال في عائلة شيعية بارزة في بعلبك، وكانت رحلتها إلى عالم الرقص بمثابة تطوّر غير متوّقع في القدر. بدأت رحلتها الرائعة في سن السادسة عشرة عندما لفتت انتباه عبد الحليم كركلا، أحد مؤسسي فرقة كركلا للرقص الشهيرة. وزاد وضع عائلة اعتدال في المنطقة من تعقيد القرار، لكنها شرعت بمباركة والدها في السير على طريق جعلها في النهاية رمزا للفن الراقي. كان ظهورها الأول عام ١٩٦۸ مع فيروز والأخوين رحباني  في مسرحية "جبل الصوان" في بعلبك بمثابة بداية مسيرتها غير العادية. على مرّ السنين، صقلت اعتدال حرفتها على المستويين الأكاديمي والفني وانتقلت إلى لندن للدراسة في The Place لمارثا جراهام حيث انغمست في الباليه الكلاسيكي، ودفعت حدود التعبير وخلقت لغة جديدة لحركة الجسم. انضموا إلينا في هذا البودكاست حيث تروي اعتدال حيدر رحلتها الاستثنائية، وتحديات فنها، والإرث الدائم الذي تواصل تشكيله. In this enchanting podcast episode, Ricardo Karam sits down with Itidal Haidar, a legendary prima donna and iconic ballerina. Born into a prominent Shiite family in Baalbeck, her journey into the world of dance was an unexpected twist of fate. Her remarkable journey began at the young age of sixteen when she caught the eye of Abdel Halim, one of the founders of the renowned Caracalla Dance Troupe. Itidal's family's status in the region added complexity to the decision, but with her father's blessing, she embarked on a path that would ultimately make her a symbol of grace and artistry. Her debut in 1968 with Fairuz and the Rahbani spectacle 'Jibal al-Sawan' in Baalbeck marked the beginning of her extraordinary career. Over the years, Itidal honed her craft both academically and artistically. She ventured to London to study at Martha Graham's The Place and immersed herself in classical ballet, pushing the boundaries of expression and creating a new language of body movement. Join us in this podcast as Itidal Haidar recounts her extraordinary journey, the challenges of her art, and the enduring legacy she continues to shape.

Today on 'Conversations On Dance', we are joined by Lloyd Knight, a long time veteran of the Martha Graham Dance Company. We catch up with Lloyd about the work he has done in the past year with Twyla Tharp and on tours with the Graham company, as well as the time he's spent this year as one of the New York Public Library's Dance Research Fellows. The program this year is centered on Martha Graham, and Lloyd will present his research in the Jerome Robbins Dance Division's Annual Symposium alongside the other fellows on January 26th. There will also be a virtual Symposium on February 2nd. Tickets are free and can be reserved via Eventbrite: CLICK HERE. For more information about the Jerome Robbins Dance Divison, visit nypl.org. Try Audible Plus free for 30 daysGive the gift of Audible PlusLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

ABOUT TASHA GOLDEN, PhD:Tasha's Profile: linkedin.com/in/tashagoldenWebsites:tashagolden.com (Other)facebook/ellerymusic (Other)ellerymusic.com (Other)Twitter:goldenthisBIO:Tasha Golden, PhD is Director of Research at the International Arts+Mind Lab at Johns Hopkins University, and a national leader and consultant in arts + public health. Holding a PhD in Public Health Sciences, Tasha Golden has published extensively on the impacts of the arts, music, aesthetics, and social norms on health and well-being. She has served as an advisor on several nati      onal and international health initiatives, is adjunct faculty for the University of Florida's Center for Arts in Medicine, and recently led the pilot evaluation of CultureRx in Massachusetts: the first arts-on-prescription in the U.S.Golden is also a career artist and entrepreneur. As singer-songwriter for the critically acclaimed band Ellery, she toured full-time in the US and abroad, and her songs appear in feature films and TV dramas (ABC, SHOWTIME, FOX, NETFLIX, etc). She is a published poet (Humanist Press) and founder of Project Uncaged: an arts-based health intervention for incarcerated teen women that amplifies their voices in justice reform.Tasha's diverse background drives her success as an international speaker and thought leader. She gives talks and facilitates workshops for artists, businesses, researchers, practitioners, and more—helping them enhance and reimagine their work. As a consultant, she helps leaders and organizations draw on the science of arts and health to further their goals. This is one of those conversations that literally just scratches the surface of what is possible when considering how the arts influences our lives. It is an important conversation about why  we need to put art back into our daily routines as a prescription to wellbeing. SHOW INTRO: Welcome to episode 61 of the NXTLVL Experience Design podcast. These dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.As usual, thanks go to VMSD magazine and Smartwork Media.VMSD is the publisher of VMSD magazine and brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant.You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgIn a minute, we'll dig into my discussion with Tasha Golden - Director of Research at the International Arts+Mind Lab at Johns Hopkins University.But first a few thoughts to set up our talk…****************Art and making is part of our human experience – it is part of who we are as a species.I have had this feeling for a number of years, and probably expressed it on this podcast a number of times, that art and making are intrinsic to all of us. There's something unique about the making of things that humans do that is different than other living creatures on the planet. Sure, some of the animals in our world make things too. Birds make nests and the great apes do as well, for some apes, new ones every night as I understand it. But the defining feature between humans and the other creatures making things on the planet is that we make things that can make other things.We are Homo Sapiens – “Man The Thinker” but we are also “Homo Faber” or Man The Maker. I think we're equally “Homo Ludens” – “Man The Player.”I'm sure that there's some deep connection between the idea of the making of things and play that are also deeply connected in defining who we are and how we come to understand ourselves and navigate the world. When I am deeply connected to the making of things, specifically when listening to music and painting, I am very aware of the fact that I am in a Flow state that feels like being deeply involved in play. Time disappears, dissipates… its otherworldly. I think that making, whether objects, stories, music or other manifestations of our creative minds is part of who we all are. But I also think we have pushed it aside getting up in our rational heads believing that we could think our way through our lives rather than feeling, or maybe even creating our way through them.Sir Ken Robinson had said something like ‘we are all born creative, and we have it educated out of us.' That's a tragedy with huge implications to our world when I think we really need super creative solutions to life's pressing challenges.It seems to me that creativity was a necessary skill to be developed as part of our evolutionary history. Being creative, a good problem solver, was an insurance policy for survival. This is also true of our ability to engage in empathic relationships in collaborative communities. When working together, we were much better able to survive. Millenia ago, being cast out of the group and having to go at on your own in the wild might have significantly reduced your chances of survival.And so, making and creating close knit social communities and problem solving have been with us from time immemorial.But beyond making tools, creating shelters and being creative in these ways so as to survive in an unpredictable and sometime brutal world, the arts, at least we call them now evolved as a way for us to express ourselves, our ideological orientations, our understanding of the world.In some ways they were an attempt to understand and answer some of the existential questions of what it meant to be human and how we fit into the cosmological scheme of things. The arts in its many forms; sculpture, dance, song, music, and later literature, brought communities together in shared understanding of the meaning of being individuals as well as members of a larger whole. The arts were a vehicle for the expression of ideas, the asking of questions and searching for answers. In many ways the arts helped to express the ineffable. The arts aligned with our penchant for using narratives to navigate through the world. Stories put things into place, they described the why and how of things. Cognitive scientist Roger Schank has said “Humans are not ideally set up to understand logic; they're ideally set up to understand stories.”      And many of the stories we tell are in the form of the arts. From the paintings on the walls of caves in Lascaux France 1700 years ago, to the contemporary dance of Martha Graham, to best-selling books (you pick the author) or immersive digital experiences of media artists like Refik Anadol, the arts have been, and continue to be, part of our lives. Without the arts, life would be bereft of meaning.I have often heard people say I can't draw or I've got no rhythm and can't dance or I can't hold a tune. These self-judgmental comments go completely contrary to what we know from science about the value of engaging in art or even doing simple things like humming your favorite tune and the positive effects it has on your mind-body state.I find myself humming or singing to myself all the time – Christmas carols in the summer, old 70's rock classics any day, doesn't matter. Humming, an ancient artform, plays a key role in activating the parasympathetic nervous system – also known as your ‘rest and digest state'. Because your vagus nerve, one of your neural superhighways connecting your brain to major organs in the rest of your body, runs through your larynx and pharynx in your throat, the vibrations that humming stimulates your vagus nerve and creates what's known as “vagal tone.”Humming can also improve heart rate variability which is an important metric that shows how well you can recover from experiences of stress. So, when you hum you induce something called “parasympathetic dominance” which means that you move from a fight or flight state into one of increased relaxation. The idea here is that bringing the arts into our lives even in the simplest of ways like humming, reconnects us to ourselves and helps support mind body health, an overall sense of well-being. More and more research is pointing to the fact that engaging in the arts and having a sense of well-being can be directly connected. In fact the whole emerging field in cognitive science called neuroaesthetics is geared towards the understanding of how the arts, in all of their incarnations, influences how we feel - not just when listening to a piece of music or staring at a painting on a wall in a museum - but how the    overall built environment potentially influences our emotional state which may have a direct effect on our body systems potentially leading to disease. So, there is a significant problem at hand when arts funding is slashed from school curricula thinking that it is less important than getting our school aged children ready to compete on the world stage by simply focusing on STEM based curricula only. Fully integrating the arts into the school, and even our workdays, increases learning and company performance. As a personal example, I know I've described this in a number of the podcast episodes, and at the risk of being repetitive I'll do so       now……during the pandemic between 2020 and 2022 and I poured myself into painting, writing and doing this podcast all of which would qualify as the arts. I firmly believe that if it weren't for me finding a Flow state, a pseudo meditative experience, through painting and listening to music while doing it , that my experience of the pandemic may have been drastically different. I think that in many ways, it might have actually been quite negative and that I might have been a very difficult person to live with. Instead, art gave me a sense of agency to be able to navigate the ambiguity of an uncertain future. Engaging in the arts, if even on a small plain of my physical world in the form of a 36 by 48-inch canvas, gave me a certain sense of control. I shifted the negative energy of anxiety and fear of the unknown into creativity in the form of a pandemic production of 25 canvases. I was directly exposed to the value and impact of how the arts could be harnessed to create a profound sense of well-being.And this brings me to my guest Tasha Golden.    Tasha Golden, PhD is Director of Research at the International Arts+Mind Lab at Johns Hopkins University, and a national leader and consultant in arts + public health. Holding a PhD in Public Health Sciences, Tasha Golden has published extensively on the impacts of the arts, music, aesthetics, and social norms on health and well-being. She has served as an advisor on several nati      onal and international health initiatives, is adjunct faculty for the University of Florida's Center for Arts in Medicine, and recently led the pilot evaluation of CultureRx in Massachusetts: the first arts-on-prescription in the U.S.Golden is also a career artist and entrepreneur. As singer-songwriter for the critically acclaimed band Ellery, she toured full-time in the US and abroad, and her songs appear in feature films and TV dramas (ABC, SHOWTIME, FOX, NETFLIX, etc). She is a published poet (Humanist Press) and founder of Project Uncaged: an arts-based health intervention for incarcerated teen women that amplifies their voices in justice reform.Tasha's diverse background drives her success as an international speaker and thought leader. She gives talks and facilitates workshops for artists, businesses, researchers, practitioners, and more—helping them enhance and reimagine their work. As a consultant, she helps leaders and organizations draw on the science of arts and health to further their goals. This is one of those conversations that literally just scratches the surface of what is possible when considering how the arts influences our lives. It is an important conversation about why  we need to put art back into our daily routines as a prescription to wellbeing. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites: https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. ************************************************************************************************************************************The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

Aujourd'hui, je reçois Anne-Marie Porras, enseignante, chorégraphe et chercheuse de talents. Elle a choisi le jazz pour la liberté. Après s'être formée auprès de Ingeborg Liptay, elle part à New York poursuivre son apprentissage auprès de Jojo Smith et de Fred Benjamin. Sa technique vient des écoles Alvin Ailey, Martha Graham et Merce Cunningham mais aussi des danses primitives africaines.  Anne-Marie pose ses valises à Montpellier, où elle fonde Epse Danse, la première école en France habilitée pour le Diplôme d'état Jazz dans les années 80. On l'écoute avec joie.

In this episode, Jacqulyn Buglisi, artistic director of Buglisi Dance Theatre, recounts her time as a student of Martha Graham and her 12 years as principal dancer in the Martha Graham Dance Company. Martha Graham was a titan of 20th century dance, hailed by TIME magazine as "Dancer of the Century" in 1998. She choreographed 181 ballets during her lifetime—including "Tangled Night" which was created on Jacqulyn Buglisi. Additional Resources Reference Footage Blood Memory: An Autobiography by Martha Graham Deep Song: The Dance Story of Martha Graham Martha Graham: When Dance Became Modern Immortal Icons of Dance Holiday Gifts Disclaimer: Some of the links are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through this link and finalize a purchase.

On today's episode of 'Conversations On Dance', we are joined by Michael Small, former reporter for People Magazine and the host of the podcast 'I Couldn't Throw It Out'. Michael tells us about a fascinating experience he had interviewing Martha Graham at age 95, an interview that Michael luckily held onto on cassette tape for nearly three decades because he, naturally, couldn't throw it out.We listen to the interview here, but for a deep dive on Michael's other interview subjects, including an upcoming with Tupac Shakur, check out his podcast on Apple Podcasts or at throwitoutpodcast.com. Listen to the original episode of the Throw It Out Podcast here. The transcript of Martha's interview is available here.The interview with Martha starts around 33:00.Try Audible Plus free for 30 daysGive the gift of Audible PlusTHIS EPISODE'S SPONSOR:The Bard College Dance Program, located 90 miles north of New York City in the Hudson Valley and housed in the Frank Gehry designed Fisher Center, sees the pursuit of artistry and intellect as a single endeavor and the study of the body as a cognitive act, demanding both physical practice and exploration of the broader academic contexts in which the art form exists. Through intensive technique and composition courses, onstage performance, and production experience, dance students are prepared to understand and practice the art of choreography and performance. Since 2009, the Bard Dance Program has hosted an in-residence dance company or performing arts organization bringing professional technique and composition to the academic program in the form of teaching, educational licensing projects, master classes, full-Company production residencies, and public performances. Past partnerships have included Bill T Jones Dance Company, Trisha Brown Dance Company, American DanceFestival, and Gibney Dance. For more information please contact Program Director, Tara Lorenzen tlorenzen@bard.edu.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Leila Mire is a PhD candidate in Performance Studies at UC Berkeley, as well as a dancer, choreographer, organizer, and sometimes disorganized person. She researches Palestinian dance and the role of dance in US and Israeli cultural imperialism. We discuss the misleading implications of certain “coexistence art” which locates interpersonal prejudice as the source of conflict while deliberately glossing over systemic inequality. As Leila puts it, while art can build bridges, a bridge built on uneven ground is just a dysfunctional seesaw.  We also talk about Martha Graham, cultural appropriation as a foundation of US modern dance, the Cold War-era…

