Podcasts about Next Wave Festival

“My hope is not to divide, but to bring people together. Because only when we know about the history, then we can see our present and can learn [from] mistakes and to do better.” So says composer and conductor Huang Ruo on his vision for Angel Island. This bonus is Charlton's full conversation with Huang Ruo recorded in a friend's apartment in New York, during the 2024 Next Wave Festival, co-presented by Brooklyn Academy of Music and Prototype Festival. Follow the evolution of our collaboration from the first time we met, through the dark times of the COVID pandemic, all the way to New York.  Learn more about Huang Ruo's work at HuangRuo.com, including the world premiere of his new opera, The Monkey King, written with David Henry Hwang at San Francisco Opera in November 2025.  Also Mentioned in this Bonus A Dust In Time, written by Huang Ruo & performed by Del Sol Quartet Connect with Del Sol Quartet DelSolQuartet.com Del Sol Quartet on Spotify Facebook Instagram YouTube This episode is a bonus from the "Angel Island" season of Sounds Current. If you haven't already, we encourage you to go back to "Part 1: A Haunting History" and listen to the full 4-part story. Sounds Current is produced and edited by The Creative Impostor Studios and hosted by Charlton Lee.    

The word “departure” generally refers to the physical act of leaving a place. However, departure also indicates a deviation from one's traditional course of action or way of thinking.  As we close out this season of Sounds Current, Charlton and esteemed collaborators reflect on their experiences related to the development and subsequent productions of Angel Island. How have the music, the conversations, and their experiences on Angel Island shaped their understanding of the current immigration debate in the US and beyond? How has being a part of the project affected their personal narratives and understanding of family history? And what does the future hold for this project as a whole?  And how is the audience receiving the piece? For the first time in this series, we hear immediate reactions.. Part 4 Features: Matthew Ozawa, Stage Director, New York premiere of Angel Island Andi Wong, Teaching Artist and Arts Advocate Genny Lim, Poet, Playwright, Performer, and Pioneer Casey Dexter-Lee, State Park Interpreter II for Angel Island Susan Moffat, Principal, Future Histories Studio Huang Ruo, Composer, Angel Island Ben Kreith, Del Sol Quartet violinist Kathryn Bates, Del Sol Quartet cellist Hyeyung Sol Yoon, Del Sol Quartet violinist Sidney Chen, Singer, Volti San Francisco Ed Tepporn, Executive Director, Angel Island Immigration Station Foundation And numerous audience members from the Next Wave Festival, co-presented by Brooklyn Academy of Music and Prototype Festival, Produced by Beth Morrison Projects in association with Brooklyn Academy of Music.   Featured Music Provided By: Meilina Tsui Byron Au Yong Theresa Wong Timo Chen Taylor Ho Bynum Erika Oba Juri Seo   Order Huang Ruo's A Dust in Time here, listen in Spotify or your favorite music streaming service. The Angel Island Immigration Station Foundation invites you to Immigrant Voices, a growing archive of personal stories of Pacific Coast immigrants. Explore here.   LEARN MORE: https://www.delsolquartet.com/podcast Del Sol Quartet on Spotify Facebook Instagram YouTube   CREDITS: Hosted by Charlton Lee Produced by Andrea Klunder, The Creative Impostor Studios, Charlton Lee, Kathryn Bates, Hyeyung Sol Yoon, Ben Kreith Story Editor: Andrea Klunder Sound Design: Andrea Klunder Technical Director & Post Production Audio: Edwin R. Ruiz Field Producer & Recording Engineer: Kathryn Bates Field Producer: Verena Lee Podcast Manager: Alex Riegler Show Notes: Lisa Widder Cover Art: Felicia Lee Theme Music: Charlton Lee Executive Producers: Andrea Fellows Fineberg, Don Fineberg Featured music from The Angel Island Oratorio composed by Huang Ruo. Performed by Del Sol Quartet & United States Air Force Band's Singing Sergeants / National Museum of Asian Art, Smithsonian Institution, recording and edited by Suraya Mohamed.  

My friend and I enjoy coming up with more accurate names for performing arts festivals here in NYC. You like the Next Wave Festival at BAM? Me too! We call it the Previous Wave, though, because almost everything in it hit its stride 30 to 40 years ago. Which is not to say it's not good! Pina Bausch's company still performs her work with integrity and style. But Pina Bausch died 14 years ago and the last time she was a new up and coming artist was around about 40 or 50 years ago.   Now everyone's talking about the Under the Radar Festival recently, due to its being canceled, either permanently or temporarily. My friend and I used to call it the Directly in Line with the Radar Festival due to its shows mostly being works and companies already receiving a fair amount of attention, often European. That is, directly in line with the radar if you happen to have a radar that detects weirdo performing arts. Most of NYC's Indie Arts scene could be standing directly in front of the Public Theater (home of Under the Radar or UTR) waving our arms and shouting, “Hey Radar! Run that radar this way, would you?”  But somehow almost everyone I know was under Under the Radar's radar. To keep reading Joining the Under the Radar Mourners, visit the Songs for the Struggling Artist blog. This is Episode 361 Song: Under the Radar Image: Portrait of me by Christopher Cartmill To support this podcast: Give it 5 stars in Apple Podcasts. Write a nice review! Rate it wherever you listen or via: https://ratethispodcast.com/strugglingartist Join my mailing list: www.emilyrainbowdavis.com/ Like the blog/show on Facebook: https://www.facebook.com/SongsfortheStrugglingArtist/ Support me on Patreon: www.patreon.com/emilyrdavis Or help me pay off my tickets to and from Crete on Kofi: http://ko-fi.com/emilyrainbowdavis or PayPal me: https://www.paypal.me/strugglingartist Join my Substack: https://emilyrainbowdavis.substack.com/ Follow me on Twitter @erainbowd Me on Mastodon - @erainbowd@podvibes.co Me on Hive - @erainbowd Instagram and Pinterest Tell a friend! Listen to The Dragoning here (it's my audio drama) and support via Ko-fi here: https://ko-fi.com/messengertheatrecompany As ever, I am yours, Emily Rainbow Davis

“I was thinking about meditation as being a way of creating calm and openness so that more constructive conversation can happen,” says Katie West in the second episode of Notions of Care.In our latest podcast, West talks about dyeing textiles, creating spaces of meditation, and facing experiences of racism—all in a conversation centred on care and creating, linking with the NETS Victoria touring exhibition, Notions of Care at Ararat Gallery TAMA.The show features five artists and groups to consider care in art making, through materials, how we relate to one another, and as an approach to the world.West is a Yindjibarndi Western Australian artist, based in Noongar Ballardong country in Western Australia. She exhibits incredibly moving installations, which often feature dyed textiles and native plants which are sewn and woven.In 2016 as part of Next Wave Festival she exhibited the work Decolonist, which looks at how meditation can be a way to decolonise the self. And she later extended on this for a stunning installation at TarraWarra Museum of Art, giving audiences a space to meditate and contemplate.Now, her work in Notions of Care could be described as a tea installation, and she talks through this work and how it came about. We also talk about what the concept of care means to her, how she came to meditating and bringing this into the gallery space, and the process of walking, gathering, and dyeing the materials for her textiles.West also talks about the experiences of racism she has faced, and her words of encouragement to other people who have had similar experiences.You can listen back to the first episode of Notions of Care with Kate Tucker.Notions Of CareArarat Gallery TAMAUntil 26 February 2023A kind thank you to our sponsors for this series. The show Notions of Care is a Bus Projects exhibition touring with NETS Victoria, which is curated by Kathryne Genevieve Honey and Nina Mulhall. This project is supported by the Victorian Government through Creative Victoria and received assistance from NETS Victoria's Exhibition Development Fund 2020, supported by the Victorian Government through Creative Victoria.You can subscribe to the Art Guide podcast on Apple Podcasts and Spotify, and don't forget to rate the show as it helps people find us.Produced and presented by Tiarney Miekus, engineering by Patrick Telfer, and music by Mino Peric.

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. During the course, visiting artists to the MFA Theatre Program's Grad Lab are interviewed after leading a workshop with the students. Grad Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance experiments. Kaneza Schaal is a New York City based artist working in theater, opera, and film. Schaal was named a 2021 Guggenheim Fellow, and received a 2019 United States Artists Fellowship, SOROS Art Migration and Public Space Fellowship, Joyce Award, 2018 Ford Foundation Art For Justice Bearing Witness Award, 2017 MAP Fund Award, 2016 Creative Capital Award, and was an Aetna New Voices Fellow at Hartford Stage. Her project GO FORTH, premiered at Performance Space 122 and then showed at the Genocide Memorial Amphitheater in Kigali, Rwanda; Contemporary Arts Center New Orleans; Cairo International Contemporary Theater Festival in Egypt; and at her alma mater Wesleyan University, CT. Her work JACK & showed in BAM's 2018 Next Wave Festival, Museum of Contemporary Art Chicago, and with its co-commissioners Walker Arts Center, REDCAT, On The Boards, Cincinnati Contemporary Arts Center, and Portland Institute for Contemporary Art. Schaal's piece CARTOGRAPHY premiered at The Kennedy Center and toured to The New Victory Theater, Abu Dhabi Arts Center and Playhouse Square, OH. Her dance work, MAZE, created with FLEXN NYC, premiered at The Shed. Most recently, she directed Triptych composed by Bryce Dessner with libretto by Korde Arrington Tuttle, which premiered at LA Philharmonic, The Power Center in Ann Arbor, MI, BAM Opera House and Holland Festival. Her newest original work KLII, was co-commissioned as part of the Eureka Commissions program by the Onassis Foundation and is a National Performance Network (NPN) Creation & Development Fund Project co-commissioned by Walker Art Center in partnership with Contemporary Arts Center, Cincinnati, and REDCAT. Schaal will develop and direct a number of upcoming works including SPLIT TOOTH with Tanya Tagaq (Luminato Festival, Canada), HUSH ARBOR (The Opera) with Imani Uzuri (The Momentary, AZ) and BLUE at Michigan Opera Theater. Schaal's work has also been supported by New England Foundation for The Arts, Baryshnikov Arts Center, Lower Manhattan Cultural Council, Nathan Cummings Foundation, Foundation for Contemporary Arts, FACE Foundation Contemporary Theater grant, Theater Communications Group, and a Princess Grace George C. Wolfe Award. Her work with The Wooster Group, Elevator Repair Service, Richard Maxwell/New York City Players, Claude Wampler, Jim Findlay, and Dean Moss has brought her to venues including Centre Pompidou, Royal Lyceum Theater Edinburgh, The Whitney Museum, and MoMA.

Serving as the Walker's Senior Curator of Performing Arts since 1997, Philip Bither spearheads one of the country's leading contemporary performing arts programs. He oversaw the 2005 building of the McGuire Theater, an acclaimed theatrical space and production laboratory; raised the Walker's first dedicated performing arts endowment; commissioned of more than 180 new works; and hosts the annual residency and presentation support of dozens of contemporary performing arts creators. Prior to this, he was Artistic Director for the Flynn Center in Burlington, VT and served as Associate Director/Music Curator for BAM's Next Wave Festival. In 2011, he co-founded the Institute for Curatorial Practice in Performance (ICPP) graduate program at Wesleyan University. He regularly sits on foundation and governmental arts panels, writes about interdisciplinary curatorial practice and travels globally to research new performance and to speak about trends in the contemporary performing arts.

Join Athena Thebus, finalist in the churchie emerging art prize 2020, in conversation with exhibition curator Talia Smith, exploring the themes and ideas embedded within her practice. Athena Thebus uses sculpture, drawing, and writing to explore notions of desire. She has presented solo and collaborative work at Next Wave Festival, Performance Space’s Liveworks Festival, Campbelltown Arts Centre, ACE Open, Perth Institute of Contemporary Art, and Verge Gallery, among others. She guest edited the Runway Journal’s 39th issue (2019) and is a co-director at Firstdraft, Sydney. https://ima.org.au/exhibitions/the-churchie-emerging-art-prize-2020/

Patrick Scully is a Minneapolis based choreographer/dancer and performance artist. He began dancing in 1972 as a college freshman. In 1976 he co-founded Contactworks, a Minneapolis based dance collective focused on contact improvisation. In 1980 he left Contactworks in search of a way to bring his voice as a gay man into the work he was creating. This eventually led him to Remy Charlip’s Naropa East workshop in 1984, Meetings with Remarkable Women. That led him to dance with Remy, beginning with Remy’s Ten Men show in BAM’s Next Wave Festival in 1984. In his heart, and daily life, Patrick is still dancing with Remy. Patrick’s most current project is Leaves of Grass – Illuminated, about Walt Whitman. In addition to his performing work, Patrick is the founder and long time director of Patrick’s Cabaret, in Minneapolis.

Erin Thompson's performance career began as a member of the Minnesota Dance Theatre in 1970. She was with that company for ten years, performing in such venues as Northrop Auditorium, O'Shaughnessy Auditorium and the The State Theater in the Twin Cities, Jacob's Pillow Dance Festival in Massachusetts and in Spoleto, Italy. She danced for a year in Montreal with jazz choreographer Peter Georges, formerly of Les Ballets Jazz, before moving in 1981 to New York City.Ms. Thompson's ten years in NYC were spent in the post-modern companies of Nina Wiener, formerly with Twyla Tharp Dance, and world renowned African American choreographer Bebe Miller. She danced on many stages in NYC including Dance Theater Workshop and the Brooklyn Academy of Music, where she performed with Nina Wiener and Dancers in the prestigious Next Wave Festival. She toured extensively throughout the U.S. and Europe, performing in Seattle, San Francisco, Boston, Chicago, Pittsburgh, Cincinnati, London, Paris, Munich, Amsterdam, Groningen, Glasgow, Heraclion and many other cities and regions.Since moving back to Minneapolis in 1990, Ms. Thompson performed for two years with the Zenon Dance Company, including works by Danny Buraczeski, Bebe Miller, Doug Varone, Joe Goode, and David Dorfman. In 1993 she and her husband Byron Richard launched their own dance company, 45 Chartreuse, performing at the Walker Arts Center, Studio 6A and Old Arizona Studios in Minneapolis and on tour in Minnesota. She has had several pieces choreographed specifically for her, including work by Jan Erkert, Shapiro and Smith, Mathew Janzceski, Cathy Young and Judith Howard with performances at the Southern Theater and Bedlam Theater in Minneapolis.In her position as Rehearsal Director for Nina Wiener and Dancers, Ms. Thompson led residency projects and taught repertory at the London Contemporary Dance Theater, the National Ballet of the Netherlands, the Boston Ballet, and in Anchorage, Los Angeles, Cincinnati, and Groningen, Holland. She has also reset Bebe Miller's work on Zenon Dance Company in Minneapolis.As a dance educator, Ms.Thompson taught ballet, pointe work and contemporary dance technique at the Minnesota Dance Theatre from 1975-1980. Her modern dance teaching over the last 3 decades includes teaching at P.S.122 in NYC, Studio Dance Tanz in Osaka, Japan, and classes at dance companies and Universities around the world while on tour. Here in Minneapolis she has taught for twenty years at the University of Minnesota Department of Theatre Arts and Dance and at Zenon Dance Company and School, as well as many guest teaching stints around Minnesota and the midwest. In 2008 Erin was invited to teach and perform at the Art of Movement Festival in Yaroslavl, Russia. Her advanced professional level modern dance classes at Zenon Dance School have been a mainstay of the Twin Cities dance community and have fostered a couple of generations of versatile and proficient dancers and teachers.Ms. Thompson received a New York Dance and Performance award, “Bessie”, in 1986 for her performance in Nina Wiener's Enclosed Time at the Brooklyn Academy of Music's Next Wave Festival. She received choreography fellowships along with her husband, Byron Richard, from the McKnight Foundation in 1993, and the National Endowment for the Arts in 1994 and 1996. In 2008, she received a Sage Award for Outstanding Dance Educator. Ms. Thompson has served on numerous dance panels and currently serves as Board President of Young Dance. In 2012 her choreography was performed by Young Dance and at the St. Paul Conservatory of Performing Artists.

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guests Marc Bamuthi Joseph and Lisa Yancey. [Live show recorded: May 8, 2020.] LISA YANCEY is a strategist, social impact entrepreneur, community builder, and visionary who believes that people build legacies in a lifetime. Originally from Atlanta, Georgia, Lisa Yancey is the president Yancey Consulting (YC) and co-founder of SorsaMED and The We’s Match. With 18 years of practice, YC has served over 100 nonprofit organizations, grantmakers, and individuals. Advising across arts and culture, public space, and justice-based sectors, YC specializes in strategic organizational development, economic modeling, evaluation and assessments, board development, leadership coaching, and executive transition support. SorsaMED is a biotechnology company engineering cannabinoids infused with nutrient-enriched microalgae for therapeutic pain management, with a specific concern for sickle cell anemia sufferers, especially youth. The We’s Match is dedicated to the wealth, scale, and wellness of Black women entrepreneurs. We match these entrepreneurs with resources and capital for business growth and success. Lisa’s dedication to supporting equitable outcomes for systemically disenfranchised people is the seamless thread that binds these companies. Three essential philosophies drive Lisa’s work. One, we must disrupt patterns that either sustain or are complicit to inequities that challenge any person’s or group’s ability to be their full selves. Two, we will never accomplish sustainable goals looking solely in the short-term. She touts, “It is imperative to assess and set generational impact goals (20-25 years from now) that connect to present-day efforts.” The third is best captured in Lilla Watson’s declaration, “If you have come here to help me you are wasting your time, but if you are here because your liberation is bound with mine, then let us work together.” Lisa believes, “I am one of WE.” Lisa matriculated from Boston College Law School and Emory University. She is a former dancer and choreographer. She is also a member of the New York State Bar Association. Lisa currently lives in Mount Vernon, New York, and serves on the board of Fractured Atlas. MARC BAMUTHI JOSEPH is a 2017 TED Global Fellow, an inaugural recipient of the Guggenheim Social Practice initiative, and an honoree of the United States Artists Rockefeller Fellowship. He is also the winner of the 2011 Herb Alpert Award in Theatre, and an inaugural recipient of the Doris Duke Performing Artist Award. In pursuit of affirmations of black life in the public realm, he co-founded the Life is Living Festival for Youth Speaks, and created the installation “Black Joy in the Hour of Chaos” for Creative Time. Joseph’s opera libretto, We Shall Not Be Moved, was named one of 2017’s “Best Classical Music Performances” by The New York Times. His evening length work, /peh-LO-tah/, successfully toured across North America for three years, including at BAM’s Harvey Theater as a part of the 2017 Next Wave Festival. His piece, “The Just and the Blind” investigates the crisis of over-sentencing in the prison industrial complex, and premiered at a sold out performance at Carnegie Hall in March 2019. Bamuthi is currently at work on commissions for the Perelman Center, Yale University, and the Washington National Opera as well as a new collaboration with NYC Ballet Artistic Director Wendy Whelan. Formerly the Chief of Program and Pedagogy at YBCA in San Francisco, Bamuthi currently serves as the Vice President and Artistic Director of Social Impact at The Kennedy Center.

David Dorfman has been creating movement-based theater in and around NYC and internationally since 1981. He has received numerous fellowships and awards including a “Bessie” for DAVID DORFMAN DANCE’s community-based project Familiar Movements (The Family Project), a Guggenheim for his research on power and protest which led to DDD’s underground, NEA support, a Lucille Lortel for choreographing INDECENT’s Off-Broadway run, and a 2019 USA Fellowship. Recent DAVID DORFMAN DANCE highlights include a 30th Anniversary Season at BAM’s Next Wave Festival with Aroundtown in Nov. 2017, and a State Department-sponsored trip to El Salvador to do work on violence prevention with young people. An avid fan of live music and collaboration, he continues his serio-comic work, Live Sax Acts, with Dan Froot. Since 2004 David has been a full-time faculty member of Connecticut College where he Chaired the Dance Department for a decade while teaching classes ranging from Performing Citizenship, Acting for Dancers, Religious Expressions of Everyday Life to all levels of Modern/Post-Modern Technique, Choreography, and Improvisation. DDD has been Company-in-Residence at Connecticut College since 2007. www.batesdancefestival.org

Vincent is so busy preparing to volunteer at Camp Out that he almost forgets it's his birthday. Vincent Silk is a writer living in Narrm / Melbourne. His fiction and non fiction has been published in journals Archer, Going Down Swinging, and Seizure. He has been a writer in residence at Next Wave Festival and Firstdraft Gallery, and has made text work for exhibitions at ACCA, Alaska Projects, AutoItalia in London, MIX NYC Festival and Firstdraft. In 2018 he published his first novel, Sisters of No Mercy, an adventure in hysterical realism about friendship and collective action in the context of climate catastrophe. Queerstories is an LGBTQIA+ storytelling night programmed by Maeve Marsden, with regular events in Sydney, Melbourne and Brisbane. For Queerstories event dates, visit www.maevemarsden.com, and follow Queerstories on Facebook. The new Queerstories book is published by Hachette Australia, and can be purchased on Booktopia. To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter And for gay stuff, insomnia rant and photos of my dog Frank follow me - Maeve Marsden - on Twitter and Instagram.

New work from WA based choreographer and performance artist, Joshua Pether, challenges our understanding of mental health, trauma and empathy through performance.

Beau writes - I am a passionate advocate for the arts with over 12 years experience working in arts organisations delivering festivals and performance programs. I have worked across a multiple of disciplines including visual arts, performance, dance, comedy, circus, music and cross-disciplinary forms. I have worked for the Next Wave Festival, Melbourne Fringe, several music festivals and cultural organisations. I love assisting the realisation of provocative, insightful, challenging and exciting work that sets an agenda and facilitates accessibility. I am currently the Arts Programming Coordinator for Darebin Council, curating and overseeing all aspects of a contemporary performance program, working with many leading and independent companies and artists from around the country. http://www.darebinarts.com.au/ In this episode: We talk about what an arts programmer does, hot tips on how to pitch your work, what makes a good arts program and where you get your inspiration from when you program for a venue.  

This week we speak with Georgie Meagher, the CEO and Artistic Director of Next Wave Festival, a biennial arts festival based in Melbourne. Georgie chats with us about what good leadership means, the role of directors in organisations and the responsibility of curators to artists. We get an insight into the plans and challenges for Next Wave’s experimental new model of artistic develop in Australia. Next Wave have just announced an incredible list of artists for the 2018 festival, so keep up to date on website.

Kent Devereaux is the President and Chief Academic Officer of the New Hampshire Institute of Art (NHIA), a private, nonprofit, accredited college of the arts located in Manchester, New Hampshire, approximately one hour’s drive north of Boston. An accomplished educator and academic leader, Kent’s career has taken him around the world and back again. Before assuming the presidency at the New Hampshire Institute of Art in January 2015, Kent served as Professor and Chair of the Music Department at Cornish College of the Arts, where he also served as Artistic Director for the college’s presenting series, Cornish Presents, and where he co-founded and directed the Seattle Jazz Experience, a youth jazz festival—the latter earning him Downbeat magazine’s Jazz Education Achievement Award in 2014 and Cornish College of the Arts Distinguished Alumni Award in 2015. Kent also served on the faculty of both the School of the Art Institute of Chicago and the California Institute of the Arts for many years. In addition to his experience in traditional academia, Kent spent over a decade working in the technology and online education sectors including stints as Senior Vice President of Editorial and Product Development at Encyclopedia Britannica, where he was instrumental in transforming that storied educational publisher from a print to online business model in the 1990s, and as Senior Vice President and Dean of Curriculum at Kaplan University, where during his tenure enrollment at the for-profit online university expanded from 350 to over 45,000 students. Kent’s collaborations with other artists have been presented around the world including performances at the Brooklyn Academy of Music’s Next Wave Festival, the London International Theatre Festival (LIFT), and elsewhere. Kent’s own work as a director, composer, and performance artist has also been presented at Chicago’s Steppenwolf Theatre, Seattle’s On the Boards, and Minneapolis’ Walker Arts Center, among other venues. Originally from California, Kent studied music composition with Gordon Mumma while attending the University of California at Santa Cruz, jazz piano, composition, and arranging with Art Lande, Anthony Braxton, Gil Evans, and Jim Knapp at Cornish College of the Arts in Seattle, and further graduate studies at Stanford University with legendary computer music pioneer John Chowning. A passion for exploring the related arts also led Kent to Chicago where he earned a Master of Fine Arts at the School of the Art Institute of Chicago (SAIC) and to Indonesia, as a Fulbright Fellow to study Javanese shadow puppetry and its music.

Hosts Lauren and Andrew were joined in the studio with EMMA FISHWICK, creator and choreographer & KYNAN TAN, composer and projection visual artist from Next Wave festival show microlandscapes. Emma and Kynan talked about their process of developing microlandscapes, and where they would like to take the show in the future. See omnystudio.com/listener for privacy information.

Will had the opportunity to review 3 shows from the Next Wave festival: microLandscapes, Ground Control and Voices of Joan of Arc. All shows are being performed at the Northcote Town Hall until May 14th except for microLandscapes, which finishes on Sunday May 8th Image: Janine Gibson from Voices of Joan of Arc, Next Wave Festival 2016 See omnystudio.com/listener for privacy information.

Earlier this week, Beth interviewed Next Wave festival artist RANI PRAMESTI and her show Sedih // Sunno. Sedih // Sunno is being performed as part of the NEXT WAVE festival and is on until May 15th at the North Melbourne Town Hall.See omnystudio.com/listener for privacy information.

Hosts Lauren and Andrew were joined in the studio with EMMA FISHWICK, creator and choreographer & KYNAN TAN, composer and projection visual artist from Next Wave festival show microlandscapes.  Emma and Kynan talked about their process of developing microlandscapes, and where they would like to take the show in the future. 

Earlier this week, Beth interviewed Next Wave festival artist RANI PRAMESTI and her show Sedih // Sunno.  Sedih // Sunno is being performed as part of the NEXT WAVE festival and is on until May 15th at the North Melbourne Town Hall.

Will had the opportunity to review 3 shows from the Next Wave festival: microLandscapes, Ground Control and Voices of Joan of Arc.  All shows are being performed at the Northcote Town Hall until May 14th except for microLandscapes, which finishes on Sunday May 8th Image: Janine Gibson from Voices of Joan of Arc, Next Wave Festival 2016 

This fictional letter is part of the Ships in the Night project and has been written in response Far from here, a project by Claire Robertson at the Meat Market in North Melbourne from the 12th un til 22nd of May as part of Next Wave Festival 2016. It is written, edited and produced by Kelly Fliedner and spoken by Robert Wood.

This fictional letter is part of the Ships in the Night project and has been written in response to The Fraud Complex, a group exhibition curated by Johnson+Thwaites at West Space from the 6th of May until the 4th of June as part of Next Wave Festival 2016. It is written, edited and produced by Kelly Fliedner and spoken by Aodhan Madden.

This fictional letter is part of the 'Ships in the Night' project and has been written in response to 'Ua Numi Le Fau', a group exhibition curated by Léuli Eshraghi at Gertrude Contemporary from the 6th of May until the 18th of June, as part of Next Wave Festival 2016. It is written, edited and produced by Kelly Fliedner and spoken by Fayen d’Evie.

This fictional letter is part of the Ships in the Night project and has been written in response to Hannah Brontë's Still I Rise, which features at Blak Dot Gallery from the 6th until 22nd of May as part of Next Wave Festival 2016. It is written, edited and produced by Kelly Fliedner and spoken by Sarah crowEST.

This fictional letter is part of the Ships in the Night project and has been written in response to Emma Fishwick’s 'Microlandscapes', which features at the Northcote Town Hall from the 4th until 8th of May as part of Next Wave Festival 2016. It is written, edited and produced by Kelly Fliedner and spoken by Holly McNaught.

An introduction to 'Ships in the Night', a project developed for the Next Wave Festival 2016 program. It’s part of an ongoing project called On the beach a new podcast, that among other things, is interested in the intersection of contemporary art practice and fiction.

In this months edition of CIRCUIT CAST the pod deliver an extended onsite discussion from the Auckland Art Fair. Host Mark Amery is joined by Andrew Clifford (Curator, Gus Fisher Gallery) and visiting ex-patriate Serena Bentley (Curator, Next Wave Festival, Melbourne). In part 1 the pod discuss the Art Fair's place in the wider art ecology and wonder where are all the dealers this year? In part 2 they reflect on highlights, and in part 3 they address the puzzling absence of the moving image in this years event.

Gavin Quinn talks about All That Fall, a production from his Pan Pan Theatre, that ran at Brooklyn Academy of Music’s Next Wave Festival in December.

A special guest joins us in this week's episode: Kristin Ross, Professor of Comparative Literature at New York University. She has written extensively about Paris Commune. Her book “The Emergence of Social Space: Rimbaud and the Paris Commune” was what inspired Steve Cosson and Michael Friedman to start working on our latest show, Paris Commune, which premiered at ArtsEmerson last month and is having a run in BAM's 30th Next Wave Festival. The play investigates the Parisian working-class uprising in 1871, and we want to extend a special thanks to Kristin for sharing her expertise on the commune, shared social space, revolution, and more with us in this podcast. This episode kicks off with Brian Sgambati performing Leur Bon Dieu, a nineteenth century song in the show originally from the Commune with Lyrics by Eugene Pottier, Music by Emile Bouillon. Wrapping up this week, we have Aysan Celik, singing Mon Homme by Jean-Baptiste Clement, adapted and translated by Michael Friedman. For more, please visit http://www.thecivilians.org. To leave a comment, please visit The Civilians' blog http://blogforthecivilians.blogspot.com/!

In 1976, the New York premiere of Philip Glass and Robert Wilson’s “Einstein on the Beach” captivated audiences, polarized critics and put both artists on the map of contemporary performance art. In four-and-a half hours, its famously reductive score, enigmatic text and limpid, tensile choreography (by Lucinda Childs) teases out the meaning of the time/space continuum. The work’s first New York revival in twenty years opens Friday evening as part of the Brooklyn Academy of Music’s Next Wave Festival. On Wednesday, Philip Glass talked about the work—and a range of other pieces that have been performed at BAM over the years—with a former protégé, the composer Nico Muhly. Affectionately coaxed by Muhly, speaking composer-to-composer, Glass reflected on his major operas, his work in collaboration with artists from other cultural traditions, and the evolution of his own musical style, which Muhly pointed out has become more lush, and (clearly jokingly) “decadent.”  For a man who is indeed an icon, Glass is somewhat bashful about his own place in the musical pantheon, and clearly bemused to be in a position to look back on a work that is entering its 37th year.   “As composers, we don’t really write for posterity,” he says wryly.  “You’re writing for this year’s repertoire, you’re writing for what you’re doing right now. I think it never occurred to Bob and I that thirty-seven years later we’d still be doing this piece.” Glass also commented on the ease and confidence with which younger musicians approach his works, because they have grown up on them. “I was the lunatic who was always there,” he notes. And “Einstein?” This is the first time the piece has received a major revival without any of the original creators performing, so Glass has actually had a chance to watch it, and reflect on intentions of his younger self. “It seems like someone I used to know once.”  With three new operas and a film in development, this is clearly as elegiac as Glass, at 75, is prepared to get. Bon Mots On new music: "There’s a performance practice that goes with a piece of music…for a piece of music to be truly new, there has to be a new way to play it." On collaborations: "The reason I was doing it to begin with was to understand my own language better; and I found that when I had to embrace somebody else’s language, I had to find a common place where we could work together." On the change in his own musical style: "It just comes from having written music for a long time.  My brain got re-wired; I don’t have to sound like Philip Glass any more."

ART OF HUSTLE introduces you to the Executive Director of Joe Goode Performance Group, Dave Archuletta. Prior to joining Joe Goode Performance group Dave served as Program Director for Bill T. Jones/Arnie Zane Dance Company, where he built the Company's first education and licensing programs from the ground up, increased earned income revenue by more than 60 percent, negotiated major commissioning agreements and oversaw the Company’s U.S. and international tours. Prior to joining the BTJ/AZ Dance Company, he was Managerial Associate in the Dance Division of IMG Artists, managing the touring and performance operations of major dance companies such as Twyla Tharp, Lyon Opera Ballet, Pilobolus, Miami City Ballet, and more. An honors graduate of UC Berkeley, Dave began his career in San Francisco as Curatorial Performing Arts Production Coordinator at Yerba Buena Center for the Arts. Dave is also an independent musician and producer. Dave "Daveytree" Archuletta has been producing music in the underground scene for over 10 years. He plays several instruments, including piano, bass and drums. Dave is a founding member of the Funk Force Collective, and the visionary SF band Run the Voodoo Down (one of the first live music acts to incorporate turntablism as a primary musical element, featuring DMC Wold Champion DJ Pash "Mackintosh" Kamber on the wheels of steel). He has produced albums for Nidecker Snowboards, LRG clothing, the Mission Burrito Project, the Funk Force Collective, and the independent release "Noah D & B.Ski Soon to Be." In 2009 "Breez Deez Treez" with rapper Breez Evahflowin, was released on Domination Recordings to wide critical acclaim. In October 2011 Dave's productions will be performed by Daniel Bernard Roumain at BAM's Next Wave Festival in New York. Thank you for subscribing! Please rate the podcast and leave comments. I look forward to building with you. More information and tons of free tips on marketing and management at: ArtOfHustle.com.