Podcasts about martha graham school

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

“Dance Talk” ® with Joanne Carey and special guest, Diana Byer, founding director of the New York Theater Ballet. In this episode of Dance Talk with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Diana Byer, as she shares her life in dance which began from a suggestion made by her pediatrician to exercise. That first class lead to a lifetime career in dance, an art form on which she continues to leave her imprint and is creating a profound and exemplary legacy. Diana discusses her commitment to developing dance artists and her outreach program for homeless and at-risk children. Diana Byer received her principal dance training from Margaret Craske and Antony Tudor. She is the founder of New York Theater Ballet that stages works that are intimate in scale and able to touch audiences in deeply personal ways. Hailed by Dance Magazine as “a miniature American treasure,” NYTB is known for its theatrical inventiveness, high production quality, excellent technique, and accessibility to its audiences. She has been a guest instructor of the Cecchetti Society of America, the Cecchetti Society of Canada (Toronto), Cornell and New York Universities, State University of New York at Purchase, Martha Graham School, and other centers of dance. Ms. Byer conducts master classes in schools and performance settings across the USA and Europe. Ms. Byer received extensive media attention for her ongoing work with homeless and at-risk children, winning special citations from President George Bush, First Lady Hillary Clinton, the National Endowment for the Arts, and the President's Committee on the Arts & the Humanities. The LIFT Community Service program, which provides dance classes, performance opportunities, scholarships, and services for homeless and at-risk children in New York, was initiated at NYTB through her vision and commitment. In 1988, 1990, and 1993, Ms. Byer received the Helen Wieselberg Award of the National Arts Club in recognition for her ongoing work with LIFT. In 1992, Lincoln Center produced, at Alice Tully Hall, a one-hour presentation for children called Dreams On A Shoestring, featuring an original script based on Ms. Byer and LIFT. She received a Humanitarian Hero recognition from Good Housekeeping Magazine for her ongoing work with LIFT and was the 2023 Martha Hill Dance Fund Lifetime Achievement Awardee. The feature-length film LIFT, documenting Ms. Byer's journey of LIFT, was featured in the 2022 Tribeca Festival and recognized with a “Children's Resilience in Film Award” by Shine Global. In December 1996, she was again spotlighted in two features in Dance Magazine. Ms. Byer coached the principals in the Columbia Pictures film, Center Stage. She was a member of the Antony Tudor Centennial Celebration Committee and in 2008 staged Tudor's Judgment of Paris for the American Ballet Theatre Gala at The Metropolitan Opera House. She is a repetiteur for the Antony Tudor Trust and a member of the Board of Directors of the Dance Notation Bureau and The Clive and Valerie Barnes Foundation. In 2010 she assisted Kevin McKenzie in ABT's restaging of Antony Tudor's Jardin Aux Lilas (Lilac Garden) and staged Agnes de Mille's Three Virgins and a Devil for the Alabama Ballet. In 2011 Ms. Byer restaged Antony Tudor's Soiree Musicale and the dances from Agnes de Mille's Carousel, Oklahoma, and Brigadoon for American Ballet Theatre's Studio Company. She continues to direct the NYTB School which she established in 1978. Learn more about The Diana Byer Legacy Project https://www.dancio.com/dianabyerlegacyproject Learn more about New York Theater Ballet ⁠https://nytb.org/about⁠ Follow Joanne Carey on Instagram @westfieldschoolofdance  Follow “Dance Talk” ® with Joanne Carey wherever you get your podcasts.  Tune in. Follow. Like us. And Share.  Please leave us review!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