Grab your earbuds and get ready for an enlightening episode as we introduce Jole Berlage-Bucellati, an expert in trauma-informed coaching and short-term therapy. With a unique blend of brain-based techniques and a background as a psychotherapist (HPG) and M.A. in music therapy, Jole brings a holistic approach to her work.Jole's journey is a fusion of diverse disciplines, ranging from biology, anthropology, and music to dance and bodywork. Her expertise has culminated in an integral short-term coaching concept that integrates these methods, creating a trauma-informed and highly effective approach.Jole's methods empower and inspire highly-sensitive, highly-intelligent, and highly-empathic change leaders. These individuals, often navigating the challenges of their unique nervous system wiring, find support and transformation through Jole's innovative approach at the crossroads of coaching and therapy.Today, we are going to talk about:       The various types of HSP (Highly Sensitive Persons)       Each type's challenges and gifts       Why Jole considers HSPs as the missing link in the transformation of our societyHow her approach helps others harness their gifts while overcoming challenges more effectivelyJole leaves us with a quote from Martha Graham, Dancer:"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of youin all time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost."Learn more and connect with Jole here:https://www.instagram.com/jolebuccellati/https://www.linkedin.com/in/jole-berlage-buccellati-4b79aba1/www.integralcoreproject.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In celebration of Hispanic Heritage Month (September 15th-October 15h), we'll be learning about Mexican trailblazer Carlos Chávez in our episode today. A composer, conductor and educator, Chávez had a busy and fulfilling life and career. I think you're very much going to enjoy learning about his musical contributions to the global stage as well as listening to his exciting and unique music that was so influenced by the indigenous peoples of his beloved home country. Links Mentioned in this Episode: Busy Kids Do Music History Course Episode 47: Folk Music of Brazil Episode 57: The Life and Music of Villa-Lobos Episode 51: Folk Music of Mexico Episode 73: Folk Music of Peru Musical Samples You'll Hear in this Episode: Carlos Chávez - Toccata for Percussion Instruments (Score video) Carlos Chávez: Sinfonia No.2, "Sinfonía India" (1935/1936) Martha Graham's 'Dark Meadow Suite' (excerpt) Xochipilli, An Imaginary Aztec Music: I. Allegro Animato Music Listening Schedule for Episode 106 The curated playlist for this episode is filled with an exciting collection of pieces by Carlos Chávez . Listen to the playlist here. Subscribe & Review in Apple Podcasts Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in Apple Podcasts! If you're feeling extra magnanimous, I would be really grateful if you left a review over on Apple Podcasts, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

Hey there Gorgeous!How do you feel about Kegel exercises? Do you love them? Do you hate them? Do you do them? To be honest, I've never been a fan.Most of the women I know feel similarly.Although the big K is still the standard advice for pelvic floor care, and can definitely deliver some tangible results, so many women I've met through my work over the years have had a hunch that there's more to explore.If that's you, I applaud you! You're spot on, love.There IS more.So much more.That's why I want to do a deeper dive in this week's episode on how we truly heal the pelvic floor (and the entire Femme core) and ditch the Kegel for good.Here's what you'll find:The shift into the new paradigm; the rise of the Feminine and the journey from wellness to wholenessWhy a mind, body, spirit approach is key to true healingHow tapping into your flow/fluid power; your amazing fascial network is so keyThe truth about the Femme core and why Martha Graham was so on point when she told her students: "Move from your vagina!"My top suggestions to start your healing journeyAre you ready for a deeper (and much more pleasurable) experience of your Femme core?Cool!Let's dive in!Want to dive deeper?Join  my free breathwork membership; Shakti Core Breathwork Journeys hereLearn more about my Jade Egg course; Jade Rebirth here

Welcome to another episode of the Hormone Prescription Podcast, hosted by Dr. Kyrin Dunston, and joined by our special guest, Dr. Jessica Hehmeyer. Dr. Hehmeyer is a Functional Medicine Practitioner and Women's Health Expert who is here to provide us with her valuable insights and expertise on debunking weight loss myths and creating a healthier relationship with our bodies.   Key Takeaways: - Debunking weight loss myths - The importance of creating Your Middle Ground - The "gap of disappointment" and how to overcome it - Strategies for decluttering negative thoughts and keeping your goals in focus   Episode Highlights:    1. The Pitfalls of an "All or Nothing" Approach    Dr. Hehmeyer dives into the issues surrounding the "all or nothing" mindset that many women adopt during their weight loss journey. She emphasizes that true success lies in finding Your Middle Ground, a more sustainable and balanced approach to weight loss.    2. Empowering Women to Take Control of Their Weight Loss    Dr. Hehmeyer shares her experience and knowledge in empowering women to create a personalized weight loss plan that suits their unique needs and goals, leading to long-lasting results and a healthier lifestyle.    3. Overcoming the "Gap of Disappointment"    Dr. Hehmeyer reveals her insights into the "gap of disappointment" that many women experience when they aren't seeing immediate weight loss results. She provides strategies and advice on how to stay motivated, keep moving forward, and remain consistent in reaching your goals.    4. Decluttering Negative Thoughts and Staying Focused on Your Goals    Dr. Hehmeyer highlights the importance of decluttering negative thoughts and understanding the impact they can have on your weight loss journey. She shares tips on how to keep your goals in focus and maintain a positive mindset throughout your journey.    Join us on this episode of the Hormone Prescription Podcast, as we explore the world of weight loss mastery with Dr. Jessica Hehmeyer, and learn how to ditch the "all or nothing" mindset in favor of a more sustainable, balanced, and intuitive approach to achieving your health goals. Tune in now and be prepared to be inspired and empowered on your journey to better health!   Speaker 1 (00:00): The first step to getting somewhere is to decide you're not going to stay where you are. JP Morgan. And there is a force in the universe, which if we permit it, will flow through us and produce miraculous results. Mahatma Gandhi. Speaker 2 (00:14): So the big question is, how do women over 40 like us keep weight off, have great energy, balance our hormones and our moods, feel sexy and confident, and master midlife? If you're like most of us, you are not getting the answers you need and remain confused and pretty hopeless to ever feel like yourself Again. As an OB G Y N, I had to discover for myself the truth about what creates a rock solid metabolism, lasting weight loss, and supercharged energy after 40, in order to lose a hundred pounds and fix my fatigue, now I'm on a mission. This podcast is designed to share the natural tools you need for impactful results and to give you clarity on the answers to your midlife metabolism challenges. Join me for tangible, natural strategies to crush the hormone imbalances you are facing and help you get unstuck from the sidelines of life. My name is Dr. Kyrin Dunston. Welcome to the Hormone Prescription Podcast. Speaker 1 (01:08): Hi everybody. Welcome back to another episode of the Hormone Prescription. Thank you so much for joining me today as we dive into the deeper meaning of weight loss and creating health for women at midlife with Dr. Jessie Hehmeyer. The two quotes that I shared initially with you are two quotes she shared with me before we started the interview that I absolutely love that we're gonna dive into in the interview from JP Morgan and Mahatma Gandhi. Two very different people, but with somewhat similar philosophies on life. If you are going to lose weight or heal from a disease or get rid of the symptom first you have to decide that you're not gonna stay where you are. And that might mean that you're going to decide, decide comes from the Latin de cre to cut away from, which means to make a decision to cut away from all other possibilities. Speaker 1 (02:05): So you're going to decide that, that you're not gonna stay where you are. And there is this force in the universe that if you allow it will flow through you and produce miraculous results. So I'm so glad you're here because both she and I have experienced this and work with these concepts with our clients. Whether it's losing weight or healing from chronic fatigue of fibromyalgia or the myriad problems that women at midlife can face with their health, with hormonal poverty. We both embody and embrace these philosophies. She has another beautiful quote from Martha Graham that I can't wait to share with you. We talk about it in depth here and we talk about some physiological changes that you're gonna need to make if you're gonna lose weight and get optimally healthy at midlife as midlife as well. So I'll tell you a little bit about Dr. Speaker 1 (02:55): Jessie and then we'll get started. She has a very varied background. She has a master of science in human nutrition and functional medicine. She's a doctor of chiropractic medicine. She's an I F M Certified Practitioner Alliance, a licensed dietician, a certified nutrition specialist. So she has all kinds of experience and basically she has a great foundation and so depth and breadth of knowledge in how to help women lose weight and create optimal health, particularly at midwife. She shares her story with us in the interview and she's a true doctor, which comes from the Latin or dore meaning to teach, show, or point out, and understands that healing occurs when individuals understand the what, why, and how behind their health and treatment. Please help me welcome Dr. Jessie Hehmeyer to the show. Thank Speaker 3 (03:53): You so much, Kyrin. It is a pleasure to be here with you and your audience. Speaker 1 (03:58): So much to talk about. So let's dive right into it. And I always like to start to give everyone a frame of reference to help them understand why they are so passionate about helping people with weight, about helping people become empowered when it comes to their health and their lives. And how did your path lead from, 'cause you've got chiropractic and fitness and nutrition and all kinds of stops on your journey of expertise. So how did it lead you to what you do now? Well, Speaker 3 (04:30): It led me there very personally as, as I'm sure it does for most people. And what I mean by that, Kyrin is for me, I really struggled with my weight for over a decade and not my weight in a sense that it was a health concern, right? I wavered, I was probably 15, 20 pounds that I would gain and lose over the course of over and over again over the course of multiple years. And for me, over that time period, I really got what a cost the struggle was for me, right? I got that it was interfering with me being fully present in life. It was interfering with me, fully contributing to life. And that just wasn't okay with me. So when I got clear that I was done struggling in this area of my life, it became about something else. It became not about the scale triumphing in this area of my life, it became around about being present and fully contributing. Speaker 3 (05:30): And so with that as my north star and really getting, just having this area of my life handled, I began to approach it from a place of questions rather than drill sergeant discipline, which never seemed to turn out well, right? And never seemed to turn out well when I took out the, the stick and started beating myself up and, and telling myself I I had to give up X, Y, Z and did so for a period of time and then in, in, in invariably at a certain point just broke my resolution broke and would end up right back where I was. And so I really saw that approach wasn't broke, was broken. And so I got curious about what a new approach might approach might look like that would lead me to a future where simply put this area of my life was handled right. It just wasn't a struggle. I felt great in my body. I felt good about how I looked and really fundamentally all those things about being a, an access to being fully present and contributing. Speaker 1 (06:30): Yeah, I love that. It's, boy did I beat myself up also about the wave. So when that internal inner critic would be like, you're bad if you eat this and you're bad if you don't, I'd say, oh, I'm not going to eat X, Y, or Z and then by four o'clock I'm eating it. And then, oh, you're bad. And all this shame. And it wasn't until I said, okay, I'm just gonna try and get healthy. Forget losing weight and then use the the same functional principles that you use as well as really the a spiritual approach. What is the weight about that I finally lost it to? And so here you are and you are helping people become empowered with their health and empowered in their life. And you shared some amazing quotes that I absolutely love before we started the episode that I think really get to the, a concept that I think everybody must embrace if they're going to experience the healing, health and vitality that is available to them, that is their birthright, that is possible so that they can live fully and give their gifts. And so I'm wondering if you can share that quote from Martha Graham and then we can talk about what that means. Speaker 3 (07:50): Absolutely. It would be my pleasure. So the quote by Martha Graham, 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 would 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 divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others. Speaker 1 (09:00): I had Joe bumps the whole time you were reading that. So can you talk a little bit about what this means when it comes to weight loss, when it comes to health, when it comes to living your life? Speaker 3 (09:12): To me it really, that quote really captures what a precious gift this life is. This life, our bodies, this opportunity to be here. It, it's nothing short of magic. And when we're really present to the gift that it is to be alive, we start to be in a different relationship. What it means to do our best to preserve that gift, right? When we're present to the wonder, the awe and the magic of this life, we're more likely to operate in our actions in a way that honors this life. And that's a journey. It's not an overnight A to Z event. It is a looking at, okay, how might I honor this gift called life based on where I am right now? And and I'm sure you'd say the same thing, ki right, the actions that I took when I started my own personal journey, born of self-love, are different than the actions that I take now simply born out of evolution. Right? That's totally natural. That's totally okay. And and I really see moving forward is the encouraged next step rather than approaching this as if it's either perfection or bus. Speaker 1 (10:32): Yeah, I, I think it's such a beautiful statement about who we are and what we are on this planet to do. I do believe we each have a unique calling and soul blueprint and gifts that we're meant to deliver. And if we don't deliver them, they'll never be delivered by someone else because only we can deliver them. And I, I tell the women who I work with in my programs that I'm sneaky. I, I wanna get you healthy 'cause I know you're suffering and I wanna stop, help you to stop suffering. And I know that you're sitting on gifts. You're sitting on assets, right? You're sitting on your at assets that the world needs. And I think it's the Dalai Lama who's quoted as saying the Western woman will save the world. And I believe it's the western middle aged and menopausal woman because we've got experience and we have a balanced viewpoint and we have fairness and justice and equanimity and we have experience in our chosen professions that we've been working in for decades. And then we have solutions to a lot of the problems that we're struggling with right now that come from a divine feminine perspective, not a pick tree iCal perspective that probably could help us. And I really enjoy helping women, I only work with women, I know you work with men too, really see that you getting yourself healthy is about more than just for you for your selfish needs. It's about you getting yourself healthy for humanity. Mm-Hmm. . And so you can deliver your gifts. Speaker 3 (12:11): Yeah. This is, yeah. So well said. Right? This is the opportunity right now. This is the opportunity to deliver your gifts. And Speaker 1 (12:21): I love the part where she talks about it's not your business to determine how good it is, not how it compares with other expression. Because so many women, when they do get healthy, then they're looking around, oh, what do I wanna do as my creative project? What do I want my legacy to be? And then they look, well, that's been done. That book's been written, that business has been made that no, it hasn't been done by you. Mm-Hmm , Speaker 3 (12:47): There is only one unique you and there's, the way you do it is going to be different the way than the way anyone else does it. Absolutely. And there's an abundance of people hungry for contribution. Speaker 1 (13:00): It's true. And the people who are gonna resonate with your frequency, 'cause you have a unique energetic frequency, are going to be drawn to you and they're only gonna hear certain things from you. They're not gonna hear it from Sally or Tom or Peter. Right. They're only gonna hear it from you. So I'm wondering if you can talk about this in the context of finding what you call your middle ground and ditching the all or nothing approach when it comes to health and healing and weight loss. What does that mean? Speaker 3 (13:33): Yeah. So the broken all or nothing approach, this is the inherited approach around our health and food in our bodies that's most prevalent when it comes to weight. And you know how this is lived is whole 30 followed by deep dish pizza and a bottle of wine on day 31, right? Like that would be a, a pretty clear example of the all or nothing approach in really, if we think about those two extreme actions, we're looking at deprivation or overindulgence. And for most people, those are the two options they're familiar with in this area of life. It's all in or all out. And a few problems with that is fundamentally speaking, they don't work. And by work I mean they don't allow people the opportunity to produce and sustain the health outcomes that matter most to 'em. So if you can't sustain the outcomes, to me, it's not a solution. Speaker 3 (14:32): Right? Secondly, they're born of self aggression, right? And self aggression really is not a solution for just about anything as far as I've ever found out for myself. So the broke and all or nothing approach is born of self aggression. And when I work with people, it's really stepping into a journey, a guided journey of authoring your middle ground. And your middle ground is finding that way of caring for your body and your life that allows you to integrate all of who you are and fully experience the joy of life, experience, the joy of being with others and celebrating with others while also moving towards the future you intend for your health and your life. And that journey is born of self-love. So it's just a real different way of operating. And it's not one that comes naturally for most people, right? Especially the people who I work with who've struggled in this area of their life for years or decades. It really takes some work not just to understand, okay, these are the actions, right? But stepping into a no way new way of relating with oneself and the actions that are working and the actions that aren't working from a place of kindness. Speaker 1 (15:49): So what does that look like? Can you give an example maybe from a client you've worked with or clients, because I think we talk about this concept of self love and stop beating yourself up and you're so hard on yourself. I'm a former hard on yourself member, right? And I didn't really understand what people were saying. You're so hard on yourself. What do you, what does that mean? Oh, you just have to love yourself. Well what does that look like? How do you do that ? So can you talk a little bit more in detail about the nuts and bolts of that journey? Speaker 3 (16:22): Yeah, no, that's funny that you were a member of the so hard on yourself plan, because I think I saw you at one of the so hard on yourself meetings, Speaker 1 (16:28): , you look familiar, Speaker 3 (16:31): But yeah. Yeah. So to me, where it all, where the journey, the new journey begins is getting very clear on your intention for your health and your life. And in a practical experiential sense, when I work with people and I invite your listeners to engage in this exercise, maybe write it down and, and do it later. But the first step is doing a little time traveling to a five-year future and actually writing the story of your health, your life, you as you intend and desire it occur, right? So telling the story in first person present tense, right? So I'm 46, I'd say I'm 51. And whatever's there for me about this five year future, I intend my body's healthy, strong, resilient in also tapping into what it is to live in your body at that moment, right? I walk across a, I walk through life confident and connected to others and the divine, however, you as an individual would say your experience would be in this five year future. Speaker 3 (17:45): So really painting this picture of your intended five-year future. So that's the first step is getting clear on your intended future. Now, there is another side of this coin and that's getting clear on what the likely, or perhaps we might say possible downward spiral five-year future would look like with no action, no change. What does it look like to be you in five years and how your body is, some people might have an idea about their health risks, like actually numbers around diabetes or heart disease or whatever the case might be, as well as your experience, right? The experience of defeat or betrayal or shame or whatever's there for people. And it's useful because they're both possible futures, right? And, and for most of us, we make change out of the carrot dangling as well as the stick on the back and not the stick on the back. Like we wanna beat ourselves up or, or scare ourselves. But it's really useful to look at what could the five-year future be like if I don't do anything and Yeah. Right. Speaker 1 (18:56): And then sobering, very sobering. Speaker 3 (18:58): Yes. Yes. And for some people quite literally, right? And from that I engage in an exercise with people that I call creating your vision of vitality that is really fundamentally based off of your intended future. It's really a condensed version, capturing your intention for your health and your life. And with that intention present, we start to navigate what it is to live with that as your north star. And that includes along the way capturing numbers, so actual lab work so that we can understand where you are relative to the desired future, what's the gap here? And also start to inform you what effective actions, what are the new actions that you'll need to bring into your life and begin practicing over and over again over time to live into that five-year future we want for you. And along that journey, when I'm working with people, I give them homework assignments. I call them fulfillment exercises. 'cause Some people get, get afraid when, you know, get scared when they hear the word homework. But they might be something more spiritual in nature. They might be something more informational in nature. Like what does insulin do? Scientific based exercise. But whatever it is, I choose for the person in front of me because I believe it's going to be an important puzzle piece in their journey ahead. Yeah. Speaker 1 (20:31): And then when you have that vision and that intention of who you're becoming on that heroine's journey, then every choice that you make in the present day is informed by that. And then you say, the woman who I'm becoming, she doesn't freak out 'cause it's four o'clock and she's hungry and she's not planning to eat dinner till seven. She drinks a glass of water or a glass of tea and keeps Yes. Keeps moving. Yeah. Speaker 3 (21:00): Absolutely. No, that's a great example, Karen. Absolutely. Yeah. Or the woman I'm becoming, if she suddenly in a moment of not being present comes to it and has, oh my gosh, I've just had two or three pieces of two or three cookies, she doesn't finish off the row. Right? Right. Speaker 1 (21:19): , she actually Speaker 3 (21:20): Puts it away and then grabs a, a glass of water and has a conversation with herself. Whatever's the useful conversation of that moment, both acknowledging, okay, maybe what led to that, oh, I, I didn't eat lunch, I was starving, right? And, or I was go at work, whatever it was, so that she can self-correct in the future, right? She can set herself up to live more aligned in the future. Mm-Hmm. Speaker 1 (21:47): So I want everybody listening to notice that we've been talking for about 20 minutes, we haven't talked about what diet you need to follow to lose weight. We haven't talked about what tests you need to get out of hormonal poverty. We haven't talked about anything other than the philosophy, the spirituality, the emotionality, the thought patterns, the belief patterns, the intentions, the energy around creating health. And so I hope that you've noticed that now some of you're Jones and for the diet tip of the day. 'cause You're like, I'm gonna go on, I'm gonna hear what's the one thing, what's the one thing everybody's looking on, Dr. Google, what's the one pill I need to take? The one supplement, the one diet? It doesn't exist, it just doesn't exist. Health is a state of wholeness. It's mental wholeness, emotional wholeness, spiritual wholeness, physical wholeness. So the only way to create that is by unpacking each of these areas and examining everything under the hood and then rearranging it and supplementing it and repacking it so that it can get you to that vision and intention. So I just wanted to point that out. Speaker 3 (23:02): Well said. Very well said. Yes. And, and the thing is, is for the people jonesing for the quick fix diet, right? Just notice what the diet industry is. I mean it's nothing if it's not quick fix, do this solutions. And yet it's, it's a multi-billion dollar industry that doesn't seem to be able to produce the outcomes and promises, Speaker 1 (23:27): Right? I think most diet programs have a 6% success rate at two years. And so this multi-billion dollar diet industry just works on profit off of churn. You lose the weight, you gain the weight, you lose the weight, you gain the weight, and you never truly become healthy and have vitality. And so the definition of insanity is doing the same thing over and over again, expecting different results. That didn't stop me when I weighed 243 pounds. I tried all the programs , right? You know, the Fen and the Jenny Craigs and the Nutrisystems and working out like crazy and fasting and all that stuff. I know you gotta do the things you gotta do until you finally come to this place of powerlessness and you go, I don't know the answer. And I think this place of surrender is when you can finally be handed a solution that works, that isn't a self aggressive solution and beat you into submission, but it's a self-loving solution. Speaker 1 (24:24): And you can really start to look at, well what has the weight meant in my life? Like I know for me that was a huge thing and it was protection. And I find that's true for a lot of women. I know in the ACE study that they did a Kaiser Permanente, I think there was an offshoot of it, another doctor looked at all the data and found that like 80% of the women who had overweight or obesity had been sexually abused as children. And that ended up was a part of my story, but I didn't know that. So then I could start loving myself and saying, oh, well if the, my need for protection is getting served by this layer of fat that I have around me, how can I serve that need for protection in another way so I can thank the fat doing its job and then let it go. So I love how you talk about journaling and writing your future at its best, your future at its worst. And I love to have people journal and dialogue with their fat or their body part. Like I, I've worked with a lot of women that have frozen shoulder and I like to have them dialogue with the frozen shoulder. What's going on? What did you come here to tell me? Said, Speaker 3 (25:31): And one of the things I love about what you just shared, Karen, is that you really got that, the holding on of the weight, it really came from such a good place, right? Yeah. It really came from such a good place and you were able to self dialogue and see that good place, acknowledge that good place it was coming from, and also get that there was a way to fulfill that very natural human need to feel safe and one that was born quite young, right? And do it in a way that still allows you physically, emotionally to thrive. Speaker 1 (26:12): Yeah. So I think I, I love that we're having this conversation because I love that everybody listening is hearing that health is about so much more than what supplements to take, what tests to do, what diet to follow. It is about you and who you are and your story and where it's been and where you're going and how you feel or how you don't feel. So I love that. And I love this other quote that you shared. I'm wondering if we could talk about that. I love a good quote, but from Mahatma Gandhi, there is a force in the universe which if we permit it, will flow through us and produce miraculous results. Talk a little bit about that . Well, Speaker 3 (26:53): For me, Kieran, when I, at about 26 years old or so throughout my hands and surrender and really devoted myself to figuring out this area of my life, I did so inside of a request. I asked what I would call the divine to collaborate to help me. And I made a promise that if the divine would help me, I would use my learnings to, to guide and help others. So to me, that lived experience is beautifully expressed in Gandhi's quote. And I, I'm sure, I'm sure you've had similar experiences that's throwing up your hands and surrender the surrendering to the divine doesn't mean you don't do anything. It actually opens up the energy for the right people to come into your life to teach you something, the right book to come into your life to teach you something, the right overheard conversation walking down the street to just all the things that you could never plan no matter how hard you try to show up inside of your commitment. Yes. Speaker 1 (27:56): Yeah. I had that moment after I, it was actually one of my patients who I had done the prescription, what I call the prescription tango with her, gave her sleeping pill, antidepressant, birth control pill, all the things, at midlife because she felt terrible. And she came back and she's like, yeah, it's not really helping me, but you know, as a board certified OB, G Y n I didn't really have much else to offer her except pills and surgery. And then she came back a year later and she was like a brand new woman and she said she had gone to this other doctor who had done all these tests. I never offered her to these treatments. And I'm thinking, how is there something I don't know about? I've been told by the certifying board of American Specialties that I know more about women's health than anybody else. Speaker 1 (28:40): Anyway, she had brought me one of Suzanne Summer's books and I wasn't gonna read it. I took it home and I was like, I'm not gonna read this book by Chrissy on three's company. But it sat there in my nightstand for a long time. And then one Saturday my kids were, came in and said, we're going to the movies. Like they didn't even bother asking me if I wanted to go anymore because they knew mom when she wasn't working, she was gonna be parked in her pajamas in bed 'cause she was sleeping and tired all the time. 'cause I had chronic fatigue and, and I read that book at first I was very reticent and prejudiced and then I started reading it like it was the Da Vinci Code, like the best mystery novel I ever read. And I finished it that day. I think the sun had just gone down. Speaker 1 (29:24): And I had one of those moments, I said, God, whatever you believe in the divine God, Buddha, Jesus, whatever. And I said, I'm going to use this and if it works, I'm gonna spend the rest of my life teaching other women about this. And then that prayer, that's a simple prayer, right? It calls in resources and possibilities that were previously closed to you now start opening up chance meetings, coincidences, so-called coincidences. And sometimes you have to come to that point of surrender and that force in the universe if you allow it and you don't keep going back to do the same you've been doing. Speaker 3 (30:06): Right. And it takes courage and it does. It takes a li it takes courage. It takes, sometimes it takes just getting sick of ourselves and even getting sick of ourselves. It still takes courage to, to surrender. Speaker 1 (30:19): It does. And I love it fits great with this other quote you have from , getting somewhere to decide you're not going to stay where you are. And so I'm not doing this anymore. And to whatever higher power you believe in, just say, I'm not doing this anymore. You need to show me the way. And I, I literally will say that out loud to whatever angels who work with me in the light, whoever's listening, I'm not doing it this anymore. So you show me. Yeah. And then stuff starts happening. Speaker 3 (30:49): It's true. It's things we cannot explain. It's very true. Speaker 1 (30:53): So let's give, I think we've talked a lot about the kind of nebulous, esoteric stuff that everyone avoids and doesn't want to talk about with health. So I think we need to be talking about it. But is there anything you'd like to share just from a root cause resolution, science-based approach that people might consider when it comes to losing weight, creating health? Speaker 3 (31:16): Yeah, absolutely. On the physiological front, I, I'm sure everything I'm about to say, Kieran, you are gonna completely nod your head with, right? But when I think about three recurring physiological barriers to weight loss, when, well, I should preface this by saying, sorry ladies, it's probably not your thyroid and like everybody, I feel like, I don't know if you experience this, like everybody wants it to be their thyroid because they're like, then I'll just start taking medication. They'll be easy, right? And like the thing is, is even if it's your thyroid, it's not just your thyroid, it's Speaker 1 (31:54): Not just your thyroid. In Speaker 3 (31:55): Other words, absolutely true. If your thyroid, if your your thyroid's underactive, if you need thyroid support, you should definitely get thyroid support. Absolutely. Absolutely. But it's probably not the keys to the kingdom you think and hope it will be. And so with that as the preface, the the three things, assuming your thyroid is well supported, well-functioning that I see with some recurring frequency is the first one is compromised insulin sensitivity, which is very different than lab normal, right? Lab normal's usually up around 19 for fasting insulin, I like to see fasting insulin seven or less. And so if that insulin is high single digits or in the double digits, we know we have an opportunity on the table to help your body be better at burning fuel rather than storing fuel. That's one of the foundational things I look at. Another thing that I see with some frequency is elevated inflammation, right? Speaker 3 (32:56): Sometimes people will come in and say, oh, I'm so inflamed. And I'll ask them about how it feels and maybe they'll say, my joints hurt or I'm bloated or my skin's red. They'll say something, we'll still go test the numbers also. But really the point is that mostly people don't experience any real symptoms when they're inflamed. The only way we know is by doing their labs and H S C R P is the number one go-to I look at with regards to inflammation, but also homocysteine. And when those elevate, when the H SS C R P that that inflammatory markers elevate in particular, it will absolutely slow down the metabolism. When I see this in time and again with women who, they come in and we like to see H S C R P 1.5 or less ideally under one, but that's the sweet spot range we're looking for. Speaker 3 (33:49): And I, I'm starting to work with someone who's H S C R P, we learn after her labs or seven or eight. I let them know, listen, it might be a few mo months before you start to see the scale move because the first order of business is breaking this vicious cycle of inflammation and then your body's just gonna take care of itself. But that's what we have to go get after first. And we do that in a lot of different ways. But fundamentally speaking, when that inflammation is elevated, first of all, people often, more often than not, don't have any symptoms and it's gotta be addressed in order to have the scale move. And then the number three is, I like to call it detoxification pathways gunked up, right? And that just, that shows up in a lot of different ways, right? That can show up as hormonal irregularities that can show up as just playing into that inflammatory process where there are more toxins in the body than ideal, which are driving inflammation. Speaker 3 (34:48): And that's never just like, there's not just one test I look at for to assess detox pathways, but a lot of different things. I look at what does your, detoxification is such a chic word, but we know that detoxification though, there are multiple physiological processes that allow this to happen in the body. And so I wanna understand, does the body have the essential nutrients to run the engine of detoxification, whether that's amino acids or B 12 or all the different things we need to in order to, to run the, run those gears nice and smoothly. And then also are those toxins getting out of the body. Another simple check for that is with someone having daily bowel movements, right? We know that our bowel movements are one of the primary ways we get out of, get toxins out of the body and in by toxins. It's not just pollutants and things we encounter in our environment, our hormones that we produce ourselves, or if people are taking some kind of using some kind of H R T or oral contraceptive, those, all those hormones go through our detox pathways also. So to have those running nice and smoothly is really foundational to supporting weight loss and also what comes after weight loss. Speaker 1 (36:06): Yes. When you said that about thyroid, I was envisioning people throwing tomatoes at this stage going boo, yes. I did this podcast episode, I guess it was about a year ago, called Why You Will Never Fix Your Thyroid By Trying to fix Your Thyroid . Speaker 3 (36:24): Oh, I love that. That is great. Speaker 1 (36:28): And it's the thyroid is just the innocent bystander, so I love that. But so there you have it, right? You just laid out the nutshell of all the things I like to say that you've got to do physiologically. But what I find is that people can rarely do the things that they need to do physi for their physiology and biology when they don't have the energy, right? Because everything at its essence is energy. And so that energy is your thoughts, your feelings, your beliefs, your history of your story that you're carrying around in your body and energetic packets. 'cause You've never unpacked it, most of us. And so you really need to address that. And then when you address that, the physiology you can very easily take care of. It's becomes simple. Speaker 3 (37:15): Absolutely. Yes. Well said. Speaker 1 (37:18): So tell everyone all the places they can find you online and interact with you. Speaker 3 (37:22): Yes. You can find me@wellempowered.com and you'll find a place where you can request a complimentary consultation. Please be sure you tell us where you heard about us because you will be entitled to 10% off if you do decide to engage beyond that, that complimentary consultation is 30 minutes. Virtual will give you a chance to ask me more questions. Consider working together, whether it's one-on-one or in group work, and then also Instagram at at well Empowered is where you'll find me. Speaker 1 (37:56): Awesome. Thank you so much, Dr. Jesse, for your path, your purpose, your passion, all the things that have led you to be here with us today. And thank you for the brilliance and insight and depth that you have shared. I really appreciate it. Thank Speaker 3 (38:11): You so much, ki it's been such a pleasure to be with you and to share our love of people empowered by their health and vitality. Speaker 1 (38:21): Yes. And thank you for joining us for another episode of The Hormone Prescription with Dr. Kieran. Hopefully you feel empowered by our conversation, by knowing that you really are here for a specific purpose that only you can fulfill and that you can take steps today to start moving towards that. I look forward to hearing about the steps you're taking on social media. So reach out and let me know. And until next week, peace, love, and hormones y'all. Speaker 2 (38:49): Thank you so much for listening. I know that incredible vitality occurs for women over 40 when we learn to speak hormone and balance these vital regulators to create the health and the life that we deserve. If you're enjoying this podcast, I'd love it if you'd give me a review and subscribe. It really does help this podcast out so much. You can visit the hormone prescription.com where we have some free gifts for you, and you can sign up to have a hormone evaluation with me on the podcast to gain clarity into your personal situation. Until next time, remember, take small steps each day to balance your hormones and watch the wonderful changes in your health that begin to unfold for you. Talk to you soon.   ► FREE Consultation with Dr. Hehmeyer - CLICK HERE.   ► Feeling tired? Can't seem to lose weight, no matter how hard you try? It might be time to check your hormones. Most people don't even know that their hormones could be the culprit behind their problems. But at Her Hormone Club, we specialize in hormone testing and treatment. We can help you figure out what's going on with your hormones and get you back on track. We offer advanced hormone testing and treatment from Board Certified Practitioners, so you can feel confident that you're getting the best possible care. Plus, our convenient online consultation process makes it easy to get started. Try Her Hormone Club for 30 days and see how it can help you feel better than before. CLICK HERE.   ► Do you feel exhausted, moody, and unable to do the things that used to bring you joy? It could be because of hormonal poverty! You can take our quiz now to find out if your hormone levels are at optimum level or not. Take this quiz and get ready to reclaim your life; say goodbye to fatigue and lack of energy for good. We want every woman to live her best life — free from any signs or symptoms of hormonal poverty, so they can relish their everyday moments with confidence and joy. Imagine having a strong immune system, vibrant skin, improved sleep quality… these are all possible when hormones are balanced! CLICK HERE now and take the #WWPHD Quiz to discover if you're in hormonal poverty — it only takes 2 minutes! Let's get started on optimizing your hormone health today.  

Someone must care, right? For some reason the tail end of the preamble (RJ talking the end of Shield season 3) just disappeared courtesy of CraigBot, so... alas. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

In this episode, Sonje Mayo, a Pilates educator and physical therapist talks about how she's combines her experiences as a Joe Pilates student with her physical therapy background. In 2018 when All Things Pilates was a live radio show, Sonje was a guest and I and my listeners learned a bit about her. For instance, we learned about Sonje moving from her South African home to dance in England and then to NewYork City to continue her dance career. She also told us about studying dance at the famed Martha Graham school and how she discovered Joe Pilates. Like many dancers injured and/or simply needing a conditioning method, Sonje found herself at the Controlgoy studio. Over a period of two years she learned the Contrology system from Joe Pilates. Armed with her extensive education, Sonje travels around the world helping Pilates teachers understand how to get the most out of the Method. About Darien Gold ~  https://www.dariengold.comMusic credits ~ Instagram: @theotherjohnmayer Email: mayerranchrecordings@gmail.comBecome a show supporter! https://www.buzzsprout.com/332675/supporters/newAbout Sonje Mayo ~ https://sonjemayo.comSupport the show

Israeli choreographer and dancer Ohad Naharin was the Artistic Director of the internationally celebrated Batsheva Dance Company for nearly three decades before assuming his current title of House Choreographer. During his tenure with Batsheva, he developed Gaga, the innovative movement language and pedagogy that has defined the company's training and characterizes Israeli contemporary dance. Ohad discusses his relationship to Maxim Waratt and creating music, describes what it was like to work with famed modern dancer and choreographer Martha Graham, and shares why he feels rehearsing in front of mirrors is not as helpful as many dancers think.Check out Batsheva Dance Company on Instagram or the web.Learn more about the Gaga movement language on Instagram and the web.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss.This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

When I say “encourage,” I'm really thinking about the “courage” part.Real, vital creativity, that comes from the heart, requires us to be brave.This spell will help you identify and open up the unique channel to the universethat ONLY you have, and ONLY you can nurture for the good of us all.Mentioned: Martha Graham on creativity and the life of an artist: https://www.themarginalian.org/2015/10/02/martha-graham-creativity-divine-dissatisfaction/timewitchery.com/planner, where you can get a Time Witchery anti-planner to help you access your creative channelMake Magic:With a little help from Martha Graham,we're going to remember thateach of us has a unique channel to a magical creative force,and when we strengthen and nurture it,we're not just doing it for ourselves,we're doing it for everyone.Transcript: A Spell to Encourage Creative Expression

Rachel is back on the show today and she and Gina dive into the world of mastery and self-discovery. Rachel shares her intention to read more books this year and how it led to a life-changing book called "Mastery" by Robert Greene. They explore the three phases of mastery and how childhood dreams might hold the key to unlocking self-awareness and self-mastery. They discuss inspiring stories of people who disrupted their industries through perseverance and dedication, like Martha Graham revolutionizing modern dance, and touch on the importance of silence and downtime in cultivating creativity and the value of concentrated focus in mastering skills. They discuss how restlessness can lead to self-discovery and why it's crucial to explore dormant talents and passions, the crucial aspects of embracing discomfort and choosing the right niche, narrowing your focus leading to clearer marketing and sales messages, and the role of confidence-building and self-awareness in enhancing your expertise. Check out 'Mastery' by Robert Greene More about Gina Engagement Expert – Speaker – Sales Trainer – Entrepreneur – Improv Comic Gina is a Master Sales Trainer for Jeb Blount's Sales Gravy who combines street smarts and improv comedy skills with her experience in the corporate and entrepreneurial worlds, which sets her apart from her competition.  “Sass without too much crass” is how Gina Trimarco describes herself. A high energy entrepreneur, engager, speaker, trainer, improv comedienne and podcast producer, Gina credits most of her success on her upbringing by her Italian mobster dad and German immigrant mother. Prior to joining Sales Gravy, Gina founded and operated Carolina Improv Company, an improv comedy school and theater, in addition to Pivot10 Results, a sales training company. Thanks to this podcast, Gina was able to “stalk” her business role model Jeb Blount and convince him to hire her … and sponsor this podcast!

Martha Graham Dance Company is one of the most storied and celebrated dance institutions in America and a Vail Dance Festival fan favorite. In recent years, the company has been steadily building its repertoire beyond the Graham classics. This live recording of the ‘Conversations On Dance' podcast will talk with the company's Artistic Director, Janet Eilber, about her storied career, working with Martha Graham, and her role as artistic director. Janet will give audiences a preview of what to expect from the company's performance in Vail and some background on the work she is doing to preserve and revive Graham works. This episode was recorded live on Saturday July 29th, 2023 at the Manor Vail Lodge. Conversations on Dance at the Vail Dance Festival is generously underwritten by the Town of Vail.VAIL DANCE FESTIVAL IS GOING ON NOW! Conversations on Dance events: https://vaildance.org/conversations-on-dance/Performance tickets: https://vaildance.org/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Inspiration from Martha Graham. Broaden your improv skills with Peggy Etra I take pride in this podcast that I just let you see me for who I am, a flawed human being. Cause that's what artists and characters are. I try to use these little mistakes I make as teaching tools on how to be kinder to ourselves. "I confess that I had a burning desire to be excellent but no faith that I could be. Martha said to me very quietly, there is a vitality, a life force, an energy, a quickening that is translated through you into action. And because there is only you. And because 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 it will be lost. The world will not have it. It is not your business to determine how it compares with other expressions. 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 yourself open and aware to the urges that motivate you. Keep the channel open. As for you, Agnes, you have so far used about one-third of your talent." A burning desire to be excellent but no faith that I could be. Today, I taught a class for my core work coaching group, The Weekly Adjustment. And I was talking about how when we make mistakes, we are not responsible for our first thought, but we are responsible for our second. The first time I tried it, I was like, "Ugh, you're never gonna get it." "You're not doing it right. Oh, this is a waste." But somehow, I was able to say to myself, "Hey, this is the first time you've done it. Just get through it. Just take the action, let go of the results and see what happens." Then I was brave enough to try it again the second time, and the second time it was easier. And I was like, oh, wait a minute. I can do this. I can handle this. And not only that, and this is how it ties into the quote, I noticed where I was weak and what I needed to do to get stronger, or in the words of Agnes de Mille, be excellent. See, it's not in strengthening our strengths that necessarily make us excellent. It is strengthening our weaknesses that make us excellent. Great artists dive into what is difficult and try and solve it. Great athletes find what muscles are weak and try to strengthen them to get a greater performance. "Martha said to me very quietly, there is a vitality, a life force, and energy, a quickening that is translated through you into action. And because there is only one of you in all time, this expression is unique." I want you to think about that. There is only one of you. There is only one of you. I remember I was going through a very, very, very tough time many years ago. And I made a decision to make it through that tough time. And I said to myself at that time, "If there is just one person I can help for even one second, my going through this will have been worth it." It was the universe saying you have a message someone desperately needs to hear. You are the only person who will be able to translate that message to that one person to save their day or their life, or their career or help them along in that difficult day. Well, I'm here to tell you that you have that too, and that's why you have a responsibility to yourself and the universe to express yourself uniquely. She goes on to say, "And if you block it, it will never exist through any other medium, and it will be lost." Think of how tragic that is. Think of if Picasso never painted; if Monet never painted, if Martha Graham never danced, it would be lost. If Vermeer never painted. Suppose Rembrandt had never painted if Spielberg had never made movies. If Charlie Chaplin never got on the screen, it would be lost. The world would not have it. We wouldn't have E.T.; we wouldn't have Girl with a Pearl Earring; we wouldn't have Rembrandt's self-portrait. We wouldn't have the Night Watch. "It is not your business to determine how good it is, how valuable, or how it compares with other expressions." And, what it's saying, is it's your job to create it is your responsibility as an artist to create it is not your job to judge. When you get on a stage as an actor, it is your job to portray that character, their wants, and needs, and be in the moment with their situation. It is the most important thing in that moment. It is not what the audience thinks of you. That is your ego. However, it is your business to keep the channel open. You are on one side, and the universe is on the other side of the tunnel, and in the middle of the tunnel is all this junk. And what core work is about clearing that channel. That's all it is. It's about teaching you to have a relationship with the universe that, in turn, can solve all your problems and, in turn, can inspire you always if you are open. Now here she says something that I actually disagree with. Oh my God, I disagree with Martha Graham. Now this is how you know I'm confident because I can actually say that. "you do not even have to believe in yourself or your work." I'm sorry, I disagree. I believe you do need to believe in yourself, and I do believe you need to believe in your work. I think that is a necessity. It also leads to a happier life, but you can choose. You can take what you like and leave the rest on that. "You have to keep yourself open and aware to the urges that motivate you." Amen. Hallelujah. Martha Graham, sing it loud. Yes. Yes. Such inspiration. Let it motivate you. Keep the channel open. Keep the channel open. And then she says to Agnes de Mille, "As for you, Agnes, you have so far used about one-third of your talent." That's the bit that just kills me. Can you imagine if I am only using one-third of my talent? What the hell am I doing with the other two-thirds? Why am I blocking it? How can I clear it out? Because my talent serves. My talent serves, and that's not being egotistical or anything because, to be quite honest, my talent doesn't come from me. My talent comes from the universe. I want to be a vessel for its talent.

Almost every talented and successful person can remember their introduction to whatever it was that became their thing. In Mastery, Robert Greene explores countless examples of this beautiful process by which some of the world's most notable experts discovered their “life's task.” He talks about Martha Graham's first time watching a dance performance, for example, and he tells the story of the compass that Albert Einstein's father gave him as a present when he was five years old:✉️ Sign up for the Daily Dad email: DailyDad.com

Todays episode involves two big passions for Daliyce: living Childfree and Dance. She shares the life and legacy of Martha Graham, the mother of Modern dance and a true icon in the dance world. Do you have a passion that's purposefully enveloped your life thanks to living without kids? Share it with us!Support the showEmail: claimingzeropodcast@gmail.comIG/FB: @claimingzero

Tinker Swiss Cottage is a unique and beautiful home that resembles a Swiss cottage. Built by the Tinker family, it would become a symbol for Rockford, Illinois and the family's contributions to Rockford would help the town grow. Most of the family members who had lived at the house, died at the house. Most of the furnishings and artifacts in the house, that is now a museum, belonged to the family. Possibly this is why there are so many claims that many of the family's spirits still reside in the home. Join us as we share the history and hauntings of the Tinker Swiss Cottage! The Moment in Oddity features taxidermied birdsand This Month in History features the birth of Martha Graham. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2023/05/hgb-ep-486-tinker-swiss-cottage.html Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) Vanishing by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4578-vanishing License: https://filmmusic.io/standard-license (This Month in History) In Your Arms by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3906-in-your-arms License: https://filmmusic.io/standard-license Outro Music: Happy Fun Punk by Muse Music with Groove Studios The following music was used for this media project: Music: Fig Leaf Rag - distressed by Kevin MacLeod Free download: https://filmmusic.io/song/3749-fig-leaf-rag-distressed License (CC BY 4.0): https://filmmusic.io/standard-license Music: Lost In The Dark by Steven OBrien Free download: https://filmmusic.io/song/10010-lost-in-the-dark License (CC BY 4.0): https://filmmusic.io/standard-license

Danielle and Kristine share how to survive a sociopath, and Walter Koenig talks about dealing with a rude audience member.The topic for the episode was Surviving Sociopaths AKA Antisocial Personality Disorder.Here are 13 Rules for Dealing with A Sociopath.Causes and symptoms. Statistics on personality disorders. A list of "celebrity" sociopaths that isn't a bunch of serial killers.Kristine really got this wrong about Fisher Stevens.But Danielle was in line with many outlets criticizing the MTG 60 Minutes interview.Here are some good tips if you work with a sociopath.Advice if you are in a relationship with a sociopath. And consider joining a support group: Aftermath: Surviving Psychopathy, Psychopath Free.The writer, Kayli Kunkel, explores the toxicity inside Succession's family dynamic.For storytime, Kristine shared this riveting NYT Modern Love piece. He Married a Sociopath: ME. By Patric GagneKristine and Danielle had a great time with the legend of stage, screen, and Danielle's childhood, Walter Koenig.Want to know more about the play Blood Wedding? This is Martha Graham.Check out our Patreon!The NEW Merchandise is hereInstagramTwitterFacebookSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're revisiting the Brief But Spectacular take by choreographer and dancer Stuart Hodes who died last week at the age of 98. Hodes took his first dance lesson at the Martha Graham School after a stint as an aviator in World War II. He was still dancing two years ago when we featured his memoir "Onstage with Martha Graham." Here's another look at a life well-lived and beautifully danced. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders