Podcasts about Merce Cunningham

Claire chatted to Amy LaViers from the Robotics, Automation, and Dance Lab about the creative relationship between humans and machines. Amy LaViers works at the intersection of robotics and dance. Her writing, choreography, and machine designs have been presented internationally at performing arts and engineering venues, including Merce Cunningham's studios, the Performance Arcade, and universities like Berkeley and Brown. She is the founder of three startup companies, including AE Machines, which won “Product Design of the Year” at the 4th Rev Awards in Chicago. Amy runs the Robotics, Automation, and Dance (RAD) Lab, a non-profit for art-making, commercialization, education, outreach, and research. Robot Talk LiveBe part of the audience for a live recording at the Great Exhibition Road Festival this weekend: https://www.greatexhibitionroadfestival.co.uk/event/why-are-we-building-humanoid-robots/  Support the PodcastJoin the Robot Talk community on Patreon: https://www.patreon.com/ClaireAsher  

Nell'intervista in podcast, Valeria Magli (Bologna, 1952) racconta la sua stagione creativa tra glianni Ottanta e Novanta, quando la scena era un laboratorio vivo: “ci si scambiavano regali traartisti”, dice, ricordando le collaborazioni con artisti come Valerio Adami, Gianfranco Baruchello,Nanni Balestrini, Piero Fogliati, Carla Cerati, Cinzia Ruggeri. L'artista, attraverso importanticollaborazioni, come quelle con l'attore teatrale e mimo francese Étienne Decroux, il musicistaJohn Cage, il coreografo Merce Cunningham e il filosofo Pierre Klossowski, arricchisce la suapratica con influenze provenienti da diverse discipline.-Monologhi al Telefono è una rubrica di Donatella Giordano che raccoglie interviste agli artisti.L'intervista viene registrata integralmente ma la pubblicazione avviene dopo un attento processo diediting che trasforma la conversazione in un monologo. Con questo riadattamento l'utente divental'interlocutore e avrà l'impressione di trovarsi al telefono con l'artista. Il sistema applicato vuolesuperare il concetto dell'intervista classica a favore di un approccio che contamina due formati: ilpodcast e la telefonata.Instagram: @monologhialtelefono.artribune

Choreographer Sir Wayne McGregor is one of the most acclaimed, innovative and influential figures in contemporary dance. His works are often the result of creative collaborations with artists, musicians, filmmakers, or with scientists to explore technological issues. In 2006 he was appointed as Resident Choreographer at the Royal Ballet. He has created more than 20 new works at Covent Garden in that time, including Chroma, set to music by Joby Talbot and The White Stripes, and Woolf Works, a full-length ballet based on the life and writings of Virginia Woolf. More recently, McGregor brought the post-apocalyptic vision of Margaret Atwood to the stage in his ballet MaddAddam, based on the writer's acclaimed trilogy of novels. He has worked as a movement director on films including Harry Potter Goblet Of Fire and Mary Queen Of Scots, collaborated with bands including Radiohead and Chemical Brothers, and choreographed the virtual concert, ABBA Voyage. In October 2025, Somerset House in London will mount a landmark exhibition dedicated to McGregor's trailblazing collaborations that have radically defined how we think about performance, movement, and the body. Having won numerous awards, including two Oliviers, Sir Wayne McGregor was knighted in 2024.Wayne McGregor talks to John Wilson about his childhood in Stockport, where he took dance classes and was inspired by John Travolta's moves in Saturday Night Fever. He recalls the house and techno music of the late 80s when he was a student, and how the freedom of expression he felt on nightclub dance-floors informed his style of choreography. Whilst living in New York after leaving university, Wayne came across an open-air performance by the legendary American choreographer Merce Cunningham, whose company was dancing to live music conducted by the avant-garde composer John Cage. It was a chance encounter that had a profound impact on McGregor. He also discusses how science and technology has been a major thematic influence on much of his work in recent years, and how AI has been used to create new works through analysis of physical movement and artistic expression.Producer Edwina Pitman

Today's episode is a special conversation and recap of Elisabeth Condon and my experiences collaborating as visual artists in the ballet project CounterPointe (now in its 12th year) produced by Norte Maar and staged at the Mark O'Donnell Theater (Brooklyn) in March 2025. Jennifer Coates kindly came on to ask us questions about making props and what it was like for 2 newbies to enter the world of dance. Thanks, Jennifer!Special thanks also to Norte Maar and its co-directors, Julia K. Gleich and Jason Andrew for their support of artists and creative collaboration.More information about Elisabeth and Amy's work:Elisabeth: https://www.elisabethcondon.com/ | @elisabethcondonAmy: https://www.amytalluto.com/ | @tallutsMore information about Julia Gleich and Jason Andrew's NorteMaar & CounterPointe12: https://www.nortemaar.org/projects/counterpointe12Julia K. Gleich's website: https://www.gleichdances.org/Julia Gleich interview on this podcast: Episode 49The dances we discussed:"Vermillion | 10" by Ava Desiderio and Elisabeth CondonDancers: Minami Ando, Lucia BeteluSupport structures: Elise WunderlichMusic by Zero Eklipse and William Pilarte Lighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025"And So It Begins" by Margaret Wiss and Amy TallutoDancers: Maya Tsuruki Holden and Jaclyn KriewallMusic by Margaret WissLighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025"46 Gordon" by Julia K. Gleich and Nicole CherubiniDancers: Michelle Buckley, Kara Chan, Annie Freeman, Amber Neff, Ethan Schweitzer-GaslinLighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025Special thanks to Jennifer Coates for interviewing us! Jennifer's website: https://www.jenniferlcoates.com/Jennifer on IG: @jennifercoates666Artists mentioned: Henri Matisse, William Kentridge, Florine Stettheimer, Keisha Prioleau Martin, Meg Lipke, Elana Herzog, Nicole Cherubini, Alvin Ailey, Judith Jamison (Dancer), Julia K. Gleich (Choreographer), Jason AndrewDances mentioned: "Afternoon of a Faun" by the Ballet Russes, “Minutiae” (1954) Robert Rauschenberg and Merce Cunningham, "Cry" Alvin AileyVideo mentioned: "How to Make Theater Props" by Eric Bucklein (not actually old but young) https://youtu.be/JSl5Vc8mej0?si=KWGdOxnijBiEEGZcBook mentioned: Inigo Philbrick "All That Glitters: A Story of Friendship, Fraud, and Fine Art"Exhibition mentioned: "Edges of Ailey" at the WhitneyAll music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠https://www.peptalksforartists.com/⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Susan Jaffe is a former ballerina who performed for 22 years as a principal dancer with the American Ballet Theater. She is known for iconic roles such as Swan Lake’s Odette and Odile, Kitri in Don Quixote, and Juliet in Romeo and Juliet. Jaffe has performed internationally and her repertoire includes the works of iconic choreographers such as George Balanchine, Jerome Robbins, Twyla Tharp, and Merce Cunningham. After retiring from the stage, Jaffe previously served as the dean for the School of Dance at the University of North Carolina School of the Arts and as the artistic director of Pittsburgh Ballet Theatre. In our conversation, Jaffe shares how she got her start as a ballerina, the impact legendary dancer Mikhail Baryshnikov had on her career, and what it was like reviving ABT after the Covid-19 pandemic.See omnystudio.com/listener for privacy information.

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Full PillowTalk including commentary on video excerpts of the company's repertoire: https://www.youtube.com/watch?v=0VzzAG70B3o Video playlist 'Gotta Laugh' featuring excerpt of Paquita by Les Ballets Trockadero de Monte Carlo: https://danceinteractive.jacobspillow.org/playlists/gotta-laugh/ Video excerpt of Swan Lake by Les Ballets Trockadero de Monte Carlo: https://danceinteractive.jacobspillow.org/les-ballets-trockadero-de-monte-carlo/le-lac-des-cygnes-swan-lake-act-ii/  

Join our poetry Salon and Open Mic: https://parallax-media-network.mn.co/share/5hSLvQW7bNszFGEo?utm_source=manual About David Herz: Hello. My names are David Salzmann Herz. I was born in Boston 70 years ago when McCarthy was getting his comeuppance. I lived with my family somewhere in Massachusetts before moving to Belo Horizonte, Brazil , as part of the Department of the Interior's Punto Quatro program where my father was instrumental in mapping the geology and training a generation of Brazilian geologists. I began writing aged ten at the American school of Sao Paolo which had scorpions in the sandbox. I won a turtle for my prose. Then we lived in Chevy Chase, Maryland before moving to Athens, Ga. Where I met the poet Colman Barks and other luminaries. I moved to Chicago and studied briefly under Del Close at Second City and David Mamet who was then directing the Goodman Theater. As well as Richard McKeon at the University of Chicago who taught Susan Sontag among others. Then I returned home and drove a car from Selma, Alabama to Warminster Pennsylvania, possibly damaging the transmission while accelerating against the snow and ice. The next three years in a bankrupt New York City were richness incarnate. I worked at the Oh Ho So restaurant in SoHo and as a busboy served Harry Belafonte, one of the reasons God created humans, a glass of water. I had Alice Notley, poetess supreme, for a teacher and read my prose work at the Saint Marks in the Bowery Poetry Project. Those were wild times, buildings burning, trash uncollected, rapes a'plenty, and great generosity from compassionate lawyers, doctors and dentists for the impoverished lot we were. You could easily meet people such as John Cage, Merce Cunningham, John Giorno, Ted Berrigan, David Byrne, Patti Smith, Fred Sherry, Nam June Paik, Allen Ginsberg, Gregory Corso, Charles Bernstein, Tony Towle, Bill Berkson, Eileen Myles, Ted Greenwald, John Cale, Lydia Lunch, Alan Vega, and avoid others such as Valerie Solanas. And then just as I was about to join a rock and roll band I moved to Paris. It's been 45 years. Odd jobs subtitling movies and Sipa Photopress Agency photographs. Doing journalism for English language papers, interviewing the B- 52's, Peter Brook, Zouc, Herbert Achternbusch, Paul Lederman, Boris Bergman and then working for Bull and Alcatel two fine French corporations employing hundreds of thousands who equally vanished into the capitalist sunset. Thanks to a flutist friend in Ircam I got to meet Karlheinz Stockhausen and Pierre Boulez but I don't think they remember me. I did a translation for Sophie Calle before she became Sophie Calle. Also some work for the Royal family of Afghanistan. Back when there was one. At Paris VIII University still in the Bois de Vincennes with the whores whom we did not try to lead to culture I got to attend classes by Lyotard & Deleuze and the Miller Brothers, Lacan's son in laws? Noam Chosmky spoke. I thought to become a consultant in a moment of delusion and ended up teaching for the last 24 years: Polytechnique, SciencesPo, ENST, INT, Supelec, Ecole Centrale, ENPC, ENSTA, Paris V, ICP, ESIEE, ECE, Ecole du Louvre. Before that I was a technical translator, a field I am happy to report that has been almost entirely taken over by machines, bless their soulless bodies. I also got married and my wife and I had two children. But we hadn't really grown up much to the needless suffering of the children and so that marriage went painfully bust...Then I married again and we had a daughter. She's on the phone right now, de rigueur for all 16 year olds. I am a loving observer of the human experiment of which I am inextricably a part, how so ever much I would like to be apart. As we advance, not necessarily progress, into the numbing, memory erasing age of AI, already sinking its canines deep into our pranic jugulars, lose ourselves in our beloved electronic devices, we must look to our hands, our analog writing devices such as pencils and pens and give them a try. Along with all the rest.

Pirkko Markula, contemporary dancer and professor of socio-cultural studies of physical activity at the University of Alberta in Canada, is in the studio! She has a Ph.D in kinesiology and major sport sociology from the University of Illinois. Beyond academia, she's a dancer herself, previously training in the Dance Department at the University of Illinois with an emphasis on Merce Cunningham, Paul Taylor,  and José Limón techniques. She is currently a choreographer and dancer for Initial 6, a contemporary dance company for dancers above the age of 40 at the University of Alberta. Combining her love for movement and academia, one of her areas of research is dance and exercise in contemporary culture, with an emphasis on dance and the aging process. Through her Psychology Today blog, Fit Femininity, she examines how adult ballet dancers discover a new sense of self in a ballet class. A collection of essays Pirkko edited alongside colleagues and students in January 2018, titled “The Evolving Feminine Ballet Body,” explores a range of topics regarding the ways ballet has influenced contemporary culture throughout its evolution.  In this episode, we discuss how the ideal ballet body - both celebrated and criticized at times - has evolved alongside ballet as an art form, how ballet has contributed to broader cultural narratives, and especially, how body ideals in ballet have influenced societal views of femininity, beauty, and womanhood. Check it out! **This episode discusses body image and touches on disordered eating, which can be a sensitive topic. That discussion begins around 14:00 and continues until 29:00, for any listeners who want to skip ahead.  Follow Pirkko's Psychology Today blog, Fit Femininity: https://www.psychologytoday.com/us/blog/fit-femininity Check out The Evolving Feminine Ballet Body essay collection: https://a.co/d/3IZotEW Read Pirkko's article, What We Can Learn From Women Who Take Adult Ballet Classes: https://www.psychologytoday.com/us/blog/fit-femininity/202302/what-we-can-learn-from-women-who-take-adult-ballet-classes  Vote for The Adult Ballet Studio in the arts & design category for the Women in Podcasting Awards! Voting ends October 1st: https://www.womenpodcasters.com/vote Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310 Artist: http://incompetech.com/ @eblosfield  | theadultballetstudio@gmail.com Support this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

Today, the Spotlight shines on clarinetist, penny whistle player, composer, improviser, and educator James Falzone.James and I have been collaborating on an upcoming live event, Improvisation in Music and Life, taking place on June 22 at the Royal Room in Seattle. This will be a unique program of performance and conversation between me and the five-piece James Falzone Division Ensemble. We will explore the nature of improvisation in music and how its principles can be useful in all aspects of life, not just for musicians. Tickets are available at theroyalroomseattle.com. We recorded this talk in person in a very special space at Cornish College, where James is both a Dean and Professor of Music. It was a thrill to consider that I passed through rooms where John Cage and Merce Cunningham likely met or spent time. James and I spoke for nearly two hours. His instinct to record in person on a Saturday in Seattle allowed us to go slow and let the conversation unfold. Enjoy! (The musical excerpts heard in the interview are from Six Artifacts, James Falcone's new improvised collaboration with Lisa Cay Miller and Bonnie Whiting, as well as the song “Who Put the Blood” by Wayfaring)–Dig DeeperVisit James Falzone at allosmusica.orgPurchase music from James Falzone and Allos Documents on Qobuz or Bandcamp, and listen on your streaming platform of choiceFollow James Falzone on Instagram, Facebook, and YouTubeSpotlight On: Improvisation in Music and Life with the James Falzone Division EnsembleBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon.• Check out Spotlight On's next live event at The Royal Room in Seattle on Saturday, June 22! More info here. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines on clarinetist, penny whistle player, composer, improviser, and educator James Falzone.James and I have been collaborating on an upcoming live event, Improvisation in Music and Life, taking place on June 22 at the Royal Room in Seattle. This will be a unique program of performance and conversation between me and the five-piece James Falzone Division Ensemble. We will explore the nature of improvisation in music and how its principles can be useful in all aspects of life, not just for musicians. Tickets are available at theroyalroomseattle.com. We recorded this talk in person in a very special space at Cornish College, where James is both a Dean and Professor of Music. It was a thrill to consider that I passed through rooms where John Cage and Merce Cunningham likely met or spent time. James and I spoke for nearly two hours. His instinct to record in person on a Saturday in Seattle allowed us to go slow and let the conversation unfold. Enjoy! (The musical excerpts heard in the interview are from Six Artifacts, James Falcone's new improvised collaboration with Lisa Cay Miller and Bonnie Whiting, as well as the song “Who Put the Blood” by Wayfaring)–Dig DeeperVisit James Falzone at allosmusica.orgPurchase music from James Falzone and Allos Documents on Qobuz or Bandcamp, and listen on your streaming platform of choiceFollow James Falzone on Instagram, Facebook, and YouTubeSpotlight On: Improvisation in Music and Life with the James Falzone Division EnsembleBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon.• Check out Spotlight On's next live event at The Royal Room in Seattle on Saturday, June 22! More info here. Hosted on Acast. See acast.com/privacy for more information.

Hudson guides us in the transformative power of the Enneagram and how it can foster self-awareness, empathy, and personal growth. From his decades of studying this significant framework he shares how it assists us in assessing a spectrum of possible personality types that, when applied to oneself, offers a unique pathway to living a more authentic and fulfilling life. Russ Hudson is a world-renowned teacher, author, and scholar who has dedicated over 30 years to studying and sharing the gifts of the Enneagram. He is the author of The Wisdom of the Enneagram: The Complete Guide to Psychological and Spiritual Growth For The And Nine Personality Types (coauthor with Don Richard Riso) (Bantam Books 1999) and The Enneagram: Nine Gateways to Presence (Sounds True 2021)Interview Date: 3/22/2024 Tags: Russ Hudson, Enneagram, personality types, self-awareness, empathy, personal growth, transformation, presence, Fourth Way, George Gurdjieff, Oscar Ichazo, Claudio Naranjo, Don Richard Riso, A. H. Almaas, Hameed Ali, David Byrne, Dolly Parton, Joni Mitchell, Prince, Philip Glass, John Cage, Merce Cunningham, David Bowie, self-discovery, mindfulness, integration, relationships, work, spirituality, ancient wisdom, symbolism, ego, essence, inner work, guidance, awakening, Personal Transformation, Psychology, Spirituality, Philosophy

In a novel departure from their “special relationship” to classical and experimental music, Alec and Nick take up the topic of Interpretive Dance as a discursive foil to their ongoing inquiries into music. The duo give bewildered accounts of the aesthetic experience of interpretive and experimental dance performances—and ask basic questions: are music and dance the same thing? Sibling rivals? Two towers? Or, why does interpretive dance often evoke laughter, humiliation, or come across as potentially overstated and ridiculous? How would would you choose to express yourself through dance? The conversation also recounts comfortable and joyous experiences of dancing and probes critical assumptions and entrenchments within the music/dance dichotomy. The conversation touches on John Cage and Merce Cunningham, The Club, musical theater, Yvonne Rainer, Simone Forti, ethnomusicological accounts of movement and music, improvised music, ballet and classical music, music and dance's extensions into visual culture, Kim Gordon's new album, and more.

Tristan Koepke (he/him) is a dancer, choreographer, and educator based in Portland, ME. He holds an MFA in Dance from the University of Maryland, College Park, and is currently Assistant Professor at Bates College and Associate Director of the Young Dancers Intensive at the Bates Dance Festival.Benny Olk (he/him) is a performing artist based in Minneapolis with an interest in contemporizing and contextualizing American modern and post-modern dance. As a member of Lucinda Childs Dance Company, he performed reconstructions of pieces such as Dance and Available Light. He performed in reconstructions of works by Merce Cunningham, and has premiered works by Moriah Evans and Anthea Hamilton. He is part of the Isolated Acts 2024 cohort at Red Eye Theater in Minneapolis. Benny holds a BFA in Dance from NYU and an MA in New Performative Practices from Stockholm University of the Arts.There's More Than One Bed is the second collaboration between Tristan Koepke and Benny Olk. Inspired by the creative and amorous relationship between Merce Cunningham and John Cage, Instagram thirst traps, speculative masculinities, and romance novel tropes, Koepke, Olk, and their collaborators interrogate what devotion and commitment to love, longing, and process can look like when you make room for more than two.

Phase 1. In which The Cramps' Brian Gregory, gets on the Banshees' tour bus outside the I-Beam in San Francisco and asks, “Was anyone in Liverpool not cool?”  A Dark devilish spirit with feet like Merce Cunningham. Phase 2. In which Billy McKensie spares Lol from Death in Venice. Billy in The Cure's penthouse for Faith singing songlines from another time, another place.   Phase 3. In which Ms Morrissey is Queen of backstage and you'll just have to wait.  Well excuse us for Breathing, say us Dudes in unison!  Phase 4. In which Leonard asks a bittersweet question. Are songs always what they seem? PJ Harvey said, most people think all her songs are auto biographical. Though she hasn't drowned any babies recently. Phase 5. In which Sandrine asks, what's that sound? Is it a Bird in a tree?  We've got a Harmoniser and we're going to use it! The Godlike beauty of a few notes. PS: Leather does not like Humidity! Phase 6. In which The Cure and The Banshees played soccer after Elephant Fayre – True or False? Tom and Anton took our smudges! Budgie had proud moments on the Slits Cut. Lol had proud moments on The Top, but his drumming on Pornography takes the biscuit.  Together we're most proud of our parts in our 3rd Act – with Jacknife Lee, on Los Angeles.  Phase 7. In which Henna asks, “Best LA memories?” The daily climb up Topanga. Freeways, Disney, Beaches, Cars. Yes, but there's always something new. No sleep, big snakes, and spectacular people. Phase 8. In which Cambria asks, ‘What's the biggest change?' It may be our notion of time. We never stopped. It was the only life we knew. Today life is in session, and it's FULL ON! Maybe, it was the restaurant menu. Maybe it was Denny's. Maybe it was the all-day Breakfast! Genesis to Revelations. Long drives and Heaven at 4am! The Cure shake their booty to The Village People – The Banshees play Paintball in Freemantle! Phase 9. In which we pay attention. To what we like. To our influences. To our origins not being geographical. To the Magnetism. To the Bits that shouldn't fit, that just Do! To Being Sound Carriers. In Life's Beautiful Tapestry ___ Respect: Damo (Kenji) Suzuki (ダモ鈴木), (16 January 1950 – 9 February 2024) ___ CONNECT WITH US: Curious Creatures: Website: https://curiouscreaturespodcast.com Facebook: @CuriousCreaturesOfficial Twitter: @curecreatures Instagram: @CuriousCreaturesOfficial Lol Tolhurst:  Website: https://loltolhurst.com Facebook: @officialloltolhurst  Twitter: @LolTolhurst  Instagram: @lol.tolhurst  Budgie:  Facebook: @budgieofficial  Twitter: @TuWhit2whoo Instagram: @budgie646 Lol Tolhurst x Budgie x Jacknife Lee: Facebook: @loltolhurstxbudgiexjacknifelee  Twitter: @LolBudgieJCKNF Instagram: @lolxbudgiexjacknifelee Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. Learn more about your ad choices. Visit megaphone.fm/adchoices

A recap of Real Housewives of Beverly Hills, recounting the details of the final dancer's leg of the group's trip to Spain where Merce Cunningham's name, and ashes, found their way into the biggest mouths in Beverly Hills. Highlights include an awkward flamenco dance, heartfelt commentary from Sutton, van ride tips from the ladies on different kinds of bears and not getting embroiled in a spouse's financial scams, with bonus footage of Dorit's continued advertisements for high fructose corn $yrup.

Clarinetist, composer, and improviser James Falzone is an acclaimed member of the international jazz and creative music scenes, a veteran contemporary music lecturer and clinician, and an award-winning composer. Falzone performs throughout North America and Europe, appears regularly on Downbeat magazine's Critics' and Readers' Polls, and was nominated as the 2011 Clarinetist of the Year by the Jazz Journalist Association. He is also a respected educator and scholar and has been on the faculty of The School of the Art Institute of Chicago, Deep Springs College, North Central College, and was a fellow at The Center for Black Music Research. At present Falzone is the Dean of Music at Cornish College of the Arts in Seattle, Washington. Stephen Anthony Rawson sits down with Falzone at Cornish's historic Kerry Hall, where John Cage first began to experiment with the prepared piano, and where Cage met his life partner, renowned dancer Merce Cunningham. They talk about Falzone's life in music, the “crooked line” he's walked as an artist, bringing to balance the Already and the Not Yet in music-making, Wayfaring's new album, Intermezzo, and a whole lot more. 

OMG it's See Also Al Fresco, our recent live show at Malthouse Outdoor Stage!Kate went to see The Breeders and they stole our gear, Brodie didn't fuck up her birthday for once, Merce Cunningham's ashes on RHOBH is Jinxy's Scandoval, Courtney Barnett and Stella Mozgawa join us to chat about their Desert Island TV shows, including Love Has Won, MILF Manor, Vanderpump Rules, and Real Housewives of Melbourne. The convo goes, as it always would, to a place of Cults.Also AlsosKateStone Yard Devotional by Charlotte WoodThe vegan pistachio gelato from Pidapipo BrodieYirinda S/T album, out on Chapter Music Monica by Daniel Clowes CourtneyLa Copine Sheryl Crowe and Stevie Nicks sing Strong Enough StellaMadison Avenue: Everything You Need/Who The Hell Are You at the 2000 ARIA AwardsThe Integratron Find us on Instagram @seealsopodcast Hosted on Acast. See acast.com/privacy for more information.

"Real Housewives of Salt Lake City" Season 3 reunion, tensions run high as the ladies engage in playful impressions of each other, but Mary is confronted for body-shaming comments. Mary defends herself, claiming comedic relief, and hints at leaving the show if not accepted for who she is. The reunion takes an unexpected turn when the spotlight shifts to Monica, accused of running a troll account to expose Jen Shah. Monica defends her actions, presenting a burn book filled with receipts. The discussion escalates into accusations of stalking and leaked videos, leading to a heated confrontation between Monica and Lisa. The ladies question Monica's motives, highlighting the damaging impact of her actions, and tensions rise as they struggle to find resolution.The reunion takes a darker turn when Heather opens up about waking up with a black eye after a night of heavy drinking with Jen Shah. The cast expresses concern over covering up the assault and withholding information from the production team. Heather apologizes for her actions, while the ladies offer support and empathy. The discussion shifts to Monica's past, with Heather expressing doubt about extending grace after Monica's behavior during the reunion. Andy acknowledges the challenges of dealing with social media scrutiny and ends the reunion on a mixed note of warm and fuzzy moments alongside cold and prickly exchanges.As the reunion concludes, each housewife reflects on their experiences during the season. Angie discusses Easter and rumors, Whitney expresses personal growth but disappointment in Monica, Lisa hints at dynamic changes, Meredith talks about off-camera conversations, and Heather discusses her book event and "Realty Von Tease." Monica reflects on the Bermuda trip. The reunion wraps up with a mix of dark and stormy moments, leaving the future relationships among the housewives uncertain.In Season 13, Episode 13 of "The Real Housewives of Beverly Hills," the ladies are preparing for their trip to Barcelona. Garcelle discusses the importance of bringing glam, while Dorit has a FaceTime call with her husband PK, and Crystal packs with her house manager. Sutton contemplates not bringing her son Avi, jokingly mentioning bringing the famous dance choreographer Merce Cunningham's ashes instead. The women draw to determine their hotel rooms and play a game led by Sutton, with Erika emerging as the winner.Upon reaching their destination, a 14th-century chateau rustic house, Erika claims the ability to sense spirits, suggesting that the house may be haunted. Dorit and Garcelle bring their assistant and glam squad, respectively, while Sutton introduces the ladies to the concept of modern dance through her connection with Merce Cunningham. At dinner, tensions arise as Annemarie confronts Sutton about their previous issues, and Crystal addresses a comment Sutton made about the women being perceived as shallow and uneducated. The episode ends with the group heading to church, where the winding roads and lack of side rails lead to a health scare for Crystal.Throughout the episode, Erika shares news about a court decision related to her earrings, expecting a stronger reaction from the ladies. The dynamics within the group become increasingly strained as the tension between Sutton and Crystal escalates, leaving the women divided on their beliefs and alliances.

Aujourd'hui, je reçois Ashley Chen, danseur interprète aux mille vies et chorégraphe de la compagnie Kashyl. Il a choisi la danse contemporaine. Et c'est à la « source », aux États-Unis et en Europe, auprès des chorégraphes comme Merce Cunningham, Philippe Decouflé, Jonn Scott ou Boris Charmatz qu'il a affirmé son approche du geste. Lauréat de la Villa Albertine - une structure française de résidences et de coopérations artistiques aux USA - il est actuellement à New York pour présenter Unisson, Rush et Distances. En 2024, il dansera dans Nelken de Pina Bausch du Tanztheater. Ce week-end, il est au programme de Chaillot Experience #3 avec un extrait de son film Outside Flow réalisé par Peter Steven. On l'écoute avec joie

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.

This podcast discusses the work of Merce Cunningham, and how his piece "Winter Branch" was interpreted by audiences, and the overall meaning behind it.  Also, this podcast discusses the overall impact Cunnigham had on society then and now. 

The play by Merce Cunningham called “WinterBranch” is very abstract and the fact that therewere no real statements made by the author addsto that ambiguity. The host, Arseniy, along withmy valuable researchers fellow students Diegoand Fabiana uncover this piece to see what we,regular students, think about it.

In this episode, Kyle and Corina will discuss Merce Cunningham, a unique dancer who revolutionized contemporary dance, and his piece, Winter branch. They will see whether its theme is based on human catastrophes as the audience views it, the idea of bodies falling as portrayed in the piece, or nothing at all, as well as whether Cunningham's intentions are relevant to a person's understanding of his piece.

Guest: Hannah SeidenMovement Artist & Pelvic Pain AdvocateIn Episode 7, we talk with Hannah about topics ranging from wild freelance dance experiences, to the confusion and frustration of chronic pain, to dancing from your perineum, to the difference between dancer and movement artist, to wanting our goddamn headshot back after an audition. ***We do need to include this Activation Warning*** In this episode we discuss themes surrounding:Medical traumaSexual traumaIntimate partner violence / abuseChronic painNon consensual situationsAddiction / relapse themesSex / intimacy themesGraphic anatomical mentionsPlease take care of your body as some of the topics we cover in this episode have the potential to bring up emotions, memories and tender subjects that may require some aftercare. We understand far too many bodies have experiences where they were not safe and we want to ensure your nervous system has a heads up before you head into this episode.***Hannah (she / her) from Boulder, CO, is a freelance dance artist based in New York City. She graduated with honors from NYU Tisch School of the Arts with a B.F.A. in Dance. She has performed both nationally and internationally in works by Alexis Blake, MICHIYAYA Dance, Sidra Bell, Itzik Galili, Kate Harpootlian, Stacey Tookey, Ohad Naharin, Shannon Gillen, Larry Keigwin, Merce Cunningham, Sonya Tayeh and many others.  Along with live performance, she has danced and choreographed in music videos, films, and ads for numerous artists and companies including THINX and MAC Cosmetics. Most recently, she finished filming Mean Girls, the Musical. She has shown her choreography in Connecticut, Colorado, California, and NYC. Hannah choreographs and teaches various styles of dance and Pilates to people of all ages around the world.Just a quick note, Hannah's audio was a bit distorted despite multiple attempts at troubleshooting both during the recording and in post. The content was too important to not share and way too magical to re-record. So if you notice her audio, it sounds a bit like a phone call and is a bit louder in comparison to Eileen and Amy's tracks. We appreciate your understanding.Follow & Learn More:IG: @hbseiden & @thehotgirlwithpelvicpainMean Girls the Musical Movie (official trailer)https://youtu.be/fFtdbEgnUOk?si=W1cSZPA_ty5t7lmEAdditional Resources:RAINN - Rape, Abuse & Support the Show.M.O.V.E. with Eileen + Amy is a Kaia Evolutions Podcast.New episodes air on Wednesdays when in season.To learn more about Eileen + Amy, be sure to follow them on instagram at @ekielty + @amyreah and keep up to date on the podcast at @movewitheileenandamy. For more information about Kaia Evolutions, a culmination of Eileen's life's work and a love letter to her sister, Katie, who died by suicide in 2019 - visit https://www.kaiaevolutions.com/ or follow on instagram at @kaia.evolutions If you want to share part of your dancer / movement artist journey with us, email us at movepod@kaiaevolutions.comThank you for moving with us.-Eileen + Amy*If you or anyone you know is in need of support, please call the National Suicide Prevention Lifeline at 800.273.8255 OR text 988. You are not alone.

A towering figure in postmodern dance, Lucinda Childs has injected an elegant spirit of collaboration, artistry, and whimsy to the artform. On this episode, Dan speaks with the legendary choreographer on her days learning from the likes of Tanaquil Le Clercq and Merce Cunningham, creating her groundbreaking performances with Philip Glass and Sol LeWitt, and the time a severe injury almost ended her incredible career. Hosted on Acast. See acast.com/privacy for more information.

On today's episode of 'Conversations On Dance' we are joined by star ballerina and resident choreographer of the Paul Taylor Dance Company, Lauren Lovette. We talk to Lauren about the leap of faith she took in leaving New York City Ballet to freelance, how her choreographic voice has developed since being offered her role as resident choreographer and what to expect from her dual world premieres this fall season. Tickets for Paul Taylor's fall season at the David H Koch theater this Oct 31st through Nov 12th can be purchased at paultaylordance.org. THIS EPISODE'S SPONSOR:New York Theatre Ballet celebrates its 45-year legacy with a Fall program of World and Company Premieres by Artistic Director Steven Melendez, Douglas Dunn, David Gordon, and Amanda Treiber, Friday, October 6 and Saturday, October 7 at Florence Gould Hall in New York City. New York Theatre Ballet performs small classic masterpieces and new contemporary works for adults and innovative hour-long ballets for young children, all at affordable prices. This season's “Once Upon a Ballet” series features The Firebird and Merce Cunningham's Scramble for four family-friendly shows, Saturday, October 7 and Sunday, October 8. For tickets and information, please visit NYTB.org/tickets.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-CODEmail us: info@conversationsondancepod.com Hosted on Acast. See acast.com/privacy for more information.

Today on 'Conversations On Dance' we are joined by Linda-Denise Fisher-Harrell, Artistic Director of Hubbard Street Dance Chicago. We talk to Linda-Denise about her late start and quick catch up in dance, her years touring with Alvin Ailey and her plans to continue to bring Hubbard Street to all Chicago audiences through innovative programming. To purchase tickets to Hubbard Street's 2023-24 performances, visit hubbardstreetdance.com.THIS EPISODE'S SPONSOR:New York Theatre Ballet celebrates its 45-year legacy with a Fall program of World and Company Premieres by Artistic Director Steven Melendez, Douglas Dunn, David Gordon, and Amanda Treiber, Friday, October 6 and Saturday, October 7 at Florence Gould Hall in New York City. New York Theatre Ballet performs small classic masterpieces and new contemporary works for adults and innovative hour-long ballets for young children, all at affordable prices. This season's “Once Upon a Ballet” series features The Firebird and Merce Cunningham's Scramble for four family-friendly shows, Saturday, October 7 and Sunday, October 8. For tickets and information, please visit NYTB.org/tickets.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-CODEmail us: info@conversationsondancepod.com Hosted on Acast. See acast.com/privacy for more information.

Jennifer Edwards hosts this episode honoring the life and legacy of teacher and choreographic mentor, Bessie Schönberg. Included are excerpts of D.A. Pennebaker's documentary film entitled, "Bessie: A Portrait of Bessie Schönberg," with remembrances from Merce Cunningham, Jerome Robbins, Meredith Monk and from Schönberg herself.Schönberg speaking about how to watch dance: https://www.youtube.com/watch?v=DaAI6uyUn0Y

In this episode, we explored the significance of Merce Cunningham's "Winter Branch," a groundbreaking dance piece from 1964. We discussed Cunningham's avant-garde approach, his integration of technology with dance, and how he challenged traditional notions of the art form. We highlighted the absence of a narrative or central theme in "Winter Branch," focusing instead on the pure essence of movement and the dancers' physicality. We delve into Cunningham's unique process, influenced by chance and spontaneity, and his collaboration with composer La Monte Young, who created electronic music to complement the dynamic movements. The physicality of the dancers, characterized by sharp gestures, sudden shifts, and spatial awareness, is also examined. The podcast emphasized the profound impact of "Winter Branch" on dance, inspiring generations of choreographers to experiment and redefine the boundaries of the art form and discuss its enduring legacy in challenging norms and fostering creativity. Song: https://stock.adobe.com/search/audio?k=615407109

n today's episode, we are talking about Merce Cunningham's life and how his work of art challenges the audience to appreciate art in an unexpected way, highlighting his most influential dance: Winterbranch. It would challenge you to understand his point of view. So I recommend you guys open your mind to understand his crazy ideas! Dont forget to tune in.

It was through Merce Cunningham's passion and creativity that modern dance evolved into was it is today. Today we will explore Cunningham's unique style of choreography, use of innovative technology, and his alluring but perplexing masterpiece Winterbranch.

This podcast is a discussion about Merce Cunningham's choreography of the performance Winterbranch. In this podcast we discuss the major themes of the dance like the abrupt and falling movements and lighting and sound and how that ties into the interpretation of the dance. This podcast is for viewers who are interested in discussing how the major themes ties into the artist and audience interpretation of the performance relating to the timeline.Music- New Digital World By Remember The Future

Art experts & connoisseurs Paul Harrington, Trina Tabassum, and Isabela Tohill share their unique insights on Merce Cunningham's Winter Branch and draw some relevant parallels between their current studies and a piece choreographed over fifty years ago.Music Credit - https://stock.adobe.com/search/audio?k=573063755

Winterbranch" is a groundbreaking dance piece by Merce Cunningham, a highly influential choreographer. It premiered in 1964 and is known for its innovative and avant-garde style, pushing the limits of traditional dance and challenging conventional choreography. Merce Cunningham introduced this piece with heavy ideas, creating an innovative side to performance arts. 

Join Cristal, Selena, and Jalene in exploring the case study of Merce Cunningham. We will talk about who he was and where he got his inspiration to create Winterbranch. We explored how his work impacted the audience and his legacy continues to inspire around the world. Music Used: [Non-Copyrighted Music] Chill Jazzy Lofi Hip Hop (Royalty Free) Jazz Hop Music by Chill-Copyright Free Music  

Join us as we discuss Merce Cunningham's "Winterbranch" and go a bit into depth about the interpretations and meanings that were conveyed through this choreography. We will also give a bit of background as to who Cunningham was and what his intentions were when he choreographed this piece. 

In this episode, we go through the winter branch, a choreography by Merce Cunningham. We talk here about the different meanings and interpretations that the artist left for the audience. We also talk about the different ways other people have found meaning in the winter branch.

This podcast episode dives into a deeper understanding of who Merce Cunningham was and his background. We also dove and focused specifically on his piece "Winter Branch" and deciphered his intentions and interpretations of the audience as well.

For the past sixty years, composer and interdisciplinary artist Meredith Monk has been expanding the possibilities of the human voice. A pioneer of extended vocal technique and interdisciplinary performance, she has created collaborative performance pieces that stretch the limits of music, inspiring figures from Björk to Merce Cunningham. Her most recent work, "Indra's Net," draws from her decades of Buddhist practice and explores themes of impermanence and interdependence against the backdrop of our ecological crisis. In this episode of Life As It Is, Tricycle's editor-in-chief, James Shaheen, and co-host Sharon Salzberg sit down with Monk to discuss the relationship between her art and her meditation practice, the importance of listening fearlessly, and why she believes art is a bodhisattva activity.

Neither of today's guests is a stranger to Hollywood. On this special episode, we first talk sustainable fashion, dance and Real Housewives of Beverly Hills with one of the Housewives, Sutton Stracke. Then, we travel to another movie Mecca, Cannes, to check in with Time magazine film critic Stephanie Zacharek on this year's film festival. Sutton Stracke is more than just a regular housewife. Sutton is the founder of The Sutton Concept, a boutique in West Hollywood, where she sells her own lines of eco-responsible fashion and homewares, as well as the products of local designers; she is also one of 200 women in the world who is a regular couture client. Before becoming a star on The Real Housewives of Beverly Hills, Sutton was a studio manager for Merce Cunningham – one of the most influential choreographers of the 20th century – in his studio in West Village, New York, and before that, she was a debutante in Augusta, Georgia, with dreams of becoming a modern dance choreographer. Next for Sutton is a new season of Real Housewives – and maybe a RomCom?After Sutton Stracke, we hear which movies and performances Stephanie Zacharek loved at the Cannes Film Festival which just wrapped up. Stay tuned for tales of flirting Chinese garment workers, French haute cuisine, and a public toilet cleaner in Tokyo. Read the transcript of this episodeGet to know Dana Thomas and her book FashionopolisVisit The Sutton Concept onlineRead Stephanie Zacharek's latest articles for Time magazineDiscover the fashion brand Another TomorrowExplore the new Green Dream website, thegreendream.studio

In “Nam June Paik: Moon is the Oldest TV” director Amanda Kim tells the story of the visual art pioneer.  Kim traces Arnold Schoenberg and John Cage influence not only Paik's musical art, but his visual work as well.  She shows how the poor reception by German critics to his early experiments with televisions drove him to NYC, where he found himself working with some of the luminaries of downtown Manhattan's best of the 1960s:  not only Cage, but Merce Cunningham and Allen Ginsberg among many others..  And she traces his ultimate success both in the art world and beyond, notably on public television.  The Paik who emerges seeks to show how the media that seemed bound to lead to corporate control and division could ultimately bring the world's inhabitants together.   “Nam June Paik: Moon is the Oldest TV” is distributed by Greenwich Entertainment and will open at the Film Forum in New York on March 24th.   Hidden Gem:  Town Bloody Hall   Follow: @topdocspod on Instagram and twitter   The Presenting Sponsor of “Top Docs” is Netflix.

Broadway's LaQuet Sharnell Pringle (they/them/she/her) is an absolute powerhouse. Here's some of the incredible topics we cover: Making friends in our 30s Preparing for relationships to close after the closing of a show. Craving ensemble and family. What is the purpose of a multi-hyphenate? Why LaQuet started her new clothing brand Geared Up. Who wants to listen and not listen. Existing is trailblazing. How swinging made LaQuet a better business owner. LaQuet Sharnell Pringle (They/Them/She/Her) began their dance training at 14 in Dallas, Texas. To make up for lost time, they attended the acclaimed Booker T. Washington HSPVA. They also received additional training at The Dallas Powerhouse of Dance under the direction of Kim McSwain. While in HS, they won numerous awards from NYCDA (National Outstanding Dancer Finalist), Co.Dance (National Teaching Assistant), Jacob's Pillow (Scholarship Recipient), Broadway Theatre Project (Scholarship Recipient and Showcase Soloist), NYU Summer Intensive (Scholarship recipient) and the National Foundation for the Advancement of the Arts (Honorable Mention Modern Dance, Merit Award Jazz Dance). Upon graduating from Booker T, they trained at the University of NC School of the Arts as Contemporary Dance major. There they studied José Limón, Merce Cunningham, and Alwin Nikolais dance techniques and Improvisation. They are a proud graduate of the William Esper Studios. At William Esper Studios, they trained with Master Meisner Acting teacher William Esper.  Professionally, they've been seen on Broadway/National Tour: Mrs. Doubtfire The Musical (U/S Wanda Sellner), Beautiful The Carole King Musical, Lysistrata Jones (Myhrinne), Memphis The Musical (Ethel), The Lion King, Sweet Charity (Helene U/S perf), Off-Broadway: Make Mine Manhattan, Ave Q (Gary Coleman U/S), Regional: Candide (NYC Opera), The Wiz (Dorothy), Aint Misbehavin' (Charlaine), Princess-A New Musical, Chicago (Cell Block Tango Girl), Footloose (Wendy Jo, U/S Rusty), AIDA, Nights on Broadway III (Vocal Swing), Shrek- The Musical (NY Workshop), Jawbreaker The Musical (Featured), Caty Bridgewater A Musical (Caty Bridgewater), Television/ Film: The Daily Show (Christmas Town News Anchor), Girls on the Bus (Rashida Moore) Unbreakable Kimmy Schmidt (Lion King Dancer), As the World Turns (Hair Stylist), Step Up 3D (Tango Dancer), Devoted (Short Film), Sylvia Plath Project (Short Film).  LaQuet created Geared Up By Fearless Young Artists with a fiery passion for inspiring artists to take a step, through clothes and accessories, into taking ownership of their bodies and artistic process while maintaining one's personal boundaries in a creative/professional environment. IG: @gearedup_by_fya TikTok: @gearedupbyfya Website: gearedupbyfearlessyoungartists.com Learn more about your ad choices. Visit megaphone.fm/adchoices

I knew that there was a power I had when I stripped off my shirt and looked you in the eye as I moved my hips. But I also knew the other side of that attraction to me was the impulse to kill me. Legendary dancer and choreographer Bill T. Jones has made a career of engaging his audience with brutal, unapologetic honesty. His seductive work has grappled with provocative political issues ranging from sexuality, race, and censorship to power and the AIDS epidemic — while also innovating in the expressive possibilities of movement itself.  In this episode, Jones talks about what it meant to grow up as a “Black Yankee” in the 1950s and 1960s and as one of 12 children. He also reflects on the adjacency of violence to the power of seduction, and how, after decades as a performing artist, the body may retire but the mind never will.  References: Alvin Ailey Percival Borde Pearl Primus Sammy Davis Jr. Bojangles Shirley Temple Sydney Poitier Charles Weideman Doris Humphrey Arnie Zane Lois Welk Rod Rogers Louise Roberts Arthur Aviles Marcel Proust Merce Cunningham George Balanchine Hannah Arendt Max Roach Freda Rosen

Time magazine called her "the Dancer of the Century." Her technique, used by dance companies throughout the world, became the first long-lasting alternative to the idiom of classical ballet. Her pioneering movements--powerful, dynamic, jagged, edgy, forthright--combined with her distinctive system of training, were the epitome of American modernism, performance as art. Her work continued to astonish and inspire for more than sixty years as she choreographed more than 180 works. At the heart of Graham's work: movement that could express inner feeling. In Martha Graham: When Dance Became Modern (Knopf, 2022), Neil Baldwin, author of admired biographies of Man Ray and Thomas Edison, gives us the artist and performer, the dance monument who led a cult of dance worshippers as well as the woman herself in all of her complexity. Here is Graham, from her nineteenth-century (born in 1894) Allegheny, Pennsylvania, childhood, to becoming the star of the Denishawn exotic ballets, and in 1926, at age thirty-two, founding her own company (now the longest-running dance company in America). Baldwin writes of how the company flourished during the artistic explosion of New York City's midcentury cultural scene; of Erick Hawkins, in 1936, fresh from Balanchine's School of American Ballet, a handsome Midwesterner fourteen years her junior, becoming Graham's muse, lover, and eventual spouse. Graham, inspiring the next generation of dancers, choreographers, and teachers, among them: Merce Cunningham and Paul Taylor. Baldwin tells the story of this large, fiercely lived life, a life beset by conflict, competition, and loneliness--filled with fire and inspiration, drive, passion, dedication, and sacrifice in work and in dance creation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Reid is all taped together in preparation for Merce Cunningham's "Doubletoss" and he wanders around the studio at lunch to find out how nervous people are for the showing. We hope you're going to join us at the Mark Morris Dance Center. The showings are at 1 & 3 pm. rsvp@mercecunningham.org.

This week Jeremy and Reid are physically in the same space, sweating after eating huge bowls of shrimp scampi. Topics include The charm of the Merce Cunningham scene, and Instructional cooking TV. ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ WEBSITE ◦ YOUTUBE ◦ INSTAGRAM ➩ SUPPORT W/$.99 ◦ PATREON ◦ THE MERCH ➩ REID ◦ JEREMY ◦ JACK ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ withdanceandstuff@gmail.com ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠

Jeremy and Reid can't be bothered to schedule a meeting so they reflect on the mundane by writing letters back and forth with their voices. Black caps, unleashed dogs, Merce Cunningham, and cloying cake are a few of the many topics that come in the auto-reflections. ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ WEBSITE ◦ YOUTUBE ◦ INSTAGRAM ➩ SUPPORT W/$.99 ◦ PATREON ◦ THE MERCH ➩ REID ◦ JEREMY ◦ JACK ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ withdanceandstuff@gmail.com ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