[00:00:00] Karen Marsdale: I wanted to be a ballet dancer and I was very serious and was in ballet lessons and modern dance lessons almost every day of the week by the time I was in junior high. I went to dance camp in the summer, went to the University of Connecticut for a summer with the Martha Graham School of Dance. And then after my senior year of high school, I spent six years in New York doing a program with the Joffrey School of Ballet. My ultimate dream was to go to Juilliard. I did not make the cut. And I think that should have been a little bit of a signal because it's like dance is professional sports one in, how many million really become the prima ballerina at the New York city ballet. +++++++++++++++ [00:01:45] Tommy Thomas: Our guest today is Karen Marsdale, a longtime contributor to the economic vibrancy of Berks County, Pennsylvania. Karen spent almost 27 years in senior leadership roles with the Reading Chamber of Commerce and Industry before joining Hannah's Hope as co-executive director. She took her BA in fashion merchandising and business management from Stevens College and serves on the boards of several nonprofits in and around Berks County. Karen, welcome to NextGen Nonprofit Leadership. [00:02:16] Karen Marsdale: Thank you, Tommy. It's a pleasure to be here. [00:02:20] Tommy Thomas: I'm a huge fan of all that a well-led Chamber of Commerce can do over the years I've observed, what good things happen when the Chamber takes a role in promoting economics and also when they take a role in incorporating the non-profit sector into the life of a community because I think that's important. When I learned of your background, I just jumped at the chance to have somebody who's done that and then migrated over into the role with Hannah's Hope. Again, thank you for joining us. Now before we dig too deep into your multi-pronged career, let's go back towards the beginning. Take me into your childhood and what two or three things do you remember that maybe has contributed to you being the person you are today? [00:03:06] Karen Marsdale: I'm an only child. And so that in the era that I was born and raised, that was a bit unique because big families were more the norm then than they are now. I think one of the things that kind of charted my course was I was always around adults primarily. Now we did live near relatives, so I had cousins and aunts and uncles, you spend most of your time with your family, meaning your parents. And so, I think that being an only child did not only, particularly for my mother, have the, maybe the opportunity, sometimes it didn't feel so opportunistic to have someone who was just looking at you as the in, the child that they're raising and nurturing. [00:03:52] Karen Marsdale: So sometimes I might've felt a little bit overwhelmed, but when you're an only child, I've read books on birth order etc. And one thing that I learned from that was an only child is like a firstborn times three. When you're an only child it is like being a firstborn times three. You tend to be alpha; you tend to be a leader. [00:04:09] Karen Marsdale: So, you tend to be alpha, you tend to be a leader. And I'm not saying these things to say, this is who I am. It's just this is often what happens. My mother was a bit sensitive. And so I was sensitive. I know I got my feelings hurt a lot. And mother was not exactly grin and bear it. It was oh, you poor thing. So, I think, and that was a lot about her background. And it's just so interesting. And now today, especially, my work at hand as you see how much background in childhood impacts the life and the trajectory of an individual. I do remember one time I broke my arm, and my father was rough and tumble and praise many was a welder and, oh, you're fine, you'll be fine. And my mother then took me to the hospital. I got it casted up and I almost waited all day for my father to come home, jump in the driveway and say, see, I told you. It's funny little things that you remember when you're in elementary school. Those are some of the things I remember. [00:05:17] Tommy Thomas: What'd you want to be when you grew up? Karen Marsdale: Oh, my word. This is something that when I tell people, they're like, really, if they've never known this, or we've never talked about it. I became interested in ballet in about fifth grade after about four years of taking classes and not liking them because I really, and this taught me a great lesson, which I'll talk about in a minute. I wanted to be a ballet dancer and I was very serious and was in ballet lessons and modern dance lessons almost every day of the week by the time I was in junior high. [00:05:48] Karen Marsdale: And I went to dance camp in the summer, went to the University of Connecticut for a summer with the Martha Graham School of Dance. And then, after my senior year of high school, I spent six years in New York doing a program with the Joffrey School of Ballet. My ultimate dream was to go to Juilliard. I did not make the cut. And I think that should have been a little bit of a signal because it's like dance is professional sports one in, how many million really become the prima ballerina at the New York city ballet. So, I did go to Stevens College. My first year, I was a dance major. They had a good program, went there and then changed my major, but all through those years of especially junior high into senior high. And then towards senior high, I was teaching some classes at the dance school that I went to, and I had an excellent teacher. Like sports, dance teaches discipline.  You have to show up and work hard. [00:06:42] Karen Marsdale: She was a mentor. And I'll tell you what it taught me was number one, discipline. Because discipline and dance is as much discipline as it is, excuse me, in the sports world. You have to show up and work out. It taught me discipline. On a Saturday morning, if I didn't want to get up and go to a dance class at 8 or 9 o'clock, I still had to go. The other thing it taught me, because through dance, I also did, in our small community, we had community theater. I am totally tone deaf, so I can't sing. I couldn't be in, and when I was in musicals, and I did do some relatively, one in particular, I did a relatively important part in a musical. Community theater taught me stage presence.  I can speak to a thousand people because I am not really speaking to a thousand people, I am looking at and speaking to a particular person on the front row. [00:07:25] Karen Marsdale: So, I had to learn lines. When it came to the, just to the music, I just would lip sync, but it taught me a bit of stage presence that still to this day is very useful because I've often said I can speak to a thousand people and not being really terribly nervous because you learned that you're not really speaking to a thousand people. You're looking at somebody in the front row. And so I can do that. And sometimes I think it's less intimidating for me to speak to that group of an audience when we're doing a what, through the chamber. And we had some events that had over a thousand people, and I could get up and speak. [00:08:09] Karen Marsdale: And it was probably easier than speaking to the board of directors, when I speak about something that was a bit challenging. So that, just folks don't realize the things that kiddos can gain from being in different types of activity. [00:08:27] Tommy Thomas: So, you graduated, you had maybe decided that the dance was not going to be totally your career. What happened then? [00:08:37] Karen Marsdale: You mean after high school? Rather after college, right? Yeah. Okay. So, after college this is really again, something that is, typically someone gets a job looking at their major, etc. But what my husband and I did, and I will tell you, I was married after my junior year of college. My husband had come back from Vietnam. We went back to where I was at Stevens College in Columbia, Missouri. He did a year at the University of Missouri to finish up his degree. And then we took a funny, rather interesting term because we went back to our hometown and maybe this was the best thing or the worst thing we did, but we bought a small business, and it was really in the area of, and again, your understanding, it's back in the seventies, it was a woman's boutique. We sold some small, but we also sold fashion. We saw fashions, we sold gift items, we sold accessories. And my background in fashion merchandising. We decided to do this. My parents wanted us to do it. I think only children who think about this, come back home. Don't go a thousand miles away for work. [00:09:43] Karen Marsdale: So, we were in our own business for about eight years. And my husband also took a sort of a crash course while we were there in our hometown in upholstery. So, he opened up his own business. Here's two 20 some year olds in their own businesses and they're not second-generation family businesses. So, it was a great experience. We were going to New York on buying trips. We were meeting with sales reps. We were hiring people. We only had a staff, mostly part time of about five people. And it was a great experience. I look back now and think, through my life it really made us the people that we are because it did not turn out particularly well. [00:10:27] Karen Marsdale: Maybe we were more naive than we thought. And after about eight years, we had to liquidate the business. We tried selling it. It was not a good time in our community. And so, we weren't able to sell the business.  By this time we had two kids and a house and we had to liquidate everything to pay off our debt, and I'm very open to tell the story. Our first business failed. We had to liquidate everything to pay off our debt.  We walked away with less than a thousand dollars.  We moved to Reading, Pennsylvania and started over. [00:10:47] Karen Marsdale: We had to pay off all our debt. We walked away with under a thousand dollars. We moved to Reading, Pennsylvania, where I had some family and uncle and his family. And my husband had gotten a job prior to before we moved, and we started all over again. And we were still young enough to, it was a blow, and it was emotionally challenging, but we just picked ourselves up and said, you know what we've got is ourselves. And we both have skills that we can hone and give to someone. And one thing that it taught me, and this is why I think my career at the chamber was so rewarding and why I understood to some degree what it takes for a small business owner, because if you've never signed the front of the paycheck and had to make payroll, you don't know what it is. [00:11:42] Karen Marsdale: To really understand what business is all about, even the smallest of businesses. So that was a great life lesson. Amazing. And I just feel that everyone needs to take everything they do as part of a life lesson to move to wherever they go from there. [00:12:04] Tommy Thomas: So how did you get involved with the Chamber of Commerce? [00:12:07] Karen Marsdale: Okay. So that was a little bit down the road. When we first came here, I did a couple of jobs that were, I would say not temporary, but not what I would think would be my career. Again, it's that world of knowing people who know people and networking, which I just can't say enough for knowing people and networking and being a true person that cares about others and networking in that fashion. So, I had a very dear friend. She's still my best friend to this day, 40 years later, she was on the board of the chamber of commerce and a small business owner, had a couple of businesses. She is a very outspoken wonderful individual, with great high moral character. She went to our then CEO and my first CEO of the chamber and said there was an opening. There was not an opening. But she went to him and said, I have a friend and if you hire her, I'm going to guarantee she's going to make you look good. And I had an invitation to speak with the CEO. We had a great conversation, not really an interview. He said, you know what, Karen, I don't have anything right now. [00:13:19] Karen Marsdale: He said, but the next time there's an opening that you seem to be would fit, he said, I'm going to call you. And within, I think three weeks, he called me because the director of marketing gave her notice and was going someplace else. And he called me in, and he said, do you want the job? And I said, absolutely. I didn't even ask what the salary was. We negotiated that after I got the job, it was crazy. But so that was my introduction to the chamber world. [00:13:46] Tommy Thomas: At that time, I guess you had a staff when y'all were in the retail business, but yeah, think back to the first time you really had a group of people reporting to you, what kind of memories do you have of that? [00:14:00] Karen Marsdale: It was challenging because again, we, most of the women that worked for me, and they were women, obviously, it was a woman's boutique, as they would call it back then, were much older, they were my mother's age, some of them might have been a little bit older. But I think what made them respect me as this small business owner was the fact that I respected them and got to know them and cared about them and their families. And we were a team together doing this work. And they chose to be working where they were because they really enjoyed the atmosphere, the customer experience. And, I was a rookie, you're 23 and you're managing people who are 55 years old and you're just, I think one of the keys is you always have to respect those who are working for you while making it clear what the expectations are of the job. Servant leadership doesn't mean you're anybody's lacky.  It means you put that person first and find the greatness in them. [00:15:01] Karen Marsdale: But leading as I call it and, servant leadership, which doesn't mean that you're anybody's lacky, but it means that you put that person first and you find the greatness in them and help them. When that happens, I think I just did it at first, not knowing necessarily what I was doing. I was thrown into that. And my husband is also, he's an extremely intuitive person. He was the partner in the business. So, we did this as a team. And I think that was a good mix that we were both there working with and managing this small staff of people who really wanted us to succeed. It just, it was organic, I think. +++++++++++++++ [00:15:49] Tommy Thomas: What's the most ambitious project you and a team have ever undertaken and how did it work out? [00:15:57] Karen Marsdale: So, I will tell you, fast forward to the Chamber of Commerce. And one of the things that I loved about the Chamber is very entrepreneurial. Now that does not mean that I didn't have to work really hard. I should say entrepreneurs work. They never don't work. I think that's the thing that I loved about that and small business owners and people who were growing businesses, but I was in a position of leadership.  I had earned it.  I had proven myself, and I had some really great women in leadership in the community. [00:16:26] Karen Marsdale: And we just began to see that our women's programs at the chamber and most chambers will have some kind of women's programs, quote unquote. And they said, we're not really, we're just doing the same old thing and having a luncheon and, then people go away and, oh, that was great, but how does it help me in the workplace? So, we undertook to take, basically, a year to create an organization and this is how it was defined. It was an organization within another organization. And so, we created what we called Women to Women, and that was an organization within the chamber. [00:17:05] Karen Marsdale: We had our own programming, our own model. And it was really to help women in the workplace find their skills. And how could we help them move into leadership roles and again, from my background and from who I am as a person, this was never meant to be. And this is why I think it was so successful and why even men in the community said this is the greatest thing to really have a place where women can feel safe. They can build and develop skills and training because it was never women against men. These were not, we were not looking at men as chauvinists. Men and women can work together so well, and women at the table bring so much to the table. That was the essential foundation of what Women to Women was about. [00:18:01] Karen Marsdale: It was very hard work. I went out and got businesses to underwrite the work of what we were doing. We built our own membership within the membership of the Chamber, and it was a huge success. And I can remember we worked so hard. And that was not only getting the credibility of what we were doing, but pushing the sort of boundaries of we're going to do our own programming aside, along with the chamber that your chambers often do workshops, etc. But we really had some amazing successes. And we get a national speaker woman to come in. In the beginning of the fall of the year to kick off the whole year of training and development. And there were companies that joined the Chamber in order to be part of Women to Women. [00:18:53] Karen Marsdale: And to this day, it is the most successful program in their over 100 years. And it's going strong. And as a matter of fact, I'll just tell you a little aside. Last night, I was at a function, a gala for a nonprofit and sitting with a group of younger women, and the one woman said, I was just at lunch, and I overheard a group of women behind me, and they were talking about Women to Women. And she said, I wanted to lean over and say I know the founder. And again, Tommy, this is a big deal in a small market. So, I'm not talking about a national movement, but I had chambers around the country call and ask, how did you do this? I don't think I could ever get our board to do it. [00:19:36] Karen Marsdale: And I'd say, yeah, you know what? You have to keep working and working. I hate to say it, but it's true. Primarily made up of men. We'll embrace this. And see the value and say, this helps my company because I have women that I want to promote to leadership or their women in leadership. And there's all kinds of things we did mentor programs, lean in circles from Cheryl Sandberg from Facebook, who wrote this whole curriculum on, how do women navigate in the world of business. There were all kinds of things going on. And still are. And I will say one thing that a staff person I'm still in contact with, and she's done amazing things, moved from the chamber to other nonprofit work in development. And she said to me one day, this is really hard. And I said, yeah, Carolyn, this is very hard, but if it was easy, wouldn't everybody be doing it? That's just my mantra. ++++++++++++++++ [00:20:32] Tommy Thomas: You mentioned you had to go out and get your funding and I've noticed on the Hannah's Hope website, y'all have what seems to be a very robust corporate community of sponsors.  What did you learn about fundraising during those early days? Everybody is in sales.  Even if you are the receptionist in the dentist office, you are selling something.  We must develop that mindset. [00:20:47] Karen Marsdale: Okay. The thing is, I'll just say this one thing, everybody is in sales. I don't care what you do. If you're picking up the phone at the dentist's office and you're saying hello and you're selling something.  And so therefore, we all have to have that kind of mindset. I learned very quickly that you're going to get more no's than you are yeses, and you have to believe in what you're doing. So I took that to heart and I really don't give up on things. [00:21:19] Karen Marsdale: So again, if I know that this is good for people, I know this is good for your company to be a part of say Women to Women, or now Hannah's Hope Ministries. If I know, because what we're doing is so important, I want you to be a part of it. And you need to assist us in making an investment in what we're doing. And that's how I always really knew that you have to get as much value as the customer as we're getting, as the product. A good thing to remember is you need to, if you're getting those, you're doing a good job because you're going to get more no's than yeses. [00:22:02] Karen Marsdale: But again, and I, and a dear friend of mine who was a major player in the banking world here, a female, said, it's just a matter of the numbers. If you make this many calls, you're going to get this many no's. And now again, this is not just, this is saying you've got a good product. You understand your product. In sales you will get a lot of nos.  There is an old saying – “is this no for now or no forever”. It's beneficial to the customer. You're going to get no's. And you know the old saying, is it no for now or no forever. And so you hang up the phone and say, okay, that was a no. Let me make three more phone calls and I might get a yes. And I always wanted to end the day saying, gosh, I should have made those three phone calls. [00:22:38] Karen Marsdale: I'm going to make those phone calls before I leave the office. And so even with Hannah's Hope, quite frankly, I don't want to say it's an easy sale, but what it is, it's an investment. And it's funny cause I just sent an email to somebody who people say, you're never going to get him. And he's one of the premier car dealerships in our community. And I sit on a board with him and it's like I'm not going away, John. So the reality is, let's have a conversation because I know you want to invest in people. You have the fortitude to do this and not take it personally when someone says no. [00:23:15] Karen Marsdale: And again, I don't take it personally and I just move on to the next. And then I go back to that person. And yeah, I might not be making sense but again it's how successful people have to do this. It just doesn't come easily. +++++++++++++++++++++++ Next week, we'll continue the conversation with Karen. In that conversation you'll learn about the comprehensive programs at Hannah's Hope that empower women to achieve independent living, Karen's innovative leadership and mentorship strategies, and how Karen and her co-director are making the model of co-director work in an amazing way. I hope you will join us for that conversation. Links & Resources JobfitMatters Website Next Gen Nonprofit Leadership with Tommy Thomas The Perfect Search – What every board needs to know about hiring their next CEO Connect tthomas@jobfitmatters.com   Follow Tommy on LinkedIn Listen to Next Gen Nonprofit Leadership with Tommy Thomas on: Apple Podcasts | Spotify

Bailarina, coreógrafa, actriz, cantante, directora creativa y de escena, creadora de varios compañías, pedagoga, productora cultural. Una artista con letras mayúsculas. Al finalizar los estudios de danza en el Institut del Teatre, en 1986 inicia un periodo de formación en New York en la Martha Graham School, en la José Limón Dance Company y el Merce Cunningham Studio. Ganadora de varios premios, ha colaborado en cine, teatro, ópera y es la creadora de KeepMoving, un método para desarrollar potenciales creativos a través del movimiento del cuerpo, mente y energía. Actualmente dirige su máster para artistas: “CREATIVE INTELLIGENCE” A NEW QUANTUM TRAINING PROGRAM. Y además ha escrito un libro: Movimiento Boom. ¡Incansable!

Strictly Come Dancing's longest serving professional dancer Karen Hauer was born in Valencia, Venezula where she lived until the age of eight before moving with her family to the Bronx in New York. Dance allowed Karen to express herself and at the age of nine she won a scholarship to the Martha Graham School of Contempoary Dance. On the show she has danced with the likes of Will Young and Eddie Kadi. Music gives Karen inspiration for her dance routines and will be touring the UK with the 'Strictly Come Dancing the Professionals Tour' from May 2024.Inherited: Don't Speak by No Doubt Pass on: Your Song by Elton JohnProducer: Lowri Morgan

“Dance Talk” ® with Joanne Carey and  Jamel Gaines of Creative Outlet. In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest: Jamel Gaines, founder and Director of Creative Outlet.  This year marks a special moment for JGCO's annual program as more than 3,000 New York City Public School students will experience the lessons of Remembering. The Company will travel to Cape Coast and Accra, Ghana giving performances and workshops in Africa. Listen in as we talk about the impact Arts in Education had and continues to have in Jamel's life. The February 15 performance of Remembering is in collaboration with Brooklyn Borough President Antonio Reynoso, City Council Member Crystal Hudson, and NAACP Brooklyn Chapter, and pays tribute to New York City Board of Education principals and teachers. The February 16 performance is in collaboration with the Delta's Chapter of Brooklyn. The February 17 performance is in collaboration with the Brooklyn Brownstones Organization https://youtu.be/x8JgSjd3S_M?si=HIB-br85c8s4xW0M Tickets are available through the link belowhttps://www.bam.org/dance/2024/remembering Brooklyn Academy of Music on February 15 and 16 at 7:30 PM and February 17th at 2 PM. Jamel Gaines is the Founder and Artistic Director of Creative Outlet.Jamel has dedicated his life to delivering artistic excellence and stirring, soaring performance to audiences everywhere.  With more than 22 years of teaching and choreographing experience, Jamel seeks to inspire, motivate and nurture dancers and artists.  Under his leadership, Creative Outlet has set itself apart as a highly acclaimed performing arts organization with a proven record in training the next generation of professional dancers and artists. Some of Jamel's more recent choreography includes the crowd pleasing presentation live streamed across the internet during Spike Lee's Annual Tribute Concert to Michael Jackson (August 2017) televised choreography and dramatic performance by contestants on So You Think You Can Dance. (2010).  In addition, Mr. Gaines has created and staged over 25 repertory and concert productions.  He has had the distinction of working with such distinguished artists as Jennifer Holiday, Michael Jackson, Whitney Houston, Savion Glover, Malik Yoba, George Fasion, Ornette Coleman, Ossie Davis, Olatunje Babatunde, Max Roach, Cassandra Wilson and Rick James. Founder and Artistic Director, Jamel Gaines has dedicated his life to delivering artistic excellence to artists and audiences. Jamel has appeared on Public Television's American Talent in which he was presented The Teacher Recognition Award, during the Presidential Scholars in the Arts Committee at The Kennedy Center, and has been featured in publications such as Essence Magazine, The New York Times, The Seattle Times and The Daily News.  His work has been staged by the Actors Theater Workshop, The NYC Department of Parks, Alvin Ailey American Dance Center, the Paramount Theatre and The Martha Graham School.   Mr. Gaines serves as the director of St. Paul's Eldad Medad Danced Ministry. His work at St. Paul's includes “He Got Up”, the commemoration of the African Holocaust and the acclaimed “Black Nativity” for which he won an Obie Award. Gaines began his dance career in the mid-1990s under the direction of Diane and Adrian Brown, and James Grant and Received his BFA from SUNY Purchase. He credits the development of his unique and nurturing approach to teaching and composing to Kevin Iega Jeff. Follow on Instagram @jamelgainescreativeoutlet  Find out more https://www.creativeoutlet.org/⁠ ⁠⁠⁠Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

A lovely conversation to kick off the New Year with our friend, Angie Hubbard!  We get into the mechanics of dance physically and how we can better train our young dancers and ourselves!   Thank you Angie, for sharing your knowledge and passion with our listeners.  ANGELIA HUBBARD-OWNER/INSTRUCTOR: NASM-CPT, NCPTAngie has had a lifelong love of movement. Ranging from a career as a professional dancer and educator, to teaching Pilates, Yoga, Barre and Personal Training.  She has been teaching children and adults for over 20 years throughout Pittsburgh, South Florida, and Bermuda. She is a former company member of the National Dance Theatre of Bermuda, Bermuda Dance Company and has also performed works by Nathan Trice, Keira Martin and Gia T Productions. Her dance study has included the Martha Graham School, Alvin Ailey Dance Theater, Koresh Dance, Doug Verone, ABT and the incredible Arthur Mitchel of the Dance Theater of Harlem to name a few.  In 2018, she became a fully Certified NCPT through the Pilates Method Alliance, and has been an instructor of all aspects of the method since 2001. In 2020 Angie  also became a  YUR back certified instructor through PHI Pilates. A program dedicated to those with back issues. She trains Pilates clients ranging from kids to seniors as well as Pre/Post Natal woman,  special populations and those with injuries and during recovery. Through her studio, she offers programing on Pilates Mat, Apparatus, CoreAlign and Garuda Technique on the Reformer.  In 2003 she began her journey to become a Yoga instructor. Currently she has completed her training in Levels 1,2,3, Pre/Post Natal, Kids, Seniors and Anatomy and Alignment. Most recently, Mrs. Hubbard also holds  certifications as an instructor in Tracey Mallet's BootyBarre, BootyBarre Sculpt Programs as well as Alixa Flexibility Level 1 and 2. She is a certified teacher in Progressing Ballet Technique, Progressing Contemporary Technique as well as Sugarfoot Therapy which is a program designed to prevent injuries in dancers. Mrs. Hubbard is also a certified personal trainer through the National Academy of Sports Medicine. At 41, she has gone back to college to study for her bachelor's degree in Exercise Science from PennWest University in Pennsylvania. She is continually improving her knowledge so she can offer the most up to date and beneficial programs to her students. With her studio Three Little Lotus, LLC, Mrs. Hubbard offers private, semi-private and small group classes.  Her studio specializes in Pilates, Yoga, Dance coaching in all styles of dance (ballet, pointe, jazz, tap, contemporary and hip hop), Strength/Conditioning and Flexibility training, Barre, Personal Training and Injury Prevention and Recovery. You can find her busy teaching, being a student herself, and best of all a full-time mom to her three girls. Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

Join host Joanne Carey as she chats with Special Guest: Jacqulyn Buglisi, Artistic Director/Co-Founder of Buglisi Dance Theater This episode of “Dance Talk” ® with Joanne Carey, is a part of an exciting series on the work of Artistic Directors. Artistic Directors; "Creating the Torch: Legacy, Mission, Vision; Making and Keeping, History in the 21st Century" Several guests join Joanne to dive into the responsibility of carrying on the mission and legacy of a dance company, dance institution or academy as well as the journey of artistic directors who have created new companies and institutions; paving the way in the dance world, for generations to come. This episode, Joanne sits down, with Jacqulyn Buglisi,  sharing special moments about her career, life, the healing power of art as well as the exciting upcoming 30th Anniversary Season Celebration for the Buglisi Dance Theater.  Jacqulyn is "committed to creating theatrical dance works that enable us to pause to consider issues of peaceful coexistence, environmental conservation, empowerment of women, and social justice. To transcend all boundaries, and embolden audiences to recognize within themselves their own humanity.” There are people who inspire you to be a better human being, Jacqulyn Buglisi is one of them! Jacqulyn Buglisi has a five-decade career as a choreographer, artistic director, dancer, educator, and advocate, having made an indelible impact on the field of dance. She is the recipient of the 2022 Juilliard President's Medal, cited by President Damian Woetzel as “a model of citizen artistry,” and a 2020 Bessie Award Special Citation for the Table of Silence Project; and is on the Advisory Boards of Kaatsbaan Cultural Park and vildwerk Foundation. She cofounded Buglisi Dance Theatre in 1993 following a career as a principal dancer with the Martha Graham Dance Company. She danced in honor of Miss Graham for the CBS presentation of the Kennedy Center Honors, and is featured in the film “An Evening of Dance and Conversation with Martha Graham.” Her ballet Sospiri premiered on the 1989 MGDC NY City Center season. Ms. Buglisi is co-founder of the Teatro Danza Contemporanea di Roma, Italy's first contemporary dance company and school, and was a member of the Pearl Lang Dance Theatre, Mary Anthony Dance Theatre, a charter member of the Joyce Trisler Danscompany, and Stuart Hodes Dance Company, among others. She has choreographed nearly 100 ballets for BDT and has been commissioned worldwide.  Ms. Buglisi is deeply committed to dance education. As a master teacher of the Graham technique for 50 years, she is Chair Modern Department at The Ailey School/Fordham BFA program and a member of the faculty since 1987, teaches at the Martha Graham School and served on the faculties of the Juilliard School, Aspen Festival, Jacob's Pillow Dance Festival Contemporary Traditions, the famed Performing Arts H.S. (alumna), among others, and in educational residencies throughout the U.S. and abroad. Her awards and honors: Artistic Director's Council Chair, Dance/USA Board of Trustees, National Endowment for the Arts Choreographer fellowships and grants, American Dance Guild Award, Fini Italian International Lifetime Achievement Award, Kaatsbaan Playing Field Award, Fiorello LaGuardia Award for Excellence in Dance, Gertrude Shur Award for Dance, and interviews for inclusion in the Oral History Project by The Jerome Robbins Dance Division of the New York Public Library for the Performing Arts, due to be completed in 2024. She has been featured on the cover of Dance Teacher magazine, in articles for Dance Spirit, Dance Magazine, and as an Arts & Leisure feature in The New York Times https://www.buglisidance.org/ “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real." Follow Joanne Carey on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And SHARE! Please leave us review about our podcast! 

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

Brooklyn-born Lori Robbins' debut novel, Lesson Plan for Murder: A Master Class Mystery, won the Silver Falchion for Best Cozy Mystery and was a finalist in the Readers' Choice and Indie Book Awards. Murder in First Position, is the first in her new On Pointe Mystery Series, published by Level Best Books. Her next novel, Murder in Second Position came out in November of 2021. Robbins is also working on a second Master Class Mystery, Linked to Murder. She is a vice president of the New York chapter of Sisters in Crime and is a member of both Mystery Writers of America and International Thriller Writers.Robbins began dancing at age 16 and launched her professional career three years later. She studied modern dance at the Martha Graham School and ballet at the New York Conservatory of Dance. Robbins performed with a number of regional modern and ballet companies, including Ballet Hispanico, the Des Moines Ballet, and the St. Louis Concert Ballet. After ten very lean years as a dancer she attended Hunter College, graduating summa cum laude with a major in British Literature and a minor in Classics. The mother of six, Robbins has vast experience with the homicidal tendencies everyday life inspires.https://www.lorirobbins.com/Today's episode is brought to you by John's full series of crime thrillers available right now. You can get them through Amazon here: https://www.amazon.com/John-A.-Hoda/e/B00BGPXBMM%3Fref=dbs_a_mng_rwt_scns_share  You can also sign up for the newsletter at http://www.JohnHoda.com to get a free copy of John's new novella Liberty City Nights.Thank you for listening. If you have a moment to spare please leave a rating or comment on Apple Podcasts as that will help us expand the circle around our campfire. If you have any questions please feel to reach out to me via my website http://www.johnhoda.com

Dialoguing with Janice Stieber Rous on the importance of the body in how we know what we know. Janice has been dancing since she was five and attended the Martha Graham School until the age of 21. She graduated from the American Center of the Alexander Technique in 1981 and has been teaching classes in Stough Breathing Coordination, Yoga and the Alexander Technique in New York City, Orlando, Florida, Ireland and Israel ever since. Janice created Body Dialogue because she was in search of a practice to integrate all of her different studies, thereby effectively combining Alexander Technique, breathing and yoga. She also annually hosts a women's retreat based in the practice of Body Soul Rhythms Leadership Program, a program with Marion Woodman that Janice graduated from in 2003. https://bodydialogues.com/

LORI MERCIL is a dancer with the Christopher Watson Dance Company, and MotionArt. Lori began her dance training with Vernon Russell in her native California, eventually earning her BFA in Dance from the University of Montana where she studied with many wonderful guest artists, including Douglas Dunn, and Joe Goode. She earned summer scholarships for further study at the Martha Graham School in NYC, and Repertory Dance Theater in Salt Lake City, and has taught and/or performed ballet, jazz, modern, and creative movement in Montana, Oregon, Japan, and the Twin Cities.  In addition to her current dance company cohorts at CWDC and MotionArt, Lori has also performed with Hauser Dance, Marciano Silva dos Santos, Link Vostok, Off-Leash Area, Una Setia, and with Marylee Hardenbergh on many site-specific dance projects, including as project manager and one of several choreographers for the 2015 Solstice River XIX. Lori has taught at Ballare Teatro, CWDC, Dancercize Kids, Hauser Dance, TU Dance, Young Dance, and Zenon, and has shown her own work at Hauser Dance, Kinetic Kitchen, Dances at the Lakes, and Christopher Watson Dance Company, and is currently a co-producer/choreographer for the recently created annual choreographers evening, 16 Feet, along with Gerry Girouard and Becky Heist. Lori is grateful for this amazing Twin Cities dance community, and is looking forward to many more enriching experiences! 

As performers we are told what to do and how to do it.My guest this week, Ricardo Barrett, shares his incredible journey of finding his own way of moving and connecting the body back to the heart. In this conversation Ricardo tells his story of how he found his passion for the stage as well as how he started to find his way back to himself when on the outside his life looked great, but inside he felt like he didn't know what he was doing anymore. Ricardo attended the American Musical and Dramatic Arts Academy in Los Angeles and after graduating was a three year member of The Jamaica Junior Theatre Company as well as The Company Dance Theatre, under the direction of Tony Wilson. Then in 2015 he left for the Martha Graham School and became a member of Graham 2. During that same time he performed Amanda Kreglow’s “In The Midst of Dying” on TED Talks Live “War & Peace”,  along with multiple Graham and contemporary works by choreographers like Adam Barruch and Virginie Mecene. Ricardo was a member of the second Company for three years and an Apprentice with the Martha Graham first company for 2 years. Ricardo is currently a member of Alison Cook-Beatty Dance, Buglisi Dance Theatre and Dzul dance as well as a trained actor and dance teacher who loves to explore different forms and styles of artistic expression.This conversation was filled with incredible energy, synchronicities and more. Make sure to share this with a friend so they can get in on this energy too! Connect with Ricardo:Instagram: @ricardo.g.barrett https://www.instagram.com/ricardo.g.barrett/The Movement of Healing Live on IG on Sundays at 1pm ET https://www.instagram.com/alisoncookbeattydance/channel/A Guided Movement Meditation It aids in centering the mind, body, and inner being by listening to and complying with the many messages transmitted between these states and moving from that place."We have all we need within us.”Connect with Rachel:Instagram: rachel.josefinahttps://www.instagram.com/rachel.josefina/DM me on Instagram for the different ways to work with me! Join Us at The Practice with James Jinhttp://www.jamesjinimages.com/practice

Dorian Wallace is a composer and professional piano player that was formerly a member of the New Jersey National Guard's 63rd Army Band. He grew up in a small town in Ohio and joined the Ohio National Guard for money to go to college. Before finishing, he realized that life would lead him to spontaneously move to New York City. Wallace has collaborated with artists such as Bonita Oliver, John Sanborn, Paul Pinto, Pamela Z, Charlotte Mundy, Frank London, and Nicholas Finch, to name a few. Additionally, Wallace is one of New York City's most in-demand dance accompanists, he has played for Martha Graham Dance Company, Doug Varone and Dancers, Juilliard, New York University, Columbia University, and many, many others. He also teaches Music for Dancers at the Martha Graham School and is a teaching artist for the Mark Morris Dance Accompaniment Training Program. Wallace received a BA in Music Therapy from Montclair State University, studying under Dr. Brian Abrams and Dr. Michael Viega. He currently resides in Harlem, NYC, with his partner Hajnal Pivnick and their daughter Ildikó.

Today on the Conversations on Dance podcast, we are joined by Lorenzo Pagano, Soloist with the Martha Graham Dance Company. A native of Torino, Italy, Lorenzo moved to the US as a teenager and trained as a scholarship student at The School at Jacob's Pillow and The Martha Graham School. He joined the Martha Graham […] The post (215) Lorenzo Pagano, Soloist with Martha Graham Dance Company appeared first on tendusunderapalmtree.com.

Today on the Conversations on Dance podcast, we are joined by Lorenzo Pagano, Soloist with the Martha Graham Dance Company. A native of Torino, Italy, Lorenzo moved to the US as a teenager and trained as a scholarship student at The School at Jacob’s Pillow and The Martha Graham School. He joined the Martha Graham […] The post (215) Lorenzo Pagano, Soloist with Martha Graham Dance Company appeared first on tendusunderapalmtree.com.

This week on 5.6.7.EIGHT, Aleksandra interviews Charlotte Landreau, Lead Dancer at the Martha Graham Dance Company. Originally from France, Charlotte trained as a rhythmic gymnast for a full decade before transitioning into dance. She is a graduate of the Béjart School in Switzerland and the Martha Graham School. Charlotte is currently with the Martha Graham Dance Company in New York, where she has been dancing for seven years. Now, as dance is on hiatus due to COVID-19, Charlotte is spending her time teaching and encouraging fellow artists online. Landreau’s pride in her dance company comes through early and often on the podcast — a dance company that is on the verge of celebrating its 95th birthday. On the podcast, Charlotte discusses the reasons why she’s glad she landed at Martha Graham and how she navigated into her current role. She also shares some practical advice for dancers around preparing for rejection, surrounding yourself with positive role models, and getting (and keeping) women in positions of leadership.   Moving Quotes: “I’m very proud of being in [the Martha Graham Dance Company] — one that allows us to be versatile, to grow as artists, and to keep working and be challenged every day." “I am very fortunate to work for a company where every leading position is filled by a woman." “[At dance school,] I did not know anything. It was so scary. And yet, so healthy. I just wanted to learn so much. It was an entire new world that I wanted to discover." “In order to promote more women in the arts, we really have to recognize the women that are already in power and are doing such an amazing job." “It is my responsibility to choose the mentor that I need. Depending on where I am in my career, my mentor will change." “I arrived in America without any friends or family. It was very stressful. But that was a challenge that I really wanted to take on."   Bullet Points (w/ timestamps) - Highlighting key topics discussed: 2:47: Charlotte discusses her work with the Martha Graham Dance Company and the pride she feels in dancing with the oldest dance company in America. 5:40: Charlotte retells her journey as a dance and how early work in rhythmic gymnastics taught her a lot about mental toughness, priming her for a dance career. 12:02: Landreau describes her mindset and emotions in leaving home at a young age to travel across the world with a dance company. 13:49: Charlotte shares some important advice on being mentally prepared for rejection. 17:00: Landreau explores the significance of mentors and how mentors have personally impacted her life. 19:32: Landreau, a world traveler, shares some advice for dancers on preparing for long flights, time zone changes, and other factors.  23:53: Charlotte speculates on changes to dance post-pandemic and gives her thoughts on one way that dance should change to stay relevant. 26:28: Landreau discusses the importance of women in dance and gives some ideas on how women should promote successful women leaders. 28:08: Charlotte discusses what’s next for her and explains her “go with the flow” attitude.   Bullet List of Resources –  Charlotte Landreau Personal Website Instagram LinkedIn   The Martha Graham Dance Company Company Website Instagram Facebook YouTube

“How we approach dance with regularity and consistency, we want to approach health that way, and especially our diet. We need consistent energy.” In this episode we speak with Marie Scioscia. We speak about the reasons to seek the help of a dietician, importance of a balanced diet for sustainable energy, intuitive eating, opting out of diet culture, possible indications of an eating disorder, avoiding the influences of social media on diet and exercise and more. Link to purchase Marie's handbook "Eat Right, Dance Right": https://www.cinchnutrition.com/store.html#!/c/0Academy of Nutrition and Dietetics: https://www.eatright.org/About Marie: Marie is registered dietician based in New York City and former Luigi trained dancer. She has her masters in clinical nutrition and is a certified personal trainer through the American Council on exercise. Marie is currently the nutritionist for the Alvin Ailey School and has worked with the New York City Ballet wellness group. She has lectured for the Complexions Contemporary Ballet and Martha Graham School and has written for both Dance Spirit and Pointe Magazine. Marie has a private practice for dancers and non-dancers in both New York and New Jersey. Additionally, Marie has recently published a handbook for dancers titled “Eat Right, Dance Right” based on her continuous work in the dance world.

At Canada’s National Academy of Dance Education we believe that in order to be able to provide a dance education that is comprehensive, dance educators must have an understanding of where we came from. This includes insight into how styles transformed into others, what inspired the founders and how society influenced various styles. Today we will explore the later, and get to know Jose Limon and his work with the help of Professor and Coordinator of the Dance Department at Montgomery County Community College Dr Melinda Copel. GUEST: Melinda Copel holds a Doctorate in Dance from Temple University and certification in Elementary Labanotation from the Dance Notation Bureau. Copel has taught dance to adults and children for over twenty-seven years teaching at many universities including Temple University and Rutgers University—Camden. Copel has studied a broad range of dance styles including modern dance at the Martha Graham School, where she was fortunate to take classes with Graham, and ballet at the Finis Jhung School of Ballet in New York. Copel has studied choreography and performance at Smith College, and has served as research consultant for the video documentary Limón: A Life Beyond Words. Copel’s articles and reviews can be found in renowned publications including Choreography and Dance and the Dance Research Journal amongst many others. Her dissertation examines the State Department's use of modern dance as part of its cultural propaganda campaign during the Cold War.

Since starting Zenon in 1983, Linda has earned accolades for developing thecompany’s unique modern and jazz aesthetic by commissioning repertoryworks from such choreographers as Bebe Miller, Dwight Rhoden, Bill T.Jones, Bill Young, Llory Wilson, Joe Goode, Stephanie Skura, David Dorfman,Doug Varone, Danny Buraczeski, Daniel Rousseve, Cathy Young, KeelyGarfield, Johannes Wieland, Seán Curran, Colleen Thomas and AndreaMiller. She studied at the Martha Graham School, Alvin Ailey Dance Center,the Juilliard School, and with Alvin Nikolais, Lynn Simonson and MerceCunningham. She holds a degree in dance and drama from Hollins College inVirginia. Linda has taught dance and creative movement since 1972, and hasdeveloped Zenon Dance School into a recognized training center forvocational and professional dancers. She is the mother of two amazingdaughters, Laura and Lily, and lives in St. Louis Park with her two cats, Ollieand Jack.

Karen L. Arceneaux is a dancer, choreographer, personal trainer and fitness coach. Karen trained at the American Dance Festival in North Carolina, the Martha Graham School of Contemporary Dance and the Alvin Ailey School. Currently her Elite Physique 247 Fitness Class has taken Long Island by storm. Read more about Karen. Read more about The Passionistas Project.

Vicki Van Hout is an Indigenous independent choreographer with Wiradjuri, Dutch, Scottish, and Afghan heritage. Originally desiring a career in theatre, she was encouraged to join NAISDA Dance College (National Aboriginal Islander Skills Development Association Dance College). Before entering she was not interested in learning the traditional dances and was more interested in contemporary techniques, this soon changed as she realised both the significant and performative elements of the more traditional dance styles. After studying at NAISDA, Vicki left for New York on a scholarship to study at the Martha Graham School of Contemporary Dance.During these formative years Vicki’s life intersected with the punk scene, she lived as a squatter at the Woolloomooloo Gunnery, and also worked for Tish and Snooky's Manic Panic a punk and hair dye store.Upon returning to Australia Vicki danced for a range of dance companies including Bangarra Dance Theatre, and the Aboriginal Islander Dance Theatre, before working with Marilyn Miller with Fresh Dancers. With the support of friends she developed her own choreographic voice, and her show Briwyant, became the first performance by an independent First Nations choreographer to tour nationally, while also being nominated for an Australian Dance Award for Achievement in Independent Dance.Vicki recently won The Australia Council Award for Dance, recognising her significant contribution to dance and her career that has spanned over 20 years. She was also awarded the 2014 NSW Dance Fellowship for established and mid-career artists – the first Indigenous winner of the Fellowship. Finally, Vicki is studying for her PhD but admits that she needs to spend more time writing it. She currently writes for Form Dance Projects.This interview covers so much of Vicki’s work. She speaks particularly about Long Grass, a powerful work that explores the lives of Aboriginal people living on the fringes of Darwin; on the fringes of society, yet in the middle of a city. Vicki then speaks of her work plenty serious TALK TALK, which uses humour to break down and explore barriers and issues related to the representations of First Nations people within dance and society more broadly. plenty serious TALK TALK will be presented as part of YIRRAMBOI Festival.

My guest today is a native of Rosario, Argentina. In 1998 she moved to NYC to study at the Martha Graham School of Contemporary Dance, and she is now located in San Francisco, CA. She started dancing at age 6, and has a background in a variety of dance genres, including ballet, contemporary, flamenco, afro-haitian dances, and many others. In addition to being heavily involved with Argentine Tango, today's guest is also a staff teacher for the Youth Program at ODC (Oberlin Dance Collective), and is also a staff member at the renowned Cazadero Performing Arts Family Camp. Let's Meet Andrea Fuchilieri... More on Andrea here: www.andreafuchilieri.com www.triogarufa.com Help support Joe's Tango Podcast - Donate here via paypal: http://bit.ly/2T4woBP

You may have seen Layla Khosh (Khoshnoudi) in the Pulitzer Prize nominated Dance Nation at Playwrights Horizons as Amina, in Abby Rosebrock's Dido of Idaho at Ensemble Studio Theatre, in the original cast of Men on Boats, or as Nina in Seagullmachine by the Assembly. She's a brilliant actress, as well as writer and director. After moving New York to attend the Martha Graham School, she left the program early to pursue a career as an actor. In this episode we talk about feeling like an outsider, her Texan roots, and the biggest challenges of being an actor.We chat briefly about her Iranian heritage and her name: she gone by both Layla Khosh and Layla Khoshnoudi - and we discuss what it might mean to go by one or the other. Layla also talks about what she wishes she knew as a young actor starting out, navigating the industry.Catch her in "All Hail Beth" on BRIC TV, coming out soon.Support the show (https://www.patreon.com/upstageleft)

An interview with writer, producer, director and actress Marianne Hettinger. Marianne Hettinger has always been fascinated by movement, absurdity and complexities of human relationships. This was already apparent in her first short film, "Shenanigans Point" in 2001. Budget: $6.95. She sees Woody Allen, Mike Leigh and Pedro Almodovar as her greatest inspirations. German press: Die Welt online, click Wikipedia and German Wikipedia for more info. Having come to New York alone as a teenager from a small town in Germany, she has found her own unique style. "I thrive in adversity. If people say I can't do something, I will use it as fuel to ignite my dream", she said after she won "Best Director" at the Detroit Independent Film Festival 2010 with her first feature "Mango Tango". Born and raised in Augsburg, Germany and then Leitershofen, a suburb with a population of only 2000, Marianne Hettinger saw the movie "An American in Paris" for the first time at age 5. This was the birth of her dream to come to USA to dance and act like Gene Kelly. it would take her 7 hours roundtrip to get to the closest dance studio in Munich by bicycle, tramway, train and subway. But that didn’t stop her. From "American in Paris" to "German in New York", Marianne arrived as a nineteen year old alone in Manhattan with only $800 in her pocket, not knowing anybody. Soon she was accepted by the prestigious National Shakespeare Conservatory on a scholarship to study acting and directing. Simultaneously she studied dance on scholarships at the Alvin Ailey School, Steps on Broadway, the Martha Graham School and the Merce Cunningham Dance Company. At age 20 she wrote, directed and acted in her first play "Heaven & Earth" at the Cubiculo Theatre in Manhattan. Because of her femme fatale figure she appeared as a model in "Sports Illustrated", Elle, Men’s Health, Harper’s Bazaar, Self and on national TV. Marianne eventually turned down an exclusive modeling contract with the famous ELITE MODEL MANAGEMENT because of her passion for acting and dancing. The versatile actor has been featured in over 50 features, independent films and television shows and commercials. She’s worked with such acclaimed directors as Tim Robbins, Frank Oz, Michael Apted, James Toback and Warren Leight and was a member of the "A THEATRE CO" theatre company founded by Thomas Everett Scott. As an A-list dancer she’s brought down the house on Broadway in "Latin Rhythms" with Chita Rivera, in a duet with Antonio Banderas on the Late Show with David Letterman and as a solo guest artist with many national and international symphony orchestras and as a US and Canadian Ballroom Champion (American Rhythm and Theatre Arts). Combining her talents, Marianne came full circle in 2009 when she wrote, directed, produced and acted in her first feature film MANGO TANGO that won her "BEST DIRECTOR" at the DETROIT INDEPENDENT FILM FESTIVAL as well as the "JURY PRIZE FOR BEST FEATURE" at the VENTURA FILM FESTIVAL and "MOST POPULAR FILM" at the "FUENF SEEN FILM FESTIVAL" in Germany. Marianne Hettinger makes New York City her home, a place that feeds her creativity. With her projects she entertains and touches people's hearts in her own unique way.

There’s something you can do as a speaker to connect with your audience and have an impact on them that goes beyond your content or the activities you have them do. It’s one of the four essential elements (fire, water, air, and earth), which is why I used the word “element” in the title. It’s your breath. The most powerful speakers in the world know how to use their breath, resonance, tone, and pauses to create a moving experience for their listeners. You can do the same. More than simply helping to calm your nerves or speak more clearly (which it definitely does as well!), using your breath properly and intentionally can connect you on a deeper level with your audience and make your words more powerful and impactful. My guest Janice Rous is an expert on the breath and the body. In this episode, she shares specific techniques you can use on the stage and in preparation to tune your breath and your body. We also talk about why we’re often reluctant to have silence in our conversations and presentations, but why it’s crucial for our listeners. About My Guest: Janice Stieber Rous has been dancing since she was five and attended the Martha Graham School until the age of 21. She graduated from the American Center of the Alexander Technique in 1981 and has been teaching classes in Stough Breathing Coordination, Yoga and the Alexander Technique in New York City, Orlando, Florida, Ireland and Israel ever since. She is a Sarah Lawrence College graduate and has a master’s degree from Bank St. College in museum leadership, education and administration. Janice created Body Dialogue because she was in search of a practice to integrate all of her different studies, thereby effectively combining Alexander Technique, breathing and yoga.   Highlights: The importance of breath, tone, resonance, vibration, and grounding the body How to let your breath guide the voice so your words are powerful and impactful How pauses and silences are necessary so your audience see you as the authority on your topic Techniques to invite your audience into your speech The importance of physical and vocal warmups before a speaking engagement The importance of oxygen for our thinking   Links: Show notes at https://www.speakingyourbrand.com/49 Check out Janice’s website, workshops, and retreats at http://bodydialogues.com/ Join the free Speaking Your Brand community at https://www.speakingyourbrand.com/join/ or text the word SPEAKING to 444-999. Interested in a VIP Day to create your signature talk? Email me at carol@speakingyourbrand.com. Say hi to me on Twitter @CarolMorganCox Subscribe to the podcast and leave a review!

Filmmaker and director Marianne Hettinger has always been fascinated by movement, dance, and the absurdity and complexities in human relationships. She sees Woody Allen, Mike Leigh and Pedro Almodovar as her greatest inspirations. German press: Die Welt online, click German Wikipedia for more info. Having come to New York alone as a teenager from a small town in Germany, she has found her own unique style. "I thrive in adversity. If people say I can't do something, I will use it as fuel to ignite my dream", she said after she won "Best Director" at the Detroit Independent Film Festival 2010 with her first feature. Born and raised in Augsburg, Germany and then Leitershofen, a suburb with a population of only 2000, Marianne Hettinger saw the movie "An American in Paris" for the first time at age 5. This was the birth of her dream to come to USA to dance and act like Gene Kelly. it would take her 7 hours roundtrip to get to the closest dance studio by bicycle, tramway, train and subway. But that didn't stop her. From "American in Paris" to "German in New York", Marianne arrived as a nineteen year old alone in Manhattan with only $800 in her pocket, not knowing anybody. Soon she was accepted by the prestigious National Shakespeare Conservatory on a scholarship to study acting and directing. Simultaneously she studied dance on scholarships at the Alvin Ailey School, Steps on Broadway, the Martha Graham School and the Merce Cunningham Dance Company.

Choreographer Makeda Thomas (of Roots and Wings Movement!) called from Trinidad to speak with me about the tragic killing of her colleague, Augusto Cuvilas, one of Mozambique's most celebrated dance artists. Although the sound quality of this phone interview is not ideal, the information she presents is very important, and time is of the essence. Makeda has been invited to join with South African choreographer Boyzie Cekwana to complete a project that the three were working on at the time of Cuvilas's death. For more information on how you can help, visit Makeda's site at www.makedathomas.org. Makeda Thomas is from Trinidad & Tobago and has presented work at HARLEM Stage/Aaron Davis Hall, Dance Theater Workshop, The Brooklyn Academy of Music, the Chicago Women's Performance Arts Festival, Maputo's Teatro Africa, Caribbean Contemporary Arts (CCA7), and as a Cultural Envoy for the U.S. Department of State. Her choreography has been commissioned by 651 ARTS Black Dance: Tradition & Transformation (2007) and received awards from the United States Embassy (2006 & 2005), Puffin Foundation (2005), New York State Council on the Arts (2005), Bossak-Heilbron Charitable Foundation (2005), Arts International (2003), Yellowfox Foundation (2006), and the National AIDS Council of Moçambique (2005). In 2004, during its 25th Anniversary season, she was named Resident Choreographer of Companhia Nacional De Canto e Dança. Graça Machel (Former First Lady of South Africa and Moçambique) serves as the Honorary Patron of her internationally acclaimed work, "A Sense of Place" (2005), on which she presented at the 1st Conference on New Perspectives in African Performing & Visual Arts. In 2007, she became a featured choreographer in ‘This Woman’s Work: Choreographic Development Project Representing Women of Color’ - joining Camille A. Brown, Bridget Moore, Shani Collins, Princess Mhoon Cooper, Francine Ott, & Ursula Payne. As a dancer, Makeda Thomas has toured internationally in the companies of Ronald K. Brown/EVIDENCE, URBAN BUSH WOMEN, and Rennie Harris/ Puremovement, and independently with Robin Becker Dance, Lula Washington Dance Theater, and Stephen Koplowitz. She began her study in Brooklyn, New York with Michael Goring, continuing on scholarship at the Martha Graham School of Contemporary Dance, The Paul Taylor School and Hofstra University where she earned a B.A. in Dance and English. Ms. Thomas has conducted research projects in South Africa and The Netherlands, artistic residencies in Hawaii and Florida; and arts in education projects with The Dalton School, Arts in Ed. Institute of Western NY, and NYC Dept. of Education. She continues to create dance works and perform internationally, while living in New York City & Port of Spain. Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa This material may not be reproduced in any way, either in part or in its entirety, without the expressed written permission of Eva Yaa Asantewaa.

Choreographer Makeda Thomas (of Roots and Wings Movement!) called from Trinidad to speak with me about the tragic killing of her colleague, Augusto Cuvilas, one of Mozambique's most celebrated dance artists. Although the sound quality of this phone interview is not ideal, the information she presents is very important, and time is of the essence. Makeda has been invited to join with South African choreographer Boyzie Cekwana to complete a project that the three were working on at the time of Cuvilas's death. For more information on how you can help, visit Makeda's site at www.makedathomas.org. Makeda Thomas is from Trinidad & Tobago and has presented work at HARLEM Stage/Aaron Davis Hall, Dance Theater Workshop, The Brooklyn Academy of Music, the Chicago Women's Performance Arts Festival, Maputo's Teatro Africa, Caribbean Contemporary Arts (CCA7), and as a Cultural Envoy for the U.S. Department of State. Her choreography has been commissioned by 651 ARTS Black Dance: Tradition & Transformation (2007) and received awards from the United States Embassy (2006 & 2005), Puffin Foundation (2005), New York State Council on the Arts (2005), Bossak-Heilbron Charitable Foundation (2005), Arts International (2003), Yellowfox Foundation (2006), and the National AIDS Council of Moçambique (2005). In 2004, during its 25th Anniversary season, she was named Resident Choreographer of Companhia Nacional De Canto e Dança. Graça Machel (Former First Lady of South Africa and Moçambique) serves as the Honorary Patron of her internationally acclaimed work, "A Sense of Place" (2005), on which she presented at the 1st Conference on New Perspectives in African Performing & Visual Arts. In 2007, she became a featured choreographer in ‘This Woman’s Work: Choreographic Development Project Representing Women of Color’ - joining Camille A. Brown, Bridget Moore, Shani Collins, Princess Mhoon Cooper, Francine Ott, & Ursula Payne. As a dancer, Makeda Thomas has toured internationally in the companies of Ronald K. Brown/EVIDENCE, URBAN BUSH WOMEN, and Rennie Harris/ Puremovement, and independently with Robin Becker Dance, Lula Washington Dance Theater, and Stephen Koplowitz. She began her study in Brooklyn, New York with Michael Goring, continuing on scholarship at the Martha Graham School of Contemporary Dance, The Paul Taylor School and Hofstra University where she earned a B.A. in Dance and English. Ms. Thomas has conducted research projects in South Africa and The Netherlands, artistic residencies in Hawaii and Florida; and arts in education projects with The Dalton School, Arts in Ed. Institute of Western NY, and NYC Dept. of Education. She continues to create dance works and perform internationally, while living in New York City & Port of Spain. Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa This material may not be reproduced in any way, either in part or in its entirety, without the expressed written permission of Eva Yaa Asantewaa.

The talented Trajal Harrell is one of dance's versatile, committed workers. He has learned to balance various roles including performer, choreographer, curator, journal editor and instructor. His innovative art, in concept and execution, investigates the links between postmodern and popular aesthetics. Dance Theater Workshop will host the premiere of Harrell's "Quartet for the End of Time," October 15-18, 2008. This full-evening work for four dancers takes the story of Olivier Messiaen's famous music of the same name (composed and first performed by Jewish and Christian musicians in a Nazi prisoner-of-war camp) as a foundation for investigating the antagonism between sincerity and irony in our contemporary time. BIO Trajal Harrell was born in Douglas, Georgia. He graduated from Yale University, majoring in American Studies with a concentration in creative processes--researching theater, literary theory and art history. He has also studied dance and choreography at Brown University, The Martha Graham School of Contemporary Dance, The San Francisco Institute of Choreography, City College of San Francisco, Movement Research and the Trisha Brown School. His work has been performed in various venues in the US and Europe. In 1998, he was selected as an artist-in-residence at Movement Research and has been active in the development of research projects and curation, including curating an initiative to diversify Movement Research's programming through selection of artists of color for performance opportunities. He has served in editorial capacities for the Movement Research Performance Journal and was appointed editor-in-chief in 2006. LINKS Movement Research: http://www.movementresearch.org/ Dance Theater Workshop: http://www.dtw.org Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa This material may not be reproduced in any way, either in part or in its entirety, without the expressed written permission of Eva Yaa Asantewaa.

Presenting site-specific dance in the bustling financial, commercial and historic environment of downtown Manhattan is not without risk but can yield considerable excitement and rewards. Producer-curator Nolini Barretto and the artists she selects for her annual Sitelines series bring imagination and vision to this challenge and opportunity. In summer 2007, I spoke with Nolini about past productions and current highlights of this well-regarded festival, a project of the Lower Manhattan Cultural Council (http://www.lmcc.net/). GUEST BIO Nolini Barretto has long been part of the New York arts community. She worked for the Martha Graham School of Contemporary Dance for thirteen years, the last few years as Administrative Director of the school. She was a founding Director of the Emergency Fund for Student Dancers and continues to serve on its Board and the advisory Board of Buglisi Dance Company. She was the Director of Marketing for Dance Theater Workshop in Chelsea, helping it transition into its new building, managing its rebranding efforts and launching its Inaugural season. At DTW she received the National Arts Marketing Project's Advanced Audience Development Training. Nolini was originally a classical dancer in India and received a Masters degree in Arts Administration from Teachers College, Columbia University. In 2005 CEC Artslink sent her to lecture on Public Art in St. Petersburg, Russia and Novosibirsk, Siberia. Nolini began working at the Lower Manhattan Cultural Council in 2003, where she founded the site-specific performance series, Sitelines, which she continues to curate and produce. She is in her first year as a member of the Bessies (New York Dance and Performance) Awards committee. LINK http://www.lmcc.net/ Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa

Presenting site-specific dance in the bustling financial, commercial and historic environment of downtown Manhattan is not without risk but can yield considerable excitement and rewards. Producer-curator Nolini Barretto and the artists she selects for her annual Sitelines series bring imagination and vision to this challenge and opportunity. In summer 2007, I spoke with Nolini about past productions and current highlights of this well-regarded festival, a project of the Lower Manhattan Cultural Council (http://www.lmcc.net/). GUEST BIO Nolini Barretto has long been part of the New York arts community. She worked for the Martha Graham School of Contemporary Dance for thirteen years, the last few years as Administrative Director of the school. She was a founding Director of the Emergency Fund for Student Dancers and continues to serve on its Board and the advisory Board of Buglisi Dance Company. She was the Director of Marketing for Dance Theater Workshop in Chelsea, helping it transition into its new building, managing its rebranding efforts and launching its Inaugural season. At DTW she received the National Arts Marketing Project's Advanced Audience Development Training. Nolini was originally a classical dancer in India and received a Masters degree in Arts Administration from Teachers College, Columbia University. In 2005 CEC Artslink sent her to lecture on Public Art in St. Petersburg, Russia and Novosibirsk, Siberia. Nolini began working at the Lower Manhattan Cultural Council in 2003, where she founded the site-specific performance series, Sitelines, which she continues to curate and produce. She is in her first year as a member of the Bessies (New York Dance and Performance) Awards committee. LINK http://www.lmcc.net/ Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa