Podcasts about Performance Space

Kate joins Regina Botros to talk about the Liveworks festival highlights and spotlights. Kate Britton is the Aritsitc Producer of the Performance Space, a producer, curator and arts manager with more than 10 years experience in festivals, performance, visual art and public programs, with a focus on cross-disciplinary and queer practices.   

Host Flick Ford brings Primal Screen out of the studio and into the Performance Space for this edition of RRR's beloved film and screen culture program.She speaks with director, screenwriter, and cinematographer Warwick Thornton (Samson and Delilah, Sweet Country), filmmaker, producer and theatre director Nadia Tass (Malcolm, The Big Steal), and screenwriter & director Goran Stolevski (Housekeeping for Beginners, You Won't Be Alone, Of An Age). Flick and her panelists sort through the complex and messy questions of what defines Australian cinema – from where we've come from, to where we're heading – and how cinema can challenge myths of nationhood

We speak with Robert Grede about RIP: A Musical Comedy of Life & Death (his first musical.) Grede retired seven years ago from a successful career in advertising and marketing and decided to return to his musical roots (he was a music major in college). The work premieres on Wednesday, July 17th- and runs through July 28th at the Next Act Theater's Performance Space at 255 S. Water Street.

In a way, Moritz and Philipp Auer were born in the heart of the Olympic space. Today, they represent two of the five partners in their iconic German architectural practice. Discover their DNA through their own voices, in this exceptional and unprecedented issue.With a staff of 150 from some 20 countries, Auer Weber is a vast team with a wealth of experience and specialist skills, enabling them to handle projects on a multitude of scales and assignments. In a collegial atmosphere, they take part in between 30 and 40 competitions each year, from their two agency locations in Stuttgart and Munich, most of which result in commissions. Projects range from community buildings to major infrastructure works, including administrative, educational, sports and leisure facilities.Recorded in duplex. Images teaser © Ulrike MyrzikSound engineering : Ali Zogheib___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

"The resilience that we have to live through booms and busts and pandemics and continue to serve the community, continue to drive foot traffic, continue to create economic opportunities for local people to have jobs and work and express themselves is just incredible. So if you're struggling with a storefront or a vacancy or empty space, just remember to think about the arts” - Julie PhelpsIn this episode, we delve into our special series that charts the resurgence of the arts and culture sector from the shadows of the COVID-19 pandemic. We're bringing together insights from the Co-Production of Arts for A Better Bay Area State of The Arts Summit, an event that unfolded at the Strand Theatre in San Francisco on June 28th, 2023. The summit cast a spotlight on revitalizing our communities through the lens of the arts. A standout session at the summit tackled a pressing issue: securing affordable housing for our artistic community.Emerging from the discussions at the ABBA summit on affordable housing and real estate was a captivating dialogue on utilizing the shifts in the market post-pandemic to enable arts and cultural organizations to secure their own venues for performances.To shed light on this promising avenue, we're joined by Julie Phelps, the Artistic and Executive Director of CounterPulse, and Joshua Simon, a Senior Advisor at the Community Arts Stabilization Trust. They will unpack an inventive real estate strategy that empowered CounterPulse to purchase their performance space—an approach that holds transformative potential for the arts sector across the country. Welcome to Voices of the Community, a platform where every conversation spark innovation, and every voice is valued.To find out more information about our guests and their respective organization's programs, and services, how to volunteer and make a donation please visit our episode landing page with links to resources for the arts and culture sector. And if you have been enjoying the show, please leave us a rating and review on the podcast platform of your choiceWe welcome your participation in our next virtual and live in-person community dialogue event. You can also watch this episode on our YouTube Channel and please Sign Up for our Newsletter to stay up to date on future episodes and to participate in our next live show. We would love to hear from you with feedback and show ideas, so send us an email to george@georgekoster.com.Please consider donating to Voices of the Community - Voices of the Community is fiscally sponsored by Intersection for the Arts, a 501(c)(3) nonprofit organization, that allows us to offer you tax deductions for your contributions. Please consider making a donation to help us provide future shows just like this one. Dive Into More Information on Each Episode, Speakers, Organizations and Resources at our Voices of the Community's Special Arts & Culture Series Web Landing Page

Today on Midday, host Tom Hall is delighted to welcome the Ndlovu Youth Choir to the Performance Space at our sister station WTMD, in Towson, Maryland. This talented singing group from South Africa — the troupe with us today is comprised of seven young men and six young women — has become one of the world's most popular and inspirational musical ensembles since it was formed in 2009. The creative outgrowth of an after-school program for orphaned and vulnerable children in Limpopo, South Africa, Ndlovu is now a youth portal to a career in music. Membership in the choir also instills values of togetherness, a work ethic and a sense of social responsibility, and promotes self-discipline, self-confidence, and leadership. The Ndlovu Youth Choir's extraordinary appearances four years ago on the popular TV show America's Got Talent made them the first choir in the history of that show to reach the finals. Their soulful sets won them millions of new fans around the world. On the strength of those AGT performances, they signed a recording contract with SYCO and Sony Music, and their first album debuted at number one on iTunes... Since then, the choir has completed two European tours, sold out every public concert and performed on numerous local and international television and radio shows. During the COVID-19 pandemic, the choir's musical public service messages for the UN's World Health Organization offered hope and inspiration. They also joined many of the world's top musical performers on a digital stage during Global Citizens' "One World: Together at Home" virtual concert.  Along with its founder and musical director Ralf Schmitt, the group is currently in the middle of a month-long Eastern US concert tour, and during today's stop in Baltimore, they'll also be singing up a storm at 7:30 tonight at the Keystone Korner Jazz Club at 1350 Lancaster Street. You can check out the link for ticketing info. But we're happy to have the Ndlovu Youth Choir to sing for us right now, and for the next hour... Check out WYPR's Instagram page for great video clips of this performance!Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

Misfits Makin' It is the podcast component of the misfit comedy shows produced by Lauren LoGiudice. Show dates and info at www.laurenlogiudice.com In this podcast episode Lauren interviews Shawna Roxanne,, a member of the band Central Flow. They discuss the band's formation, their creative process, and the pressure to conform to popular music genres. Shawna shares the band's commitment to authenticity and the importance of not being boxed into a specific category. They also discuss their indigenous heritage and how it influences their music. Shawna opens up about their journey in the music industry and the importance of staying true to oneself. HOW TO SUPPORT THE PODCAST: Rate and review: Misfits like hearing from other misfits. Tell a friend: Misfits trust other misfits to tell them what's good. Sponsor a podcast: Affordable for individuals and makes the perfect gift. Support this art directly with a podcast that's custom-tailored to you or your friends. Make it happen by reaching out to inthemidstprod@gmail.com. CONNECT WITH SHAWNA ROXANNE AND CENTRAL FLOW MUSIC: www.centralflowmusic.com Instagram: @centralflowmusic, @shawnaroxanne, @adamstasik And all streaming platforms! CONNECT WITH LAUREN LOGIUDICE: Instagram: @laurenlogi Twitter/TikTok/Threads: @laurenlogi Website: www.laurenlogiudice.com TIMESTAMPS, BROUGHT TO YOU BY AI The formation of Central Flow (00:01:13) Shawna Roxanne discusses how Central Flow started in Dallas, Texas and how she connected with Adam, the guitarist and bass player. Central Flow's organic songwriting process (00:03:31) Shawna Roxanne  talks about how the band came up with their songs, starting with their single "Home," and how their collaboration has been organic. The pressure to conform to pop music (00:06:56) Shawna Roxanne shares her experience of feeling pressure to conform to a pop music style and how she found freedom and acceptance in the rock genre. Pressure to Conform (00:07:56) Shawna Roxanne discusses feeling pressure to conform to the popular pop music genre and the struggle to stay true to their own style. Being Complicated in the Performance Space (00:09:08) Shawna Roxanne shares her experience of being pushed to fit a certain image and how it can be challenging for women who are complicated in the performance space. Creating Central Flow's Sound (00:13:26) Shawna Roxanne talks about the process of creating the sound for Central Flow, including their influences and the collaborative jamming sessions that led to their songs. The magic of music (00:15:59) Lauren and Shawna Roxanne  discuss the magical aspect of music and how musicians get into a flow state while playing their instruments. Rehearsing in a flow state (00:17:27) Shawna Roxanne  talks about how every rehearsal with Central Flow feels like a flow state, where they vibe and let the music come out naturally. Creating a spectacle on stage (00:20:55) Shawna Roxanne shares how they work hard to make their performances a spectacle, aiming to transport the audience and create a surprising and immersive experience. The band's stylist mishap (00:23:58) Shawna Roxanne talks about his outfit mishap during a performance and the stylist's attempt to make it work. The role of a music producer (00:25:09) Shawna Roxanne explains the role of a music producer in creating and shaping the sound of a track. Incorporating indigenous elements in the new album (00:26:42) Shawna Roxanne discusses incorporating indigenous sounds and chanting in the upcoming album, combining tribal elements with southern rock. The pressure to conform to a certain genre (00:34:20) Shawna Roxanne discusses how rock music allows him to be herself and express his life experiences without conforming to pop music stereotypes. The courage to perform comedy (00:36:32) Lauren and Shawna Roxanne talk about the courage it takes to perform comedy and the importance of being confident and ...

In traditional Weitou culture (the first people of Hong Kong), brides defiantly sing of grief and bitterness towards their arranged marriages. Drawing on these folk songs and her own Weitou heritage, Rainbow Chan has written The Bridal Lament — a new song cycle coming to this year's Liveworks and OzAsia Festivals. Also, Paradise or The Impermanence of Ice Cream is inspired by Parsi sky burials where the dead are consumed by vultures, theatre maker Wang Chong shares the work on his Top Shelf, and we delve into the ABC archives to encounter the construction and opening of the Sydney Opera House 50 years ago this week.

In episode 156 of Imagine Otherwise, host Cathy Hannabach interviews scholar and artist Nicosia Shakes, whose creative and scholarly work celebrates the intertwining of political activism and performance across the African diaspora. Nicosia's play Afiba and Her Daughters, which offers an intergenerational narrative of Jamaican herstory, premiered at the Rites and Reason Theatre in Providence. Nicosia's new book Women's Activist Theatre in Jamaica and South Africa: Gender, Race, and Performance Space analyzes the work of four contemporary women-led theater groups and projects with a focus on how their activist productions take on gender injustice, racism, gang and state violence, and economic inequality. In their conversation, Nicosia and Cathy chat about Nicosia's familial journey into community theater and why this kind of performance is such a powerful activist tool. She also shares the complexities of doing a transnational feminist, multisited ethnography across two continents and why a methodology of co-performative witnessing is so crucial for engaged theater research. Finally, they close out the episode with how Nicosia imagines otherwise for the future of Black and African diasporic artistic productions and the worlds they build on and off the stage. Transcript and show notes: https://ideasonfire.net/156-nicosia-shakes  

In this new podcast, Paul goes behind the curtain with the cast and director of: “Passing Strange”: now playing at Theo Ubique Theater in Evanston through July 30th. Joining the conversation are Jordan DeBose (playing Stew the narrator), Jenece Upton (playing Mother) and director Tim Rhoze. This Broadway show is reimagined in an intimate way that only […]

A special show this week, with the team broadcasting live from the 3RRR performance space.This week's show focuses on all things Endometriosis, with special thanks to our sponsor, the Hudson Institute.Maree Davenport Chief Executive Officer and Director of Endometriosis Australia provides an explanation on what Endometriosis actually is, and also what Endometriosis Australia does.Alison Deslandes from Australian Society of Ultrasound in Medicine (ASUM) joins the team to explain how Ultrasound technology is used to detect Endometriosis.Dr Kate Tyson Surgeon – from the inaugural Centre Director of the newly established endometriosis Centre of Excellence at Epworth HealthCare, the Julia Argyrou Endometriosis CentreDr Fiona Cousins, Researcher, from the Hudson Research InstituteKate Kenfield a Writer, Speaker, former sex educator and Endometriosis patient (and also Dr Shane's wife) shares her story of what it's like to live with Endometriosis.Note: At one point during this broadcast, endometriosis was incorrectly defined as “endometrial tissue that can grow anywhere in the body”. The correct description is “Endometriosis is a condition in which cells that are similar to the ones that line your uterus start growing in other areas of your body”. For a detailed explanation and further resources please see https://www.epworth.org.au/who-we-are/our-services/endometriosis-centre/about-endometriosis/what-is-endometriosis

Zoe joins Regina Botros to talk about her life in the arts and in particular, Collapsible, playing at the Old Fitz. Zoë Hollyoak is a director and creative producer with nearly 10 years of experience working across a range of organisations including Belvoir, Performing Lines, Perth Institute of Contemporary Arts (PICA) and Black Swan State Theatre Company of WA. Zoë is currently the Program Producer for Performance Space, SHE has worked across theatre, film and mixed media projects for PICA, triple J Unearthed, Belvoir, The Blue Room Theatre and the State Theatre Centre of WA. When she's not working at Performance Space, Zoë runs essential workers – a Sydney based theatre company that present and produce new works. https://www.redlineproductions.com.au/collapsible  

Lara is tasked with producing a party at a funeral home for work, but life ends up complicating the process.Lara Thoms is interested in socially engaged, site-specific and participatory possibilities in contemporary art and performance. She works as an artist in Field Theory and is a co-director of Aphids. For ten years she has also been a curator and producer for organistations including Dark Mofo, Supplefox, Next Wave and Performance Space. Her work has been presented with Perth International Arts Festival, Artshouse, Gertrude Contemporary, The Malthouse, Next Wave festival, the MCA, Performance Space, Radial System v Berlin, as well as multiple venues and institutions.Queerstories an award-winning LGBTQI+ storytelling project directed by Maeve Marsden, with regular events around Australia. For more information, visit www.queerstories.com.au and follow Queerstories on Facebook.The Queerstories book is published by Hachette Australia, and can be purchased from your favourite independent bookseller or on Booktopia.To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter Hosted on Acast. See acast.com/privacy for more information.

“The most successful people are the ones that are hyper aware of their strengths.” This week we are honored to welcome Christian Gomez, Vice President of Talent Activation Strategy for The Marcus Buckingham Company (TMBC), an ADP Company, where he spearheads TMBC's client partnerships, helping to redefine the engagement and performance space. In conversation with FourBlock Founder Mike Abrams, Christian shares his deeply personal story of how he overcame a lot of adversity growing up, why he joined the military as the first person in his family to serve in any military capacity, and his fascinating professional journey from his service as a Sergeant in the U.S. Marines Corps to his corporate career today as a thought leader in the human capital management space. Christian and Mike also discuss the results of their StandOut Assessments, a 15-minute assessment powered by ADP that identifies people's top two strengths and delivers personalized coaching. At TMBC, Christian works with innovative people-focused organizations to design strategies that scale the practices of the world's best leaders. His mission is to help talent HR functions design strategies that set up people to succeed at work. Christian began his career in the U.S. military, serving in several capacities as a Sergeant of Marines. He translated his experiences to the civilian world spending 11 years at ADP where he served as a senior global business consultant, advising some of the largest and most respected multinationals and designing their BPO and HRIS strategies. A frequent speaker and thought leader with over 15 years of experience in the human capital management (HCM) space, Christian has particular expertise on the subject of managing cultures across geographies, expanding into emerging markets, and leading across cultures. Christian holds a B.S. in Political Science from Florida International University and an M.S. in Leadership from Nova Southeastern University. Born in Queens, NY, he lived and worked abroad for many years before settling down in Florida, where he can sneak in a round of golf year-round.   ABOUT US Welcome to the FourBlock Podcast, a show that examines veteran career transition and the military-civilian divide in the workplace. General Charles Krulak coined the term "Three Block War" to describe the nature of 21st-century military service defined by peace-keeping, humanitarian aid, and full combat. But what happens next? Veterans are often unprepared to return home and begin new careers. We call this the Fourth Block.  FourBlock is a national non-profit that has supported thousands of transitioning service members across the nation in beginning new and meaningful careers.  Mike Abrams (@fourblock) is an Afghanistan veteran, founder of FourBlock, and author of two military transition books. He represents the military transition perspective. Lindsey Pollak (@lindsaypollak) is a career and workplace expert and New York Times bestselling author of three career advice books. Lindsey represents the civilian perspective of this issue.  Veterans, explore new industries and make the right connections. Find a career that fits your calling. Join us at fourblock.org/ Sponsor our program or host a class to equip more of our veterans at fourblock.org/donate. Follow FourBlock on Social Media  LinkedIn Facebook Instagram Twitter Podcast episodes are produced and edited in part by the Columbia University Center for Veteran Transition and Integration.  

Thursday is your opportunity to eat wings for charity and this weekend is a great time to shop during Downtown Lee's Summit's annual Fall Open House event. The big news this week are a couple of procedural moves by the City Council which should lead to some real movement on the long-awaited Market Plaza Development which will include a new home for the farmer's market and an outdoor performance space.

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.

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Morgan Hogg is an artist who explores the identities of Indigenous perspectives within the Pacific Islands, and the cultural impact modern day has on traditional standards. Morgan talks about the balance involved in protecting and sharing culture, the importance of creating conversation about climate change in the Pacific, the objectivity and subjectivity of art and her practice. Works mentioned: https://www.morganhogg.com/enua-manea https://www.morganhogg.com/tangaroa https://www.morganhogg.com/rangiunui-papat%C5%AB%C4%81nuku https://performancespace.com.au/programs/live-dreams-distance/ See omnystudio.com/listener for privacy information.

  Author, actor, and raconteur Robin Hirsch ran the Cornelia Street Cafe in New York's Greenwich Village for 41 years until he was forced to close it in 2019 due to rising rent. The restaurant was renowned for its basement nightclub where singer/songwriters, jazz bands, poets and comics played on a tiny stage. Shows were short so that different groups perform each night. Robin who's a writer and actor, has performed several shows about his life and the prejudice he felt being a German Jew in post war London. In New York he found endless outlets for creative expression. He established a stable of talent at his café where people incubated new work and the famous rubbed shoulders with the aspiring. Career advice? Robin says he's always stumbled into opportunities and grasped them but nothing was planned. He's an introvert who has had to learn to be an unflappable MC, host and artistic director. He says his British education has helped him make it all seem effortless when in fact he's always been shy.  Links https://westviewnews.org/2019/02/04/a-sad-farewell-to-beloved-cornelia-street-cafe/web-admin/ Gordon Skinner's 30th Anniversary VideoSharon Kaufman's 35th Anniversary TributeRobin as author:LAST DANCE AT THE THE HOTEL KEMPINSKI"one of the best books ever written on the long arm of the Holocaust"  Jewish Book News As poet:FEG: Stupid Poems for Intelligent Children"searingly smart and challenging" (New York Times)As author/performerMOSAIC: Fragments of a Jewish Life Photos of the café: http://photography.michaelbfriedman.com/photography/alaska/cornelia-street-cafe-anniversary ABOUT CREATIVE CONFIDENTIAL  Each week in Creative Confidential Jude Kampfner chats to an independent professional performance or visual artist about how they survive and thrive. They share details of moving between projects, becoming more entrepreneurial, finding the best opportunities and developing a signature image and style. Her guests range from lyricists to novelists, videographers to sound designers. A broadcaster, writer and coach, Jude gently probes and challenges her so that whatever your line of creativity you learn from her advice and the experiences of her lively guests. REACH OUT TO JUDE: -  Jude's WebsiteJude on TwitterJude on LinkedInJude on Instagram Theme music composed by Gene Pritsker. https://www.genepritsker.com/ Show Producer and Editor, Mark McDonald. Launch YOUR podcast here.    

Kenneth Moraleda is an actor/director/writer/producer of Filipino descent. He started training at Australian Theatre for Young People before being accepted into the National Institute of Dramatic Art graduating with a Bachelor of Acting in 1995.As a performer his recent theatre credits include An Enemy of The People with Belvoir Street, and Kasama Kita for 25a, the Global Creatures national tour of Muriel's Wedding The Musical, Talk at the Sydney Theatre Company and Australian Graffiti– a debut play from Disapol Savetsila playing Boi.Other theatre credits include playing Banzai in Disney's The Lion King Musical under the direction of Julie Taymor, the National Theatre Of Great Britain and Global Creatures' production of War Horse, playing Kulygin in Sport for Jove's critically acclaimed Three Sisters by Anton Chekhov, creating the role of Roger Chan in Nick Enright's A Man With Five Children, Hilary Bell's The White Divers of Broome, David Williamson's Cruise Control, the satirical comedy Australia Day by Jonathan Biggins and Yellow Moon-The Ballad of Leila and Lee directed by Susanna Dowling. His Philippine stage debut was with Repertory Philippines in the Pulitzer Prize Winning Play August: Osage County.His directing debut was an immersive theatrical and cinematic music show They Say She's Different written and starring Cecilia Low. After a showing at Ding Dong Lounge in Melbourne, it was picked up by the Adelaide Cabaret Festival and was a highlight of the Melbourne Fringe Festival 2015 for a season at Gasworks receiving rave reviews.He was a leading artist in This Here Land. – an experimental performance part of Liveworks Experimental Arts Festival in October 2017 for Performance Space. He has several writing projects in development including One Hour No Oil co-written with Jordan Shea.Numerous television credits include Schapelle, East West 101, Maximum Choppage, Bondi Banquet, City Life, Water Rats, Wildside, White Collar Blue, City Homicide, Janet King and Bureau of Magical Things.Notable film roles include The Great Raid, Locusts and Arun in the iconic Australia comedy Lucky Miles which has won him the Best Actor Award at the Cinemanila International Film Festival. He was also in Dead Europe and lead the short films, Perfection by Jane Eakin and The Fence by Lucy Gaffy, Banana Boy by Steven Woodburn and Legacy by Josh Mawer.In December 2020, Kenneth co-founded the theatre company KWENTO alongside Jordan Shea and Jana Vass. The company seeks to create new Australian works, that challenge the norms of Australian society.In April they will premiere a new work titled ATE LOVIA by Jordan Shea which will be directed by Kenneth Moreleda.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

On this week's episode of Inside Outside Innovation, we sit down with Dr. Alex Young founder of Virti. Alex, and I talk about the impact of new technologies like virtual reality and artificial intelligence on the training and human performance space, and some of the challenges and opportunities facing companies in the changing world of work. Let's get, started. Inside Outside Innovation is the podcast to help the new innovators navigate what's next. Each week, we'll give you a front row seat into what it takes to learn, grow, and thrive in today's world of accelerating change and uncertainty. Join us as we explore, engage and experiment with the best and the brightest innovators, entrepreneurs, and pioneering businesses. It's time to get started.Interview Transcript with Dr. Alex Young founder of VirtiBrian Ardinger: Welcome to another episode of Inside Outside Innovation. I'm your host Brian Ardinger. And as always, we have another amazing guest. Today, we have Dr. Alex Young. He is the founder of Virti. Virti helps HR teams and organizations using things like artificial intelligence and augmented reality to improve and measure training. So welcome to the show, Alex. Alex Young: Thanks so much, Brian. It's great to be here. Brian Ardinger: I'm excited to have you because you come from a different background. You were a trauma and orthopedic surgeon before you became a entrepreneur founder. So how did you go from being a surgeon to being a founder of a virtual reality training type of company?Alex Young: Yeah, so it's been a really interesting journey. I mean, my interests have always been around how to improve learning and the performance of people really in any sector. And my original degree, as you mentioned, was in medicine. And then I specialized in orthopedic surgery, working in the UK and also in the US for a little while.And I've always, always been a bit of a tech nerd as well. So had a couple of companies when I was actually training to be a doctor. And taught myself how to code. Pretty terrible coding skills but managed to build a few companies around that. And then really with Virti, what I wanted to do was build a deep technology company, which tackled one of the major problems I was seeing. Both in healthcare, but also in every other sector, really on the planet which was how do we democratize and scale soft skills type of training for the workforce of the future. And when I trained as a doctor and a surgeon, often we do communication role-plays and things to train people really how to be more empathetic. How to be better communicators. How to do things in health care, like break bad news to patients, or explain a diagnosis. And in the operating room about how to make decisions under pressure and lead teams. And often those sort of training sessions, were not very scalable. They weren't hugely engaging, and they were quite biased and not that data driven. So, as you mentioned with Virti, what we do is we use AI and tools like virtual reality to put people into these very scalable, very measurable scenarios, where they can fail in a safe environment and run through lots of soft skills trainings senarios whether that's on a sales team training. Whether it's for managers or leaders, to understand how to deliver feedback. Or it's on your hiring or HR side, where we can actually find if people have some innate biases in the questions they ask during interviews. Or how they deliver team performance. So really, really interesting journey and lots and lots of parallels between healthcare and being an entrepreneur. Brian Ardinger: Absolutely. The whole concept of this metaverse and some of the new things that are coming in when it comes to augmented reality and virtual reality, what are some of the things that you're seeing in that space? How has it changed and evolved since you've started the company? And what are you seeing? Alex Young: I think the whole VR space has been on a bit of a rollercoaster. Really, you know, going back all the way to the 1980s when NASA first started using VR tech for some of the training that they were doing. And in the healthcare sector there's always been lots of, kind of, sort of use cases of virtual reality for things like surgical training. But it's never really seen mass adoption. And I think now with some of the newer headsets coming out and with companies like Meta, which of course rebranded from Facebook. Putting kind of billions behind the type of technology. We're seeing some of these PR teams like the Metaverse really galvanizing businesses and people behind this idea of a shared space. Where people can go, communicate with others. Practice in safe environment. Or just go and relax. And, you know, play games with each other. And I think on the back of the pandemic where everyone was very isolated and teams still work remotely, it's really, really interesting having that projection in a shared space where you can build rapport a little bit easier than perhaps that of over Zoom, looking at your camera. And you get a bit more inclusivity with team communication.And I think, you know, for us as a training company, we were founded back in 2018. Really under that premise of how can we scale role play or in-person training. And make it more affordable, more scalable and more data driven. And for us, it's just been a great time to sort of execute on that vision and help lots of companies to upskill their people. Brian Ardinger: You mentioned you started the company before COVID and that. But obviously we've seen a massive shift when it comes to this change with COVID. And the fact that everybody's now trying to up-skill cross sell, figure out new ways to do work and that. Are you finding particular industries or jobs settings that are more conducive to this virtual reality environment? Alex Young: I think it's really interesting, just the diverse views of kind of sectors and categories. Kind of find, you know, helpfulness from immersive technology. It can be used throughout absolutely everything. For us specialization, which is obviously soft skills, I think, you know, we're seeing a big uptake by people like sales teams. Particularly in industries like franchises, where they got to upskill new franchisees from a playbook and have a certain way of doing things.The traditional method there obviously was doing in-person meetings or in-person webinars and, you know, live webinars and things like that. And it just wasn't either that engaging or that scalable. We've seen big uptakes there. Other industries outside of healthcare, where we've seen big uptake, things like aviation, which again, anything that kind of has infrequent, but very impactful hazardous outcomes. We found that putting people into virtual reality scenarios to be really, really helpful.So, things like how to communicate with a passenger on an airline who might be rude to the staff. Or, you know, disruptive to other passengers. Being able to deescalate them. It doesn't happen too usually often, but, but it can be incredibly disruptive and cause flights to be landed in places other than their destination. That kind of thing is just great for running people through that talk of repeatable training, Brian Ardinger: The trend of VR, seems to be just on the early stages of that. What's holding this back from companies being more focused on using this type of environment? Alex Young: So, although virtual reality and the concept of virtual reality and the Metaverse has been around for a while. I think the technology now is only really sort of on that precipice of kind of mass adoption. As you mentioned, I think with anything new in the hardware space, whether it's an iPhone, whether it's a new type of computer, in this case, it's the VR headsets. There is going to be a lot of speculation and a lot of blockers and barriers to adoption just because the hardware itself is expensive and people need to understand how it fits naturally into their workplace. I think what we're seeing now is some of the usefulness of the content. And the apps that sit on these pieces of hardware, really the things that are driving adoption. And as they become more and more impactful, the quality of those becomes better. We're seeing people, you know, much more eager to adopt. And, you know, again, the technology as a whole, it's gone through a huge amount of technological change. Even just they've the last sort of two and a half years in terms of what the tech can do. So, we've now got things like eye tracking. The headsets they need wires, that attach headsets to computers. You know, the chips and power of the actual headsets themselves is much faster. What we're now saying is we're still on that adoption curve. It's still very early. But we're seeing real impactful business outcomes being seen by people who are actually using them. Say we've done a lot of research around how the tech works. We've seen people's learning retention increased by upwards of 200%. It's in confidence and employee's ability to action some of the training they've practiced in VR. Outperform in-person training in some cases. And we've seen the time for training reduced when you combine virtual reality with in-person training. So, lots of cost savings. Lots of better impact. Lots of better engagement. Some of the data coming out of it. Brian Ardinger: What are some of the surprises that you've seen over the years of how your original assumptions were about how to build a company, or the features and solutions you were going to build out there? What are some of the assumptions that have changed? Or some of the surprises that you've seen?Alex Young: We've been very lucky in that, you know, we spend a lot of time researching things back in 2018 when the company was founded. And we spoke to E learning development professionals and spoke to people in HR. We spoke to end users (employees) and really got a good understanding of what they were using at the moment in terms of either e-learning or in-person training. And then tried to pull out the critical elements of that into what we built.I think in terms of what we have built at Virti, one of the big complaints that people made, which I've got to say I didn't realize until I sort of truly spoke to a wide variety of HR and learning development professionals was that if you deliver off the shelf content to, we as a company have our own scenarios, soft skills training, and other types of training, and that's great. And people can pick up and plug those, you know, straight into that training workflows. But actually, people want the ability to create their own content and they want a system that's easy to use in order to do that. And for things like virtual reality and soft skills training, where a lot of it is conversational scripts, people aren't that intimidated by doing that themselves. And, you know, they've got their own experiences and their own ways of doing that. The big things that we did quite early on, on the back of that feedback was build out this No Code creation set of tools across both video and computer-generated scenarios so that people can actually create their own.And that then throws out a whole host of, you know, real creativity, back to us as a company. And it's really exciting for me as the founder to look at what people create. Whether it's, you know, very immersive diversity inclusivity scenarios, based on people's previous experiences. Whether it's video training or onboarding training for that company. That's really, really exciting.Brian Ardinger: I'm glad you brought that up because this idea, and we talk a lot about it on the show about no-code and low-code and democratization of some of these tools that makes it easier for people to spin things up, test things, try things. It's interesting to see that you're seeing that evolve in the virtual reality space as well.Alex Young: We talk about soft skills. Or power skills as I like to call them, in terms of leadership training or helping managers deliver feedback. But there are lots of different ways to do that. And there are lots of different learning points. And I think the types of scenarios that you can put people through are almost limitless in some ways, in terms of the demographics of the people that you're communicating with. The actual setting. The types of conversation. People's emotions. And even just from one scenario, you can tweak things behind the scenes and create a whole host of slightly different, slightly more difficult or easier scenarios that you can then run your employees through.And that's where it becomes really interesting because the data of the system can then pick out some subtle changes and improvements. And it can also start to grade who your best performers are in the leadership space. In the sales space. And in the communication space. And actually, give people a gold standard or a ball that they can hit if they're looking to improve their soft skills, which is a really, really cool and really gamified. Brian Ardinger: And that's an interesting point as well. When you talk about soft skills, I think one of the challenges is it's very difficult to measure that. And you're saying with technology and that, and you have an opportunity to collect data that you might not have been able to collect in the past and use that in different ways to really put some metrics or some insight into what's going on.Alex Young: A hundred percent. And I think that the simplest way that I think about things is if I do an in-person role play like I did when I was a doctor or like I did, when I was, you know, practicing my own sales skills as the founder of a technology company. You will do a role play and then a third person, the coach will feed back to you. And they might say something like you started the conversation off well. Or give you some technical feedback on the content of what you're saying. Or they might give you some feedback on your eye contact or your body language.But it's very subjective based on what they're seeing at the time and the assessors own personal experiences and their own abilities. And what the technology can do is it can actually track entire conversations. It can look at people's cadence of that tone. It can look at what conversational items, you know, that they're actually talking about.And with some of the new hardware, you can also look at things like eye tracking. Physiological data. So, you can see if people are getting a little bit scared during parts of the conversation as well. And then you can feed that back to the user who might not know some of these subtle things, especially in the eye contact area. So, there's loads and loads of really interesting things that we can do. And the most important thing is then feeding that back and helping people be able to learn and improve in really kind of objective ways. Brian Ardinger: Any type of technology adoption, there's this focus on innovation. And how do you get folks to adopt new technologies and things like that. So, you've obviously had an opportunity to see how companies take new technologies and the culture that's required. So, I wanted to dig a little bit into what you've seen when it comes to the culture of innovation. And how have you seen better companies adapt to this kind of new innovations. And what are some of the things that you've seen when it comes to the culture of innovation?Alex Young: It's a great question. And I think we, the gamble operating in health care, is our sort of immediate or near target market. And that is something that is quite slow to adopt. Any type of technology because of any kind of patient safety concerns and things like that. And you've got to go through lots of rigorous procurement processes and so forth. But even there, one of the key things that I always look for is who's going to sponsor, you know, the adoption of this technology entirely in the new company. Who is that going to be?Is it someone in the C Suite? Is it a champion in the L & D or HR Department? Who's going to really come on board and align with someone from our team who's typically on the customer successful or learning development side. And look at what the real goals and the outcome of introducing this tech is, both in the near term or say, you know, a year or two years.And I think that's where we, as a company, forget a little bit about the technology and we say, okay, how can we help and align to your business goals? Whether that is just getting to payback of the platform as quickly as possible. You know if we can show we can make you money or we can show you that we are driving things like sales revenues or improving customer satisfaction and things like that through better training. Or just by, you know, retaining your staff because we do a lot of onboarding training and, you know, there's some craziest statistics from places like Gallup or, you know, LinkedIn's workplace Survey, which shows that, you know, that people don't engage with our onboarding or if the onboarding isn't good enough, they will leave your company in like the first 45 days. Which is terrifying us as a business owner myself. And I think it's those things that we really obsessed over. And then I think the next part is making sure everyone within that organization, that's adopting the software is basically understanding what their role is. That the users are incentivized to use it. And it's meaningful and it's going to be helpful to them. Rather than being a hindrance or just another password that they need to remember. And most importantly you know, for us, it's in providing value to our customers and what they're doing. And collecting feedback and iterating on that. So, it's always an interesting journey. Every company is slightly different. Some people love adopting new technology and wants to be at the forefront of any innovation. Some people want to wait until they've seen some use cases come out. And some people are just super cynical. And it's just human nature and different folks you know, different industries. But it's always fun working with lots of different types of companies and people.Brian Ardinger: You have a podcast out called the human performance podcast. So, whenever I have a podcast host, I always like to get your take on what's going on in that particular space. Some of the things you've learned in this space of human performance. What are some of the best guests or some of the insights that you've learned from your podcast and the guests that you've had on it?Alex Young: It's been absolutely fascinating actually. I mean, the podcast began really as a way to provide some stories to our users and our customers that sort of inspired them in their day-to-day lives. And some of the things that I was really, really interested in was how people's mindsets or how their own performance made them do, you know, extraordinary things. On that podcast, some highlights, but for me personally have been, we've had a couple of astronauts who've been on, who've done, you know, multiple space walks and have to fix shuttle antennas, literally in the middle of the space. That for emergency situations, or sports people who've come back from injury and done amazing things.But I think, you know throughout, the thing that fascinates me is always how people deal with some of these just enormous achievements. And by that, I mean a lot of people who do really, really well are actually the most humble and nicest people on the planet. And will bend over backwards to help out folks.And I think a lot of that is about their mindset and it's about them really seeing themselves as a servant to the training and to what they're doing and being very, very coachable. And one great story is that from Scott Parazynski. He's one of the astronauts we've had on the podcast. He not only has done, I think over 40 space walks, but he's someone who is just always learning. And always wanting to challenge himself.And has that in him. Which he's kind of learned over time. And he's also been to the top of Everest. He's been into a volcano in extreme temperatures. And he's just done some crazy, crazy stuff. And the thing that keeps him going is always that want and need to learn new things. To challenge himself. And to really sort of improve himself as an individual. And it's just amazing hearing stories like that every single week. So, I always think, you know, whatever podcast it's not about the host, it's always about the guests. Which really make it for everybody. For More InformationBrian Ardinger: Absolutely. Thank you for coming on Inside Outside Innovation, to talk about your learnings and what you're seeing in the world. Both as a founder, as a, as a technology person and as a person who's focused on human performance. So, Alex, thank you for coming on the show. If people want to find out more about yourself or about Virti, what's the best way to do that? Alex Young: You can follow Virti at @Virtilabs on all social media. And the website is Virti.com. And then I'm Alexander F. Young on all social media. And by all means, follow me. I talk about soft skills and human performance across every channel. Brian Ardinger: Excellent. Well, Alex, thanks again for coming on the show and appreciate the time. Looking forward to continuing the conversation in the years to come.Alex Young: Thank you so much, Brian. Really enjoyed it.Brian Ardinger: That's it for another episode of Inside Outside Innovation. If you want to learn more about our team, our content, our services, check out InsideOutside.io or follow us on Twitter @theIOpodcast or @Ardinger. Until next time, go out and innovate.FREE INNOVATION NEWSLETTER & TOOLSGet the latest episodes of the Inside Outside Innovation podcast, in addition to thought leadership in the form of blogs, innovation resources, videos, and invitations to exclusive events. SUBSCRIBE HEREYou can also search every Inside Outside Innovation Podcast by Topic and Company.  For more innovations resources, check out IO's Innovation Article Database, Innovation Tools Database, Innovation Book Database, and Innovation Video Database.  We use Amazon Affiliate links for books and Descript Affiliate for transcripts.  

Co-founder, Anil Sebastian, and soprano, Ella Taylor, discuss how Trans Voices, the UK's first professional Trans+ choir, is reclaiming the spaces which have hitherto excluded the musical experience of transgender voices. You can find information about Trans Voices at: https://www.transvoices.co.uk  If you enjoy this conversation, please subscribe, check out our other great episodes, and even better leave us a review. You can also follow us on social media and sign up to our mailing list at https://polyphonyarts.com/mailing-list for updates and news about Music Works and Polyphony Arts. Music Works is generously supported by Allianz Musical Insurance, the UK's No. 1 musical instrument insurer.

AMY ZHANGSocials: @amyzhanggggAmy is a Chinese-Australian movement artist that specialises in performance, movement direction and choreography. Her work spans across live performance, film, tv and digital art. Her artistic movement practise is grounded in Chinese ways of knowing and storytelling through experimenting with the intersections of street style foundations and contemporary frameworks. Amy has exhibited works with various artists and organisations across Australia including Performance Space, The Hayes Theatre, Brisbane Festival, First Draft, Belvoir St Theatre, Supercell Festival, 4A Centre for Contemporary Asian Art, Critical Path and Diversity Arts. Amy was also an artist in residence at the City of Sydney Live/Work residency in 2019-2020.Commercially, Amy has performed in, choreographed and movement directed campaigns for, but not limited to, recognisable names like Rita Ora, Cartier, Nike, Google, Calvin Klein and Beats by Dre.Credits aside, Amy reckons anyone can dance and hopes to convince as many people of this as she can.In this conversation, we dived into the following:- Indulging in different creative outlets as a child.- ‘Cool Asian Mum' project.- Exploring the creative process.- Simple steps to get dance work you'd like to receive.- Rock up in real life vs social media presence.- Saying yes to experiences that sound exciting and fun.- Becoming obsessed with the things you enjoy.Logo: @lawrencetandesignsAnimation: @cold_tea_artAnimation track: melaniac. - we're just some motherf***ing kids

Originally posted in March 2021, we sat down with Dr. Patricia Au, coach and pianist, to talk about all things repertoire! When it comes to putting your best foot forward in any audition or gig, it all comes back to how you prepare. From picking out your package and what is going to highlight your voice the best to how to prepare a role and how to navigate coachings during COVID, join us in our conversation! For more information, visit www.patriciaau.com / or on Instagram @au_patricia Resources from the episode: Learn Your Music the Right Way Join our Freebie Vault to get access to our Weekly Practice Log Practice Makes Perfect: An Ode to the Practice Log Let's Get Social: Modern Singer book club Follow us on social media Search our website Check out our Shop Follow Ellen Follow Alyssa Known for her vivacious energy, Dr. Patricia Au works versatilely as a collaborative pianist, music director, vocal coach, and teaching artist. She has held positions at Boston Conservatory at Berklee, New England Conservatory, and Boston University Tanglewood Institute, as well as conducted masterclasses at Bucknell University and New World School of the Arts. As music director, she has led productions at Boston Conservatory at Berklee, OperaHub, and Boston Opera Collaborative. A frequent interpreter of contemporary music, she has workshopped with living composers, including Sofia Gubaidulina and John Harbison. Dr. Au currently serves as Resident Teaching Artist and Education Pianist with The Boston Lyric Opera where she has a passion for introducing young people to opera as a storytelling art. She received her DMA in Collaborative Piano from the New England Conservatory of Music in 2017 and her dissertation, “A New Edition of the Piano-Vocal Score of Jake Heggie's To Hell and Back” is available through Bent Pen Music, Inc. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/modern-singer-llc/message Support this podcast: https://anchor.fm/modern-singer-llc/support

Two meaty interviews on this episode.First, we talk with Vallejo Gantner currently with ONX Studio an XR accelerator in New York City powered by Onassis Foundation USA (for whom he previously served as Artistic and Executive Director) and New INC. We get into the state of performing arts in XR with Gantner, who was the Artistic Director of NYC's Performance Space 122 for 12 years. (Check out Tree currently at ONX Studio in NYC.)Then we settle in for a chat with Scott Cramton of American Immersion Theater, talking about his twenty-year career in making participatory events for clients around the country, and take an unexpected detour into what he's put together over the course of the pandemic: Camp D&D Online. [39:00]Plus Kathryn with this week's Headlines and the latest on The Next Stage Immersive Summit & Mini-Festival.Associate Producer: Parker SelaMusic: Chris Porter Headlines: Kathryn Yu, Executive Editor of No ProsceniumProducer and Host: Noah Nelson  Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Ep 94: I'm back yall, took a short pause to focus on investing in self. That's what we do. How y'all been!?! It's Blk Paco and this is Nuts & Guts podcast… I got two lovely women Kim & Silvia from #positivexscape sharing their experiences in relationships, how to be whole person and finding another whole person. Healing and growing into better people…Like I say "your heal ain't everybody else's type of healing"… We talked about businesses and balance life with all that it comes with. I hope y'all enjoy the show..Follow @positive_xscape @smokefreemedia on IG.#smokefreeweekend #nutsandgutspodcast #ohioliving #openmicohio #positivexscape #keepitreal #motivateyourself #powermove #eventspace #willowickevents #willowwick #ohioeventspace #healthyhabits #hendersonplumbing #careforyourself #powermove #mmm #buildcommunity #plumbertips #winterprep #gamenight #happyhourohio #vendorpopup #linedancewednesday #Support this podcast at — https://redcircle.com/nuts-and-guts-podcast-hosted-by-blk-paco/exclusive-content

Teddy Tahu Rhodes is a stalwart of the opera and musical theatre stage, but there was a time when he thought that accountancy was his true calling. So, what brought this powerful singer out of the office and into the spotlight? Also, playwright Michèle Saint-Yves reflects on her father's dementia and her own acquired brain injury in A Clock for No Time and choreographer Sue Healey compiles eight years of unique encounters with dance on film in On View: Panoramic Suite at Liveworks.

Teddy Tahu Rhodes is a stalwart of the opera and musical theatre stage, but there was a time when he thought that accountancy was his true calling. So, what brought this powerful singer out of the office and into the spotlight?Also, playwright Michèle Saint-Yves reflects on her father's dementia and her own acquired brain injury in A Clock for No Time and choreographer Sue Healey compiles eight years of unique encounters with dance on film in On View: Panoramic Suite at Liveworks.

Teddy Tahu Rhodes is a stalwart of the opera and musical theatre stage, but there was a time when he thought that accountancy was his true calling. So, what brought this powerful singer out of the office and into the spotlight? Also, playwright Michèle Saint-Yves reflects on her father's dementia and her own acquired brain injury in A Clock for No Time and choreographer Sue Healey compiles eight years of unique encounters with dance on film in On View: Panoramic Suite at Liveworks.

Jonny Seymour   Jonny Seymour is a non binary homosexual, music producer, sound stylist, activist, agathist, community builder and collaborator. They work with artists & institutions across many disciplines including dance, film, fashion, theatre, song & experimental art forms. They produce music with Paul Mac as stereogamous and have worked with artists such as Yaeji, Electric Fields, George Michael, Kylie, Grace Jones, LCD Sound System, RÜFÜS, Sia, The Presets, Brendan Maclean, Jamaica Moana, The Working Bitches and Shaun J Wright.   They have performed at major festivals (remember them?) including Glastonbury, Burning Man, Sydney Mardi Gras, pride festivals from Hobart to Helsinki as well as iconic clubbing institutions Berghain & Horse Meat Disco. They are music directors for Sydney Fashion Week & Melbourne Fashion Festival and sound tracked runways and parades  in London, NYC, Paris and Barcelona. They have collaborated with designers Jenny Kee, Romance Was Born, Akira Isogawa, Philip Treacy, Mary Katrantzou, Carla Zampatti and several more for the past twenty years.    They are resident at Queerbourhood, a weekly LGBTIQA performance art night at The Bearded Tit now on its 6th year of bringing light and love to nightlife cultures.they are cofounders (with Dj gemma)  of Club Kooky, the intergenerational iconic queerdo community gathering, now on its 26th year. They were resident at Kens At Kensington, the legendary gay bath house and released 3 mixed “gay make out album” compilations of queer producers and bands.    They collaborate with cultural bodies & institutions such as The Powerhouse Museum, Performance Space, Sydney Mardi Gras, Carriageworks, National Gallery of Victoria, Force Majeure, The Red Rattler and Sydney Theatre.   Their mission is to collaborate in all mediums, sharing platforms for inducing positivity & resonating joy vibe for all.   --   Kat Dopper   Kat Dopper is a queer arts practitioner living and working in Sydney. The most recent role was the 2020 Creative Director of Sydney Mardi Gras 2020. Kat is Creative Director & Founder of Heaps Gay, a successful arts organisation and media platform which she launched in 2013. Kat sits on a number of cultural advisory panels including the City Of Sydney and recently Kat was on the core team to pitch for World Pride Sydney in 2023 in Athens. Kat's other experience lies in the music and youth market and has over a decade of experience in agency land and freelance working on creative campaigns. This stems brands such as Red Bull Music, FBi Radio, Splendour In The Grass, Absolut Vodka,  Junkee Media, MTV, Electronic Music Conference, Semi Permanent, Karla Spetic, Westpac & Cake Wines +++ --   Kelly Lovemonster   You can often find self-proclaimed international party dad and nightlife producer Kelly Lovemonster twirling on the dance floor in a pastel pink thong and cowboy hat. The brains behind Sydney's cheekiest event Leak Your Own Nudes, a queer undie dance party and San Francisco's Swagger Like US, an arts hub and daytime event featuring emerging QTPOC artists. Lovemonster is a child of the night with a passion for music and performance.

Alice is on the line with some hot online theatre recs. This week she reckons check out Performance Space's Festival of Experimental Art and the Melbourne Fringe Fest! Whakarongo mai to hear all about it. 

Today's guest is the profoundly talented Nina Isabelle. She is a process based artist working with perception, action, language, and phenomena. Her practice is a method to sort and solve the inconsistencies of language, memory, and form, and she makes paintings, drawings, photographs, video, sculpture, sound, performance and writing as inquiry into how sensory perception functions as the impetus for action, reaction, response, and choice making in art and life.Her work has been presented at The Elizabeth Foundation for the Arts in New York City, The Queens Museum as part of Emergency Index Documentation Discussion, Judson Memorial Church, Grace Exhibition Space, and ABC No Rio in Exile at Bullet Space in NYC with Feminist Art Group, as well as at Para//el Performance Space and The Ear in Brooklyn, NY. Internationally her projects have been presented at Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Bangkok Underground Film Festival in Thailand, and NA Gallery in South Korea. Nationally her work has been shown at The San Diego Art Institute, The New School's exhibition at The Bushwick Collective, Roman Susan in Chicago, IL, and CX Silver Gallery in Brattleboro VT, among others.In 2018 she founded Three Phase Center for Collaborative Art Research & Building in Stone Ridge, NY where she facilitates, collaborates with, and documents the work of process based conceptual and performance artists. She's continually motivated to work, present projects, facilitate, and collaborate with artists and idea people of any sort.Today we talk about her upbringing be tossed in the air lots by acrobats and gymnasts and how her childhood set her up for being unmotivated by external validation or approval. This made for challenges in school, but seems to allowed for a vibrant life where she is guided by what is fun and fulfilling. We discuss some of the pursuits of her art in solving inconsistencies in language, memory and form, how perception is imperfect and malleable and several intersections between her work and thought processes and quantum physics. I try to keep up!Today's show was engineered by Ian Seda of Radio Kingston.Our show music is from Shana Falana !!!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFY | STITCHERITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCASTITCHER: https://www.stitcher.com/podcast/she-wants/i-want-what-she-has?refid=stpr'Follow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcastTWITTER * https://twitter.com/wantwhatshehas

Mx. Pucks A'Plenty takes us through the growing pains of expanding into a new vertical of their event organization. There's a lot of great advice for creatives who are past the startup phase and into the growth part of their business. Find Mx. Pucks A'Plenty at https://www.mxpucksaplenty.com/

Season two episode two, where we chat with Corinne Costell (Roosevelt University) about her research on racism and cultural appropriation in opera, her work developing an anti-racist curriculum for white musicians, DBR's opera aria "They Still Want To Kill Us," and the implications of the term "ally." Corinne's conference presentation Daniel Bernard Roumain's "They Still Want To Kill Us" (on YouTube through July 31st!) Timestamps: Corinne's background: 4:06 Lydia rants about the tenure system: 13:02 Corinne's research project: 19:54 The challenges of Zoom: 36:20 The intersection of research and performance: 41:46 DBR and the Tulsa Opera: 49:10 Is the term "ally" useful? 57:23 Get in touch with us at: thetheoryclubpodcast@gmail.com

Joe chats to Live 95's Megan Thornton about the rumours circulating social media about a performance space in People's park See acast.com/privacy for privacy and opt-out information.

Dona McAdams has been making photographs for over forty years. We talk about where art has taken her: the stages of Performance Space in the 80's and 90's, Coney Island assisted living facilities, homeless shelters, small mountain communities in Appalachia, dairy farms in New England, and on the backstretch of thoroughbred racetracks. Dona's reverence for her subjects and appetite for collaboration is remarkable. And she's a goat farmer! All that and more. Never miss an episode of The Amy Beecher Show. Subscribe to our newsletter or follow us on Instagram and Facebook. Show Notes Dona Ann McAdams Performative Acts at Bennington Museum Culture Wars with Dona Ann McAdams and John Killacky on YouTube

Melati Suryodarmo, (b. 1969, Solo, Indonesia) graduated from the Hochschule für Bildende Künste Braunscheweig, Germany under the tutelage of Marina Abramović and Anzu Furukawa with a Meisterschüler qualification in Performance Art. Her practice is informed by Butoh, dance and history, among others. Her work is the result of ongoing research in the movements of the body and its relationship to the self and the world. These are enshrined in photography, translated into choreographed dances, enacted in video or executed in live performances. Suryodarmo is interested in the psychological and physical agitations that may be from the self or the world but somehow result in lasting change the individual. This belief in change or growth through bodily action belies her early induction in meditation, which she continues to practice. The body is the home for memories and the self, rather than the individual itself, and the body's system. The way the body translates internal and external ideas enriches the attitude and thoughts of the self. Meeting Furukawa, an accomplished Butoh practitioner, had opened her eyes on the expressive qualities of the body, a form of communication that transcends verbal language. This experience has motivated her lifelong studies into Butoh and other artistic forms concerned with the human body. As a trained performance artist, presence is integral to the accomplishment of Suryodarmo's work in all mediums. The senses picks up non-verbal inputs and receive them as communication of intent, emotion, energy or identity. These non-verbal inputs open the door to sensitive and individual perception and the creation of presence. However, everyone processes these inputs differently and interpret them differently based on their unique consciousness. By compiling, extracting, conceptualising and translating some of these factors of presence that she recognises into her work, she intends to tease open the fluid border between the body and its environment. These movements are understood through the metaphor of poets, who similarly assembles words and spaces to create their poetry. Suryodarmo draws inspiration from her real experiences in the world. The path of history informs her perception of the everyday and the now. Her works often reflect the process that lead to current events, be it political, global or highly personal. In her abstracted gestures and poetical acts, the presence of each work is brought to a concentrated level of intensity. In abstracting these acts from their common context, they are made to correspond with new associations and sometimes identify radically with different meanings. The works' abstract narrative throws the spotlight on the audience's bodily response. This often results in a level of factual absurdity in the work, which is acknowledged and welcome. Suryodarmo has presented her work in various international festivals and exhibitions, including Reanacting History: Collective Actions and Everyday Gestures (2017), National Museum of Contemporary Art Korea, Gwacheon, South Korea; SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now (2017), National Art Centre Tokyo & Mori Art Museum, travelled to Fukuoka Art Museum, Japan; AFTERWORK (2016), Para Site, Hong Kong, travelled to (2017) Ilham Gallery, Kuala Lumpur, Malaysia; East Asia Feminism: FANTasia (2015), Seoul Museum of Art, Seoul, South Korea; 8th Asia Pacific Triennale (2015), Queensland Art Gallery & Gallery of Modern Art, Queensland, Australia; 5th Guangzhou Triennale (2015), Guangzhou, China; The Roving Eye: Contemporary Art from Southeast Asia (2014), Arter, Istanbul, Turkey; Medium at Large (2014), Singapore Art Museum, Singapore; Luminato Festival (2012), Toronto, Canada; Beyond the Self: Contemporary Portraiture from Asia (2011), National Portrait Gallery, Canberra, Australia; Marina Abramović Presents… (2009), Manchester International Festival, Manchester, U.K.; Incheon Women Artists' Biennale (2009), Incheon, South Korea; Manifesta 7 (2008), Bolzano, Italy; Wind from the East: Perspectives on Asian Contemporary Art (2007), Kiasma, Helsinki, Finland. Since 2007, Suryodarmo has been organizing an annual Performance Art Laboratory and Undisclosed Territory, a performance art festival, in Solo, Indonesia. In 2012, she founded “Studio Plesungan”, an art space for performance artists to use as a laboratory. In 2017, she served as Artistic Director for Jiwa, the 17th Jakarta Biennale. She currently lives and works between Gross Gleidingen, Germany and Solo, Indonesia.Artist StatementThe world that inspires me to move my thoughts is the world inside me. The body becomeslike a home which functions as container of memories, living organism. The systeminside the psychological body that changes all the time has enriched my idea to developnew structures of attitude and thoughts. I try to perceive my surroundings as the fact ofthe real presence of now, but considering the path of its history. I try to understand thelanguage that are not spoken, and opens the door of perceptions. I respect the freedom inour minds to perceive things coming through our individual sensory register system.Crossing the boundaries of cultural and political encounters has been a challenge thatstimulates me discovering new identification. An effort to find identity is yet a dangerousact of losing the ground of origin. For me, the process of making artwork is a life long researchthat never stops me to put myself inside the metamorphic constellation. I intend totouch the fluid border between the body and its environment through my art works. I aimto create a concentrated level of intensity without the use of narrative structures. Talkingabout politics, society or psychology makes no sense to me if the nerves are not able todigest the information. I love it when a performance reaches a level of factual absurdity.Melati Suryodarmo's performances have been dealing with the relationship between ahuman body, a culture in which it belongs to and a constellation where it lives. Through thepresence, she compiles, extracts, conceptualized and translates some phenomenon orsubjects into movement, actions, and gestures that are specified to her performance. MelatiSuryodarmo´s performances concern with cultural, social and political aspects, inwhich she articulates through her psychological and physical body. Her performances featureelements of physical presence and visual art to talk about identity, energy, politics andrelationships between the body and its environments.Melati Suryodarmo studied at the Hochschule für Bildende Künste Braunschweig, Germanyunder Marina Abramovic.Suryodarmo has presented her works in various internationalfestivals and exhibitions since 1996, including the 50th Venice Biennale 2003, Marking theterritory, IMMA Dublin. e.t.c. In 2005, Melati Suryodarmo has performed at the Van GoghMuseum Amsterdam, during the Exhibition of the Life of Egon Schiele in 2005; VideobrasilSao Paolo (2005), Haus der Kulturen der Welt Berlin, 52nd Venice Biennale dance Festival(2007), KIASMA Helsinki (2007), Manifesta7, in Bolzano, Italy (2008),and In Transit festival,HKW Berlin (2009), Luminato festival of the arts, Toronto, (2012), Asia Pacific Triennale,Qagoma Brisbane (2015), Guangzhou Triennale, Guangdong, China (2015); SingaporeBiennale, Singapore, (2016). Since the last six years, Suryodarmo has been presenting herworks in Indonesia and other South East Asian countries. For the Padepokan Lemah PutihSolo Indonesia, she has been organizing an annual Performance Art Laboratory Projectand “undisclosed territory” performance art event in Solo Indonesia since 2007. In 2012,she founded “Studio Plesungan” an art space for performance art laboratory. She wasworking as the Artistic Director of the Jakarta Biennale 2017, one of the core visual artsbiennale in South east Asia.Melati Suryodarmo CV info@melatisuryodarmo.comMelati Suryodarmoinfo@melatisuryodarmo.comwww.melatisuryodarmo.comSTUDIO PLESUNGANDesa Plesungan RT03 RW02Plesungan, GondangrejoKaranganyar 57773Jawa TengahIndonesia--------------------------------------------------------------------------------------------------Born 12. July 1969 in Surakarta IndonesiaLives and works in Surakarta, IndonesiaEducation2016 - PhD Candidate in Artistic Research / Art as Practice Phd. at the Institute of theArts Surakarta Indonesia2001 - 2002Postgraduate Program (Meisterschule) in Performance Art at the Hochschulefuer Bildende Kuenste, Braunschweig, Germany, under prof. Marina Abramovic1994- 2001Study of performance art and sculpture under Prof.Anzu Furukawa, and Prof.Marina Abramovic. Degree in Fine Art at the Hochschule fuer Bildende Kuenste,Braunschweig, Germany1993Degree in International Relations Studies, Faculty of Politic and Socio Sciences,UniversitasPadjadjaran Bandung, IndonesiaExhibitions and Festivals |selections|2020- Marina Abramović + MAI Akış / Flux, Akbank Sanat Exhibition Program, Istambulk,Turkey- “Why Let the Chicken Run?”, Solo Exhibition at Museum of Modern Art and ContemporaryArt Nusantara (MACAN), Jakarta2019- “Memento Mori”, Solo Exhibition at Singapore Tyler Print International (STPI)Singapore- “Gandari”an opera by Tony Prabowo, as director and choreographer, Graha BaktiBudaya, Taman Ismail Marzuk, Jakarta- “Contemporary World”, Naional Gallery of Australia, Canberra, Australi- “Orfeus”, dance choreography, Komunitas Salihara, Jakarta- “Kontraksi: Pasca Traditionalisme”, pameran besar Nusantara, National Gallery ofIndonesia, Jakarta- “Arus Balik”, Centre of Contemporary Arts, Gilmann Barracks, Singapore- “All About Eve”, 2nd Women show at the Indonesia Luxury, Jakarta- “+63 / +62”, Silverlens Gallery, Manila, the Philippines2018- “Luminous Emptiness”, dance choreography in collaboration with Katsura Kan(Japan), Bo- robudur Writers and Cultural festival, Borobudur, Indonesia- “Sakhsat”, dance choreography, Solo International Performing Arts (SIPA) Festival,Solo, Indonesia- “Sweet Dreams Sweet”, performance, Hamburger Bahnhof - Museum for ContemporaryArts, Berlin, Germany- “I Love You”, Solo exhibition, Shanghart Gallery, Beijing, China- “Dance in Asia”, Osaka Creative Center, Osaka, Japan- “Timoribus” , Solo Exhibition, Shanghart Gallery , Singapore2017- “Amnesia” , Performance Klub, Europalia 2017, at S.M.A.K, Gent, BelgiumMelati Suryodarmo CV info@melatisuryodarmo.com- “Tomorrow As Purposed”, Dance Performance, Flammish Royal Theatre, KVS, Brussels,Belgium- “Self Portrait”, group exhibition, Mind Set Art Centre, MSAC, Taipei, Taiwan- “Re-enacting History: Collective Actions and Everyday estures”, National Museum ofModern and Contemporary Art (MMCA), Gwacheon Seoul, South Korea.- “First Sight” at Museum Museum, Jakarta- “Political Acts”, AsiaTopa, Melbourne Art Center, Melbourne, Australia- “Sunshower” - Contemporary Art in South East Asia - National Art Centre Tokyo, Japan- “Vertical Recall” dance performance, as choreographer at the Helatari, Salihara, Jakarta- “After Works”, Ilham Museum, Kuala Lumpur2016- “Behind the Light”, Singapore Biennale, SAM Singapore- “Transaction of Hollows”, Lilith Performance Studio Residency , Malmo, Sweden- “Your Otherness, I've never been so East”, dance piece, Hexentanz Festival, Sophiensale,Berlin- “Tomorrow as Purposed”, as choreorapher and director of dance production and researchinvolving dancers, musicians, at Indonesian Dance Festival, Jakarta- “Melati Suryodarmo” Solo Exhibition at Il Ponte Contemporanea, Rome, Italy- “undisclosed territory#10” as Facilitator at Studio Plesungan- “ In Silence”, a group exhibition at Pearl Lam Gallery in Singapore- “Amnesia” - Solo performance and exhibition, Galerie Ark, Jogyakarta, Indonesia- Paper Trail - South East Asia Works on Paper. Galery Sangkring, Jigyakarta, Indonesia- After Works, Para-Site, Hongkong- Costume National : Contemporary Art from Indonesia, Gallerie SAW Ottawa, Canada2015- Asia Pacific Trienial 8, Qagoma, Brisbane, Australia- I See You See Me, Treshold Gallery, New Delhi, Indiea- Sisyphus, a dance piece choerographed and directed by Melati Suryodarmo at DeSIngel, Antwerp, Belgium. Sisyphus, a dance piece choerographed and directed by Melati Suryodarmo at FrankfurtLab, Frankfurt, Germany- 5th Guangzhou Trienial and 1st Asia Bienial, Guanzhou, Guangdong, China- Oz Asia Festival , Adelaide, Australia- Melati Suryodarmo's Video Works, solo exhibition, Contemporary Art Centre of SouthAustralia (CACSA), Adelaide- FantAsia, Seoul Museum of Art, Seoul, South Korea- ArtJog 2015, In FLux, Yogjakarta, Indonesia- Tokyo International Performing Arts Meeting, Yokohama, Japan2014- “APBF Signature Award 2014 Exhibition” , Singapore Art Museum, Singapore- “Indonesian Dance Festival 2014”, Teater Kecil Taman ismail Marzuki, Jakarta- “Marina Abramovic Performance Exhibition”, Fondation Beyeler, Basel, Switzerland- “Rowing Eye- Contemporaray art from South East Asia”, Arter, Istanbul, Turkey- “Domestication”, Kayu, Lucie Fontane Foundation, Bali, Indonesia- “Sensorium 360°”, Singapore Art Museum, Singapore- - ArtJog 2014, Taman Budaya Yogyakarta- “Video Art at Loop”, Loop, Casa Asia, Barcelona- “ArtJog”, Taman Budaya Yogyakarta, Yogjakarta, Indonesia- “Fokus+Indonesia”, Muzeum Narodowe w Szczecinie, Szcezin, Poland- “K.R.O.P.P”, Uppsala Konsert & Kongress, Uppsala, Sweden- “China Festival”, Haus am Ufer HAU 2, Berlin- “Medium at Large”, Singapore Art Museum, Singapore- “Today and Tomorrow: Indonesia Contemporary Art”, Yallay Galery, HongkongMelati Suryodarmo CV info@melatisuryodarmo.com2013- Gambar idoep- video art exhibition, galeri Semarang, Semarang Indonesia- „development“ group exhibition, at TNS Foundation, Gdansk, Poland- ArtJog 2013, Taman Budaya Yogyakarta- „undisclosed territory #7“ padepokan Lemah Putih, Solo, Indonesia- „ Slapstick“, Performance Program, Kunst Museum Wolfsburg, Germany- re-act feminism #2, Fundació Antoni Tàpies, Barcelona, Spanien; Akademie der Künste,Berlin, Deutschland- „Die auf dem Boden Liegenden, liegen gelassen - The lying on the floor, abandoned tolie“, Künstlervereinigung MAERZ, Linz, Austria.- „Pressing“ Fondazzione @videoinsight, Turin, Italy- „Market Forces“, Osage Gallery, Hong Kong2012„I am a ghost in my own house“, Solo exhibition at Lawangwangi Art foundation, Bandung,Indonesia„Transart 2012 Festival“, performing John cage‘s Songs Books,in colaboration with NataliaPschenitschnikova, MAS Museum Ötztal, Bolzano, Italy„Homoludens“, group exhibition at Galeri Emmitan; Surabaya„Tai Ping Quo“, Parasite and Spring Workshop, Hongkong.„Performance Platform Lubiln 2012“, Galeria Labirynt, Lublin Poland„Insight“, Group exhibition at Kuntraum, Vaduz, Lichtenstein„Beethoven Marathon-in collaboration with Stewart Goddyear“, Luminato Festival, KoernerHall RCM, Toronto„Flow“, group exhibition, Gallery Michael Janssen, Berlin„domestic stuffs“, group exhibition at Galeri Salihara, Jakarta; Cemeti Art House Yogyakarta.„ZEITGEIST“- Galeri Seni Bataviasche Kunstkring, Jakarta„Reclaim.doc“, group exhibition at Jakarta National Gallery, Jakarta„re.act.feminism #2“ - a performing archive at the Galerija Miroslav Kraljević in Zagreb,Croatia, Museet for Samtidskunst Roskilde, Denmark; Galerija Miroslav Kraljević Zagreb,Croatia; Instytut Sztuki Wyspa Gdańsk, Poland; Tallinna Kunstihoone Tallinn, Estonia„Beyond the Self“,McClelland Gallery and Sculpture Garden, Langwarrin, Victoria; theAnne and Gordon Samstag Museum of Art, Adelaide, Australia„Acts of Indecency“, solo exhibition at Art Dept, VWFA Jakarta, Indonesia2011„Bienalle Jogja XI“, Jogjakarta, Indonesia„Beyond Pressure IV“ performance art festival; Yangoon and Mandalay, Myanmar„Beyond the East: Indonesian Contemporary Art“ Museo d‘arte Contemporanea Roma,Rome, Italy„Performance Hautnah“, Kunstlerforum, Bonn„Performance I Bibliotek“, Kunstbanken Hedmark Kunstsenter, Hamar, Norway„Kunst Hier und Jetzt“, Algemeine Konsumverein, Braunschweig„re.act Feminism vol. II“, 2011 -2013, Centro Cultural Montehermoso, Vitoria-Gasteiz,Spain„Between Sky and Sea III“ Hergla Island, Norway„hijacking TV“ video exhibition at Gallery Salihara, Jakarta„Beyond the Self“, National Portrait Gallery, Canberra; Australia“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Villa Tobler, Zürich, Switzerland.„Absence“, Manila Contemporary, Manila, the Philippines„Almost There“, a dance choreography piece, World Dance Day Festival, at Teater BesarInstitut Seni Indonesia Surakarta, Indonesia„A Feather Fell down from the Silence“, at R.I.T.E.S, Substation, Singapore„Negotiating Home, History and Nation“ Two Decades of Contemporary Art from SouthEast Asia 1991 - 2010, Singapore Art Museum, Singapore„undisclosed territory#5“, Padepokan Lemah Putih, Solo IndonesiaMelati Suryodarmo CV info@melatisuryodarmo.com„Performance Art Laboratory (PALA) Project“, Padepokan Lemah Putih, Solo Indonesia2010“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, de Internationale Keueze, International Theater Festival, Rotterdam, theNetherlands“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Bern Biennale, Haus der Universität, Bern, Switzerland„Ugo“ for One Night Stand, curated by Myriam Laplante, Fundazione Volume, Rome, Italy“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Tanz Im August, Berlin“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Alcantara Festival, Lisabon, Portugal"Lilith Performance event", Lilith Performance Studio, Malmoe, Sweden“Grenzart”, Kirschau, Germany“Exergie- butter dance – extended” , Asian Body festival, Moderna Dans Teatern, Stockholm“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Maisson des Arts de Schaerbek, Brussels“trouble-festival”, Les Halles, Brussels„Indonesian Contemporary art Showcase“ Art Paris - Grand Palais, Paris“undisclosed territory #4”, Padepokan Lemah Putih, Solo, Indonesia“PALA Project 2010”, Padepokan Lemah Putih, Solo, Indonesia“Ugo” solo performance at „mobilized Performance Series“, Mobius, Boston, MA, USA2009“On the Way”, Artrend, Taipeh, Taitung (Dulan), Kaoshiung, Tainan; Taiwan“Asiatopia 11th”, Bangkok Center for Art and Culture, Bangkok, Thailand“Kunstbanken”, Kunsthalle, Hamar, Norway"International Incheon Women Artists Biennale", Incheon, South Korea“European Performance Art Festival”, Centre for Contemporary Art, Warsaw“Farewell Angel”, Lilith Performance Studio, Malmoe, Sweden“International Performance Art Festival”, Turbinen Halle, Giswill, Switzerland“East West Project via Belfast”, Platform Art, Bbeyond, Belfast, Northern Ireland“East West Project”, Kaskaden Kondensator,Basel, Switzerland"CUT - South East Asian Contemporary Photography", Kuala Lumpur, Singapore, Manila“Art of the Encountering”, Gebläser Halle, Ilsede and Hildesheim, Germany“Marina Abramovic Presents…”, Whitworth Gallery, Manchester International Art Festival,Manchester, UK“InTransit 09”, Haus der Kulturen der Welt, Berlin, Germany“Momentum”, Le Bain Connective, Brussel“Performance Art Laboratory Project” 2009, Bali, Indonesia“undisclosed territory#3- performance art event” Solo, Indonesia“Pathological Aesthetic” symposium at HAN, Nijmegen, Holland2008„Ex-teresa Arte Actual“, International Performance Art Festival, Mexico City, Mexico“Intimate Strangers”, with the Damaged Goods Company, Brussels.“Asiatopia 10 – international performance art festival” Bangkok“Future Of Imagination 5” Sculpture Square, Singapore“ZOOM” performance Art Festival, IPAH, St. Jacobi Kirsche, Hildesheim“Memorabilia”, performance project, TBS, Solo, Indonesia“Between Sky and Sea-II” Herdla Island, Norway“Tanz im August/sommer.bar,” Podewil, Berlin, Germany“Sincere Subject”, SIGIARTS Gallery, Jakarta, Indonesia“Emerging discourse- performance mimicry II”, Bodhiart, New York City“Manifesta7”, European Biennial, Ex-Alumix, Bolzano, Italy“Friktioner”, at City Gallery, Uppsala Art Museum, Uppsala, Sweden“MADE Festival”, Nordlandsoperan, Umea, Sweden“Solitaire”, Solo exhibition, Valentine Willie Fine Arts at Annexe, Kuala Lumpur, MalaysiaMelati Suryodarmo CV info@melatisuryodarmo.com“undisclosed territory#2”, Padepokan Lemah Putih Solo, Indonesia2007“Perception of Patterns in Timeless Influence”, Lilith Performance Studio, Malmö, Sweden.“eBent 07 Festival”, off*ample, Passage de la Paz, Barcelona“Insomnia”, Nuit Blanche, Le Gènerateur, ParisTravelogue “Flying Circuss Project”, Theatreworks, Singapore and Ho Chi Minh City, Vietnam“Performance Intermedia”, Sczecin, Poland and Berlin“The Curtain Opens: Indonesian Women Artists”, National Gallery, Jakarta, Indonesia“Anti Aging”, Gaya Fusion Gallery, Bali, Indonesia“Erotic Body”, Venice Biennale Dance Festival, Venice, Italy“15th Performance art Conference”, Bali, Indonesia“undisclosed territory”, performance art event, Solo, Indonesia(N)ever Mind, Video Exhibition, Viavia, Jogjakarta, Indonesia“Wind from the East - Perspectives on Asian Contemporary Art”, National Gallery/Museumof Contemporary art, KIASMA, Finland2006“Disposal on Arrival- Indonesian Contemporary Arts”, Grace exhibition Space, New York,USA“Exergie-butter dance”, Performance Space, Sydney, Australia“Deformed Ethic of a Relationship 3.0 for DormArt” with Oliver Blomeier, Depot, Dortmund“Accione 06”, Madrid, Spain“Deformed Ethic of a Relationship 1.0”, with Oliver Blomeier, Galerieturm, HelmstedtGipfeltreff, Kaskaden Kondensator, Basel, Switzerland“Loneliness in the Boundaries”, Solo Exhibition, Cemeti Art House Jogjakarta, Indonesia.“Exegie – Butter Dance”, Goethe Institut, Jakarta, Indonesia2005“Räume und Schatten”, Haus der Kulturen der Welt, Berlin“Kunst Forum Berlin”, Art.es, Berlin“15th International Electronic Art Festival – Video Brasil”, Sao Paolo, Brasil“ 19th Festival Grad Teatar Budva”, Budva, Serbia and Montenegro“Navigate – live art”, BALTIC & Stubnitz, Gateshead Newcastle, UK“La Galleria dell'Amore”, Galleria Civica Trento, Italy“Gifted Generation”, HAU1 Hebbel Theater Berlin, Germany“International Performance Festival Salzau”, Schloss Salzau, Germany“Retrospective of the work of Egon Schiele – the SHELF” – in collaboration with MarinaAbramovic, Van Gogh Museum Amsterdam, Holland.“Der Sekundentraum – opening of Kunstmuseum Stuttgart”, Wüttembergischem KunstvereinStuttgart, Germany2004“Nude with skeleton”, MARTa Herford, Germany“Retrospective” Galerie der HBK Braunschweig, Germany“7a*11d”, International Performance Art Festival, Toronto, Canada“Leidenschaft Junge Kunst”, Allgemeine Konsum Verein, Braunschweig“FAXE KONDI- unzipped time”, Gallery Futura, Prague, Czech Republik“Cleaning The House -performance Loop”, NMAC Foundation, Jerez Dela Frontera, Spain“RISK”, Landesmuseum Braunschweig, Braunschweig2003„4th International Performance Festival Odense”, Odense“Live Art brrr”, Teatro Carlos Alberto/Teatro Nacional de São joão, Porto Portugal“Student Body”, Centro Galego de Arte Contemporanea, Galicia, Spain“Performance in der Kunsthalle”, Fridericianum , Kassel,“Performance art NRW 2003”, Healing Theater, Köln“Recycling the future”, group event, Venice Biennale 2003, ItalyMelati Suryodarmo CV info@melatisuryodarmo.com“As soon as possible” Performance and Exhibition, PAC Milano, Italy“Performance Art Nord Rhein Westfalen”, Maschinenhaus, Essen2002“Body Power Power Play“, Wüttenbergischer Kunstverein, Stuttgart“The Promise“, Solo Exhibition, Gallerie Gedok, Stuttgart“Braunschweiger Kulturnacht“, LOT Theater, Braunschweig“Pret â Perform“, Gallery Via Farini, Milano, Italy“Body Basic“, Trans art 02, Franzenfestung, Brixen, Italy“Common Ground“, Landesvertretungshaus Niedersachsen –Schleswig Holstein, Berlin2001“Festa dell´arte“, Aquario diroma, Rome, Italy“Marking the territory“, Irish Museum of Modern Art, Dublin, Ireland“Get That Balance”, National Sculpture Factory, Opera House, Cork, Ireland“A little bit of History Repeated“, Kunst Werke, Berlin“Indonesian Live Art“, Gallerie Mein Blau, Berlin“Polysonneries, 2nd International Performance Festival“, Lyon, France “von weiß-rosa zurot“, Luther Turm, Cologne“Lullaby for the ancestors“, Solo Performance, LOT Theater, Braunschweig“Fingerspitzengefühle“, Group exhibition, Galerie der Stadt Sindelfingen2000“Performance Passing Through“, Gedok, Stuttgart“Anableps“, Group exhibition, Galery Miscetti, Rome, Italy“ins“, Maximillian Forum, Munich“Visible Differences - an event“, Hebbel Theater, Berlin“Spot + Places“, Performance Congress, Healing Theater, Cologne1999“Fresh Air“, Group-exhibition, E-Werk, Weimar“Performance Festival Odense“, Odense, Danmark“Cardiff Art in Time“, UWIC, Cardiff, Wales, GB“Unfinished Business“, Group exhibition, Gallery am Lützow Platz, Berlin“Der Sekundentraum“, Solo Performance, Healing Theater, Cologne“Braunschweiger Kulturnacht“, LOT Theater, Braunschweig1998“Finally“, Group exhibition, Kunstverein Hannover, Hannover1997“Braunschweiger Kulturnacht“, FBZ, Braunschweig1996Dance Performance “Kashya-kashya Muttiku“ with Yuko Negoro (Japan), FBZ, Braunschweig1988 -1995 various dance and theatre performances in Indonesia and GermanyUp COMING Project/Exhibition2019- If We Were XYZ, Creative Common Ground Project, Asia Society, New York City- Working as Director and choreographer for Opera Gandari by Tony Prabowo, GrahaBakti Budaya, Jakarta- Solo Exhiibition, Singapore Tyler Print International, Singapore- As Panelist at the Ubud Writer Festival, Ubud, BaliMelati Suryodarmo CV info@melatisuryodarmo.comHonors/ Grants2017 Art Stage Jakarta Award, Best Artist, Jakarta, Indonesia2015 Signature Art Prize Asia Pacific Brewery Foundation, Jurors ChoiceAwardVisual Artist of the Year 2015, Tempo Magazine's choice.Research Grant for the project “Sisyphus” from the Ministery of Cultureof South Korea2011 Icon of the Year 2011,in Arts and Culture; Gatra Media Indonesia2008 Grant for Innovative Art Project “Memorabilia” from Kelola Arts Foundation,Jakarta, Indonesia2008 Jahresstipendium der Niedersächsische Ministerium für Kultur und Wissenschaft,(Grant from the Ministry of Culture and Science NiedersachsenGermany)2006 Arbeitsstipendium Stiftung Kunsfonds, Bonn, Germany2002 - 2003 Graduierten Stipendium, Hochschule für Bildende Künste Braunschweig2003 Arbeitsstipendium der Niedersächsische Ministerium für Kultur und Wissenschaft,Braunschweig (Grant from the Ministry of Culture and ScienceNiedersachsen Germany)Other Projects2019- As Jury for the Bandung Contemporary Art Competition, Lawangwangi Foundnation,Bandung-2018- Critical Responder for the Asia Dramaturgy Network (ADN), Jogjakarta, Indonesia- Facilitator for D-LAP II, Studio Plesungan, Karanganyar- Lecture at the Städelschule, Frankfurt.- Keynote Speaker at “Conversation” Art Basel Hongkong, Hongkong- Facilitator for Artists Platform, Goethe Insitute , Bangkok, Thailand- Facilitator for Platform for Women Artists, Kelola Foundation, Yogyakarta, Indonesia2017- Keynote speaker at Museum Summit, Asia Society, Manila, Philippines- Artistic Director of the Jakarta Biennale 2017, Jakarta, Indoensia- Guest Lecturer at the NAFA (Nanyang Academy of Fine Arts) Singapore2016Melati Suryodarmo CV info@melatisuryodarmo.com- Art Summit Indonesia , as performance workshop tutor, Padang, Indonesia- As Curator and facilitator of the “undisclosed territory #10” performance art event at theStudio Plesungan, Solo, Indonesia- Keynote Speaker at the International Seminar at the post Graduate Program IndonesianInstitute of the Arts, Padang Panjang- Keynote Speaker at Seminar on “Artistic reserach” at the Indonesian Institute of the ArtsSurakarta- Guest Lecturer at the Post Graduate Program, Indonesian Insitute of the Arts, Jogjakarta2015- Guest Lecturer at the Post Graduate Program, Indonesian Insitute of the Arts, Jogjakarta- As panel speaker at the Workshop for young curators in the performing arts at theSingapore International Festival of the Arts- As mentor for Double Dance, Dare! Workshop for dance and performance art, SaskiKirana Dance Camp, Bandung, Indonesia- Public Lecture at the PKKH, Universitas Gajah Mada, Yogyakarta- Public Lecture at the National Gallery of South Australia, Adelaide, Australia- Public Lecture at the Parliement House of Australia, Canberra- As Curator and facilitator of the “undisclosed territory #9” performance art event at theStudio Plesungan, Solo, Indonesia- As Instructure for Lab “Translate,Intertwine, Transgress” Symposium at Moderna Museet,Stockholm, Sweden- As Instructure for Workshop at Fort Rotterdam Makassar, South Sulawesi, indonesisa- As Instrcture for Workshop at the Oksigen Jawa, ITB Bandung, Indonesia- Project House Club, HAU3, Hebbel Am Ufer , Berlin2014- Project House Club, China Festival, HAU2, Hebbel Am Ufer , Berlin- As curator for „undisclosed territory #8“ performance art event atStudio Plesungan, Solo, Indonesia.2013- As curator for „undisclosed territory #7“ performance art event at Studio Plesungan,Solo, Indonesia.- „Pseudopartisipatif Project“, with Cemeti Art House, Jogjakarta, Indonesia- Performance Art Workshop „beetwen the space“ at the Bangkok Arts andCulture Centre, Bangkok, Thailand.- „D-Lap“ dance laboratory, as facilitator, collaboration between PadepokanLemah Putih and CCAP Stockholm.„between the space“, performance art class for graduate and post graduateprogram at Umea Konsthogskolan, Umea, Sweden2012- Curator for „undisclosed territory #6“ performance art event at Padepokan Lemah Putih,Solo, Indonesia.- Facilitator for P_LAP,a performance Laboratory Project, collaborative project betweenPadepokan Lemah Putih Solo Indonesia with Galeria Labirynt Lublin Poland; as curator- Performance art wokshop II at the Padepokan Lemah Putih, Solo, Indonesia2011- Residency at Manila Contemporary, Manila, the Philipines- Mentor for EUFRAD (the European Forum for Research Degrees in Art and Design,Stockholm, Sweden. Workshop for european Phd candidates in artistic research.- Lecture for the Master Program at University of Dance and Circus,Stockholm- Workshop in Mandalay School of Arts during the Beyond Pressure festival,Mandalay, MyanmarMelati Suryodarmo CV info@melatisuryodarmo.com- Performance art wokshop I at the Padepokan Lemah Putih, Solo, Indonesia2010- Lecture and Workshop at the School of the Museum of Fine Arts, boston MA, USA- Workshop at the Academy of Fine Arts - University of Umeå, Sweden- Artist in Residence at IASPIS Residency in Umea and Saxnas, Sweden2009- Workshop at the Academy of Fine Arts - University of Umeå, Sweden- Panelist for Panel Discussion on Women artists in the era of Post_feminism; IncheonWomen Artists‘ Biennale 2009; at Chinese Center Incheon, South Korea- Lecture at the Chiangmai University, Faculty of Fine arts, Chiangmai, Thailand- Lecture at the WIlliam Waren Library, Jim Thompson Foundation, Bangkok, Thailand.- Lecture at the Dongmen Museum, Tainan, Taipei2008- “Is everything performance, is performance everything?”, panel member for Dans Biennal,Umea, Sweden- Workshop at the ZOOM Inetrnational performance art Festival Hildesheim, Germany- Lecture about Organizing Performance Art Labiratory Project, Asiatopia 10th, BangkokArt and Culture Centre, Bangkok, Thailandsince 2007- PALA (Performance Art Laboratory) Project, and “undisclosed territory #1 - #5, performanceart event”as Project manager, Padepokan Lemah Putih, in Tejakula, Bali, and Solo,Java,Indonesia.2007- Lecture at the Malmö School of Arts.- Artist in Studio, December 2007 at Lilith Performance Studio Malmö, Swedia- “Flying Circus Project” – Travelogue – Superintense- Singapore- Ho Chi Minh City, curatedby Ong Ken Seng, Theatreworks, Singapore- “15 International Performance Art Conference”, as project manager, in Bali, Indonesia2006- Faciilitator for the “Time_Place_Space 5”, at the Queensland University of technology(QUT) Brisbane, curated and organized by the Performance Space Sydney Australia- Residency at Grace exhibition Space, New York2005- “Focusing the day”, Project with youths in Berlin, HKW Berlin.Bibliographie |selected|- “Elements and Principles of 4D Art and Design”, Ellen Mueller, Oxford UniversityPress, New York, 2017; pg. 20-21- “Political Acts - Pioneers of Performance Art in South East Asia”, exh. Catalogue;Victorian Arts Centre Trust; Melbourne; 2017; pg. 26 -27- “Reenacting History” , exh. Catalogue, National Museum of Modern andContemporary Art, Seoul, South Korea, 2017; pg 78 - 81Melati Suryodarmo CV info@melatisuryodarmo.com- “Sunshower - Contemporary Art from South East Asia 1980s to Now “,exh. Catalogue; National Art Centre Tokyo, Mori Museum, Japan Foundation;Tokyo Japan; 2017; pg. 110 - 111- “Atlas of Mirrors”, Singapore Biennale 2016, exh. Catalogue, Singapore ArtMuseum; SIngapore; 2016; pg. 54 - 55- “Asia Pacific Triennale” Exh. Catalogue, CAGOMA, Brisbane, 2015- “GuangZhou Trienale”, Exh. Catalogue, Guang Dong Museum of Art, China2015- Rebecca Russo; „Pressing“ exh. Catalogue; Fondazzione @videoinsight,Turin, Italy; 2013- Dominique Lora, „Beyond the East“, Glocal Porject and MACRO, 2011- Serenella Ciclitira, „Indonesian Eye Contemporary Indonesian Art “ Saatchi,Thames and Hudson, London 2011- Prof. Achile Bonito Oliva, „Art Beyond the Year of Two Thousand“, BiasaArtSpace Little Library, Bali; 2010- Elin Lundgren + Petter Pettersson,“Lilith Performance Studio“, lilithperformancestudio,Malmö, 2010, pg: 82 - 85- Agung Hujanitkajennong + Enin Supriyanto,“The Grass Looks greenerwhere you water it“ Indonesian Contemporary art Showcase at Art Paris2010, exhibition Catalogue; Indonesian Platform/Dedy Kusuma, Jakarta2010; pg: 96, 97, 98, 144, 145, 146- Krisna Murti,“Essays on Video Art and New Media: Indonesia andbeyond“, Indonesian Visual Arts Archive (IVAA) Jogjakarta, 2009, pg. 185 -189- Paula Orrell (editor),“Marina Abramovic + The Future of performanceArt“,Prestel Munich-Berlin-London-New York, pg 125; pg 159- Dr. Yang Eunhee (editor),“2009 Incheon Women Artists‘ Biennale- mainexhibition“ , Exhibition Catalogue, Incheon Women Artis‘ Biennale OrganizingCommittee South Korea, 2009; pg: 184 - 185- Manifesta7, “The Rest Of Now”, Exhibition Catalogue, 2008- Carla Bianpoen, “Indonesian Women Artists: The Curtain Opens”, TheIndonesian Arts Foundation, 2007- “Loneliness in the Boundaries”, Works catalogue, Cemeti Art House forMelati Suryodarmo, Jogjakarta 2006- Räume und Schatten, exh. Catalogue, Haus der Kulturen der Welt Berlin,2005, pg 180, 192, 213.- 15th Festival internacional de arte electronica Video Brasil, Associacao,cultural videobrasil, Sao Paolo, 2005, pg.148-153, 170-175.- Emanuela Nobile Mino, “Faxe kondi”, exh. Catalogue, Futura o.s, Prague,2005.- Jane Kallir, “ Egon Schiele Love and Death”, Van Gogh Museum Amsterdam,Exh. Catalogue, Hatje Cantz Publishers Germany, 2005, pg 169 &171- Marina Abramovic, “Student Body”, Edizione Charta, Milan, Italy 2003,pg. 390 – 401- Else Jespersen, “4th Performance Festival Odense 2003“, exh. catalogue,International Performance Festival Odense, 2003, pg. 24- Francesco Bonami, “Dreams and Conflicts – the dictatorship of the viewer,50th International art exhibition, La Biennale di Venezia”, Exhibition catalo-Melati Suryodarmo CV info@melatisuryodarmo.comgue, Grafiche Peruzzo, Vegianno for Marsilio Editori s.p.a in Venice, pg.497- Jens Hoffmann, “ A little bit of history repeated”, exh. Catalogue, KunstWerke Berlin e.V, Berlin, 2001, pg.36,37- Boris Nieslony , “E.P.I Zentrum NRW”, ASA-European, Cologne- Michael Glasmeier und die Meisterschüler 2002,”Meisterschüler 2002 –Zeichnungen” exh. Catalogue, © Michael Glasmeier und die MeisterschülerHBK 2002, pg. 91-96- Mario Candia and Stefania Miscetti, “ANAPBLEPS“, exh. catalogue, GalleryMiscetti, Rome, 2000, pg. 38, 116- Else Jespersen, “Performance Festival Odense 1999“, exh. catalogue,Performance Festival Odense, 1999, pg. 44- Hannes Malte Mahler für Agora, “Fresh Air“, exh. catalogue ,Salon Verlag,Cologne, 1999, pg. 96-98Melati Suryodarmo CV info@melatisuryodarmo.comHier die von Melati im Podcast erwaehnten Künstlerinnen: Cindy Sherman:https://de.m.wikipedia.org/wiki/Cindy_Sherman Hito Steyerl: https://de.m.wikipedia.org/wiki/Hito_Steyerl

Why does your body feel "tight" or "stiff"? Why has endless stretching and foam rolling not removed pain and stiffness during training? What can you do to increase range of motion in a squat, and where do you start if you literally can't squat halfway down right now? This episode starts off with tangible strategy right from the beginning as Quinn addresses each of those questions. Quinn is a well respected name in the strength & conditioning / physical therapy space as he is a rare breed that has expertise in both. He's also built a successful online business leveraging his expertise (and overcome his natural tendency to overthink things to do so). We talked about how Quinn got to where he is now, what separates good strenghth coaches / PTs from the rest, and how to just get yourself to START. You can find Quinn on Instagram at @quinn.henochdpt or find a vetted PT / Strength Coach provider in your part of the world at his website www.clinicalathlete.com Enjoy!

Queerstories 2020 is a special series of the Queerstories podcast recorded during the lockdown months of 2020, featuring LGBTQI+ storytellers reflecting on the events of the year. This week’s episodes are about belonging, and on that feeling of home you get when you're with the people you love. Valerie Berry is a Filipino Australian actor, performance maker, theatre educator and emerging director. She grew up in country South Australia, Ceduna, part of the traditional lands of the Wirangu people. She has worked presented work with Sydney Festival, Asia TOPA 2020, National Theatre of Parramatta, Polyglot Theatre, Blacktown Arts Centre, Theatre Kantanka, Urban Theatre Projects, Belvoir, Branch Nebula, Vitalstatistix, Performance Space, ActNow Theatre, Sydney Theatre Company, Performing Lines, State Theatre Company of South Australia and Bell Shakespeare. She is one of the mentors and facilitators for CuriousWorks Beyond Refuge emerging makers program. Nevo Zisin is a queer, non-binary, Jewish writer, performer, activist and public speaker. They run workshops in schools and professional development trainings in workplaces around transgender identity & language. Author of award-winning Finding Nevo, a memoir on gender transition and a contributor to Kindred: A Queer Australian Young Adult Anthology, they are a mentor for The Pinnacle Foundation, one of Out for Australia's 30 Under 30 and a member of the Gender Euphoria cast - Australia's largest all trans & gender diverse show on a main stage. Queerstories is an LGBTQI+ storytelling night programmed by Maeve Marsden, with regular events around Australia. For Queerstories event dates, follow Queerstories on Facebook. The Queerstories book is published by Hachette Australia, and can be purchased from your favourite independent bookseller or on Booktopia. To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter And for gay stuff and insomnia rants follow me - Maeve Marsden - on Twitter and Instagram. See omnystudio.com/listener for privacy information.

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/

A natural health product geared toward maximizing performance in the things you need to do. We discuss the MobilityTape mantra and dive into the journey in the dance performance space with THE dynamic Canadian duo, Luka & Jenalyn. Jay Noronha, Founder MobilityTape A Canadian-based product, driven by a solid value system: No Limitations, helping individuals do the things they need to be at their best. Luka & Jenalyn, with numerous world titles under their belt, these two have been wowing audiences around the world with their unique and athletic dance style. The first ever Canadians on "NBCs World of Dance" have also performed on the renowned "Dancing With the Stars". In the past year alone, these two have toured in over 40 cities and performed in various NBA arenas across North America while producing concept and music videos or companies such as Disney, Warner Brothers and Universal Music. 

Vallejo Gantner led Performance Space 122 (now Performance Space New York) from 2005 to 2017 and was responsible for all programming and strategic direction, including the creation of the annual, interdisciplinary COIL Festival; the production of worldwide tours for multiple PS122 shows; and the conception, fundraising, and management for the recent $35 million renovation of the organization's longtime East Village home. Most recently, he has been an artistic adviser to BAM Artistic Director David Binder and a curatorial advisor and dramaturge for Theater der Welt in Dusseldorf. At Onassis USA, Gantner leads all of the Foundation's cultural activities in the U.S., harnessing its evolution into a formidable contemporary producer and presenter of arts-and-ideas programs that substantially contribute to timely national conversations and effectively inspire social change. · www.onassisusa.org · www.creativeprocess.info

Vallejo Gantner led Performance Space 122 (now Performance Space New York) from 2005 to 2017 and was responsible for all programming and strategic direction, including the creation of the annual, interdisciplinary COIL Festival; the production of worldwide tours for multiple PS122 shows; and the conception, fundraising, and management for the recent $35 million renovation of the organization's longtime East Village home. Most recently, he has been an artistic adviser to BAM Artistic Director David Binder and a curatorial advisor and dramaturge for Theater der Welt in Dusseldorf. At Onassis USA, Gantner leads all of the Foundation's cultural activities in the U.S., harnessing its evolution into a formidable contemporary producer and presenter of arts-and-ideas programs that substantially contribute to timely national conversations and effectively inspire social change. · www.onassisusa.org · www.creativeprocess.info

Vallejo Gantner led Performance Space 122 (now Performance Space New York) from 2005 to 2017 and was responsible for all programming and strategic direction, including the creation of the annual, interdisciplinary COIL Festival; the production of worldwide tours for multiple PS122 shows; and the conception, fundraising, and management for the recent $35 million renovation of the organization's longtime East Village home. Most recently, he has been an artistic adviser to BAM Artistic Director David Binder and a curatorial advisor and dramaturge for Theater der Welt in Dusseldorf. At Onassis USA, Gantner leads all of the Foundation's cultural activities in the U.S., harnessing its evolution into a formidable contemporary producer and presenter of arts-and-ideas programs that substantially contribute to timely national conversations and effectively inspire social change. www.onassisusa.org · www.creativeprocess.info

Vallejo Gantner led Performance Space 122 (now Performance Space New York) from 2005 to 2017 and was responsible for all programming and strategic direction, including the creation of the annual, interdisciplinary COIL Festival; the production of worldwide tours for multiple PS122 shows; and the conception, fundraising, and management for the recent $35 million renovation of the organization's longtime East Village home. Most recently, he has been an artistic adviser to BAM Artistic Director David Binder and a curatorial advisor and dramaturge for Theater der Welt in Dusseldorf. At Onassis USA, Gantner leads all of the Foundation's cultural activities in the U.S., harnessing its evolution into a formidable contemporary producer and presenter of arts-and-ideas programs that substantially contribute to timely national conversations and effectively inspire social change. www.onassisusa.org · www.creativeprocess.info

Milwaukee’s historic Bronzeville neighborhood is now home to The Retreat, a space that serves as “both a position and a place.” Located at 2215 N. Dr. Martin Luther King Jr. Drive and owned and operated by Milwaukee change leaders, Dasha Kelly Hamilton and Kima Hamilton (who is also an 88Nine DJ), The Retreat was created as a “space for ideas to plan and play, and a place for people to gather and grow.” Listen to our interview with Dasha.

Milwaukee’s historic Bronzeville neighborhood is now home to The Retreat, a space that serves as “both a position and a place.” Located at 2215 N. Dr. Martin Luther King Jr. Drive and owned and operated by Milwaukee change leaders, Dasha Kelly Hamilton and Kima Hamilton (who is also an 88Nine DJ), The Retreat was created as a “space for ideas to plan and play, and a place for people to gather and grow.” Listen to our interview with Dasha.

Performance Space has long been a hub for queer artists from diverse artistic practices and cultural backgrounds. The Queer Together conversation features Jeff Khan (Performance Space Artistic Director), Joy Ng, Frances Barrett and Bhenji Ra discussing new horizons in queer performance, the intersection between queer club and art communities and the diversity and vitality of Sydney's LGBTQIA+ artistic culture. Podcast music: Other Tempo by Lauren Brincat, recorded live for Liveworks 2019. Image: FAFSWAG performing in Day for Night, 2018. Photograph by Alex Davies.

Come one, come all and listen in as we have a special guest in-studio!!! Jason Gordon from Guitar Center in Manchester joins us live to chat about the current nature of the music industry and to talk about what we need here at our studio to start using our space as a band practice area/recording studio!!! And he was nice enough to bring a $50 Guitar Center gift card too, so make sure you listen in for this week's "Question of the Week" to get your hands on some free gear!!!!! Also, there's the "What The Hell Is Goin On?" report, your #5PointPhrase of the week and this week's N.E.R.D. (New England Rock Discovery) feature band: New Haven's own Dead by Wednesday with their cover of the Megadeth classic "Symphony of Destruction"!!!! Rock on and enjoy......

KB Boyce is the Co-Founder and Director of Queer Rebels, a Queer People of Color arts company that connects generations – and honors our queer legacies with visionary art for the future. Musician and media artist KB Boyce is a Gender Non Conforming / trans masculine performer whose adventures have brought them from teenage punk band appearances at CBGBs in NY, to B-grade horror movies in LA, and on to solo blues performance as The Drag King of the Blues in San Francisco. Boyce composes and performs music that pays homage to African-American and Indigenous legacies of resistance through art. Boyce conjures the spirit of cross-dressing Blues performers – reflecting the history, creativity, and aesthetics of the ancestors. Crystal Mason co-founded and co-directed Luna Sea Women's Performance Space. They are the former Executive Director of the Jon Sims Center for the Arts. They lived in Berlin, Germany for 9 years, where they co-owned and operated Schoko Café, a women's art and culture center. Their last project in Berlin was a two-year long European Union funded film project dealing with multi- dimensional discrimination faced by lesbians of color and immigrant lesbians in Berlin. In San Francisco, Crystal was an AIDS activist and organizer working with ACT UP and the San Francisco AIDS Foundation in the Women's and Children's Program. Crystal was also a regular behind the scenes and in front of the camera on Electric City Queer TV for several years. They co-produced the multimedia theater piece Hey, Sailor and created 3 short films: In My Blood, I Know My Soul, and In My Own Hands. In 2016 Crystal created a multimedia performance/installation at Fort Mason as part of the THIS IS WHAT I Want Festival 2016 called There is No Other, Fractured And Complete, Tell Me Something True. They have been a Queer Rebels Board Member since 2012 and is now the Managing Director at Queer Rebels Productions. Episode Highlights KB tells about how the Queer Rebel Festival first began in San Francisco in 2008 as a way to create a space for centering queer/trans people of color (QT POC) artists. KB & Crystal share about their own backgrounds in art and activism. KB group up in a New York family of artists, performers and activists. Crystal grew up always being creative and a storyteller, and explored using story as a tool for liberation activism. They each discuss their visions for the future of QT POC and how Queer Rebels helps to support that vision. We discuss the importance of intergenerational collaboration in art, and the introduction of the Queer Rebels intergenerational residency program. They share some samples of what the audience can expect at the festival this year. Crystal shares how collaboration has been a source of hope and inspiration in their activism and art.   Web links Queer Rebels Fest - San Francisco, June 7th & 8th - Buy Tickets HERE Find more at  QueerRebels.com Find Queer Rebels on FaceBook, Instagram & Twitter Tomorrow We Inherit the Earth: The Queer Intifada - San Francisco, June 20th - 22nd Join the Queer Spirit Community Facebook group to continue the conversation and stay up to date on new episodes.  And follow us on Instagram!  Join our mailing list  to get news and podcast updates sent directly to you.

Performance artist Laakkuluk Williamson Bathory sits down with Tom Power for q live in Iqaluit.

On today’s episode of Tarot for the Wild Soul, we have the amazing, brilliant, and divine Jack Ferver as our embodiment of Queen of Wands! Jack Ferver is a New York based writer, choreographer, and director, and the co-host of the podcast, “Dance and Stuff.” His genre defying performances, which have been called “so extreme that they sometimes look and feel like exorcisms” (The New Yorker), explore the tragicomedy of the human psyche. Jack’s works have been presented in New York City at the New Museum; The Kitchen; The French Institute Alliance Française, as part of Crossing the Line; Abrons Arts Center; Gibney Dance, and Performance Space 122, to name a few. His work in film and TV includes “Outside Providence,” “Gayby,” and “Strangers with Candy,” among many other credits. Queen of Wands is the witch of the deck. Ruled by fire and water, this being is the embodiment of alchemy, creating magic, ceremony, ritual and channeled medicine wherever they walk. When we embody Queen of Wands, life becomes ceremony, and we allow ourselves to be a living vessel for Divine to come through us, regardless of what medium or method we are practicing with. As the creator of such fierce and intense channeled works, Jack is truly a witch before all else, desiring for their work, writing, and theatrical pieces to be of highest service. Jack also has a beautiful embodiment with The Magician, Seven of Cups, and Knight of Wands. The Magician because of Jack’s creative, channeling process — how he brings things that are within him, out of him into the world; Seven of Cups because of Jack’s amazing ability to rest in the deep dream space, allowing ideas to form from different varieties of media and medium; Knight of Wands, because Jack truly is a living embodiment of moving through the world as yourself, in a way that only you can. Topics in this episode: • How Jack connected with Michelle Pfieffer’s performance of Catwoman in his most recent theatrical piece • Jack’s process of creation, and allowing the muses to come in • How his experience training in Martha Graham technique opened his eyes to the kind of work he wanted to create • The kind of self care he needs to utilize before his immense performances • Psychic dramaturgy • How Jack’s experience of being an abused, bullied kid has inspired him to create work that helps and heals, and so much more! Find full show notes for this episode: https://wildsoulpodcast.com/blog/queen-of-wands-jack-ferver Jack’s website: http://www.jackferver.org Jack’s Instagram: @jackferver Dance and Stuff Podcast website: https://www.danceandstuff.com Dance and Stuff Instagram: @withdanceandstuff Sign up for Tarot for the Wild Soul here!: https://tarotforthewildsoul.com ABOUT THE PODCAST Hosted by intuitive tarot reader, holistic counselor and teacher, Lindsay Mack, Tarot for the Wild Soul is a weaving of deep conversations with folks who use Tarot in their lives, channeled energetic offerings, intuitive readings on the months ahead, and mini Tarot lessons. ABOUT LINDSAY Lindsay is an intuitive tarot reader, holistic counselor, teacher and writer based in Brooklyn, NY. She is the founder of Wild Soul Healing and Tarot for the Wild Soul, as well as the host of this podcast. She has been studying and reading Tarot for over 20 years. As a joyful and healthy survivor of childhood abuse & PTSD, Lindsay is passionately dedicated to honoring and helping to bring space, light and healing to those who are experiencing mental, emotional or physical suffering. It is an organic part of her healing work with the Tarot, and she is honored to be sharing these offerings to those who feel called to them. WEBSITE: www.lindsaymack.com INSTAGRAM: @wildsoulhealing PODCAST ART: Chelsea Iris Granger

The Argyros is the newest performing arts center in Ketchum and it promises to deliver a "high-tech performance and event facility designed to inspire and enrich artists, residents and visitors from around the world." We learn about Ketchum's newest attraction.

Joel Bray has established himself as a contemporary dancer and choreographer both nationally and internationally. The Melbourne-based artist and proud Wiradjuri man began dancing at age 20, leaving a Law Degree to start training in traditional Aboriginal and Contemporary dance forms at NAISDA Dance College. Explaining:“It wasn’t so much dance I was interested in, it was being in a community of Black people, for the first time, being surrounded by other Aboriginal people for the first time and learning about my roots.”Joel then went to Western Australian Academy of Performing Arts (WAAPA) graduating in 2005.In creating and choreographing, Joel is inspired by his Wiradjuri cultural heritage allowing this to inform a new method of creation, rather than recreate a supposed Indigenous ‘form’. Alongside explorations of the experience for fair-skinned Aboriginal people and the racism they can face, Joel navigates the experience for gay men in a world of digital isolation. Often his works are intimate encounters, an experience between the performer and audience member where each party have a role to play in the storytelling and performance. For example, his recent work Biladurang, set in a hotel room, which was programmed as part of Brisbane Festival 2018 and will next appear as part of Sydney Festival 2019. Joel is an ongoing performer with Chunky Move (AUS), appearing in Complexity of Belonging and An Act of Now, and with Anouk van Dijk and Falk Richter in their production Safe Places at the Frankfurt Schauspielhaus. Joel has been commission as part of Next Move 11 with Dharawungara. This work is a collision of rituals where the audience is invited to reimagine the theatre as a ceremonial ground of light and sound, as Joel explores how to breath life into this Wiradjuri rite he has only ever read about.In conversation Joel talked about his twelve year career, spanning France, Portugal, Israel and Australia with Chunky Move, Jean-Claude Gallotta, Company CeDeCe , Kolben Dance, Machol Shalem Dance House, Yoram Karmi’s FRESCO Dance Company, Niv Sheinfeld & Oren Laor and Roy Assaf. He is a grantee of the 2018 Australia Council’s Indigenous Signature Works funding and is currently co-commissioned by the Performance Space and Yirramboi Festival to make a new work entitled Candy from Strangers for 2019. Joel was nominated for Best Performer in 2017 at the Australian Dance Awards and is a member of the Melbourne Greenroom Awards Dance Jury.“Dance has the ability to take the moment and to expand that out, so you can almost, you can take one or a few things, and really pull them apart and really understand them. […] Dance allows the possibility for authentic human to human encounters; that I think are becoming more and more precious in this digital world.”

Jenny Schlenzka, recently appointed Artistic Director of Performance Space New York, speaks about new challenges for Performance Space New York and focus on the new direction she is bringing to the organisation, and reflect upon new developments and challenges curating and exhibiting performance art. This keynote lecture is presented as part of MEL&NYC, a citywide cultural festival celebrating all things Melbourne and New York City from June to August 2018. Supported by the Victorian Government. This lecture was recorded on 16 August 2018 at ACCA. Resources: https://performancespacenewyork.org/ https://acca.melbourne/program/jenny-schlenzka-new-challenges-for-performance-space-new-york/

Curator and writer, Jeff Khan joins Penelope Benton in conversation about Performance Contemporary as part of Sydney Contemporary Art Fair and Liveworks 2018, Performance Space's annual festival.

Barry Burns of the post-rock band Mogwai, and his wife, Rachel, came upon the space that would eventually become their pub, Das Gift, completely by chance. Now, seven years later, Das Gift is a Glasgow-meets-Berlin mainstay in the neighborhood of Neukölln.

Justin Shoulder is a performance-based artist, whose work cuts across performance, sculpture, dance and video. His performance work was born in the queer club scene, and has found a home in theatres and gallery spaces. Justin cites his experiences at Club Kooky and Club 77 as incredibly influential. The clubs became an escape from his job at the time, which involved editing photos. Justin’s work explores queer narratives that often connect with intercultural, migrant and spiritual experiences. His work is aesthetically beautiful with stunning costuming, mask and prosthesis that are used to create mythical type creatures that are activated through his body. His main body of work is known as the Phasmahammer, which is based upon queered ancestral myth. Justin is a founding member of queer artist collective The Glitter Militia and Club Ate, a gang of Asia-pacific sissies. Collaborating with a range of individuals that includes the likes of Bhenji Ra and partner Matthew Stegh, his work has been performed and exhibited internationally, including at AsiaTOPA, First Sight at Museum Macan, Shanghai Museum of Glass, Museum of Contemporary Art Australia, Performance Space, DARK MOFO, GOMA, National Gallery of Australia and Next Wave. Justin was recently announced as a nominee for the 2018 Helpmann Awards for Best Visual or Physical Theatre Production, for Carrion. Carrion is a work that has taken place in a range of settings from clubs to theatres. Carrion blurs the boundaries between animal, human and machine; drawing upon queer and ancestral mythologies and evoking a post-apocalyptic landscape rife with decay, where the human and the android have merged for survival. This season will include interviews with a range of performers and choreographers that disrupt the “normal” through their artistry including Luke George, Mette Ingvartsen, Philip Adams and Chase Johnsey. If you enjoy Delving into Dance please leave a contribution, currently raising funds to transcribe all the episodes to increase the accessibility of the podcast, particularly to deaf individuals.

Today was #TheShowKC live Christmas party from the KC102.1 Performance Space, with special live guests: Jennifer Bertrand from HGTV Design Star, former KC Royals player Jaime Bluma, Tamara Day from Bargain Mansions on the DIY Network, Ms Johnson County, and performances from our very own Christmas band - the Snow Globes! Enjoy and Merry Christmas from our family to yours!

BalletMet Artistic Director Edwaard Liang talks about the upcoming performance of Front Row.You’re invited to experience ballet in a boldly intimate setting. Front Row will feature three works by three boundary-pushing choreographers inside our Performance Space, a 225-seat theater that places dancers and viewers together. World Premieres by Andrea Schermoly and Edwaard Liang and the Company Premiere of Ma Cong’s Ershter Vals will put the focus on the art, with movement and themes that challenge audience and performer alike.November 9-19, 2017 in the BalletMet Performance SpaceThursday, 11/9 7:30 pmFriday, 11/10 8:00 pmSaturday, 11/11 8:00 pmSunday, 11/12 1:00 pm & 5:30 pmThursday, 11/16 7:30 pmFriday, 11/17 8:00 pmSaturday, 11/18 8:00 pmSunday, 11/19 1:00 pm & 5:30 pmCheck out a full list of productions for BalletMet’s 2017-18 40th Anniversary season.https://www.balletmet.org/2017-18-seasonhttps://www.balletmet.org/subscription-packages/An affiliate podcast of Circle270Media Network - http://www.circle270media.com

BalletMet Artistic Director Edwaard Liang talks about the upcoming performance of Front Row.You’re invited to experience ballet in a boldly intimate setting. Front Row will feature three works by three boundary-pushing choreographers inside our Performance Space, a 225-seat theater that places dancers and viewers together. World Premieres by Andrea Schermoly and Edwaard Liang and the Company Premiere of Ma Cong’s Ershter Vals will put the focus on the art, with movement and themes that challenge audience and performer alike.November 9-19, 2017 in the BalletMet Performance SpaceThursday, 11/9 7:30 pmFriday, 11/10 8:00 pmSaturday, 11/11 8:00 pmSunday, 11/12 1:00 pm & 5:30 pmThursday, 11/16 7:30 pmFriday, 11/17 8:00 pmSaturday, 11/18 8:00 pmSunday, 11/19 1:00 pm & 5:30 pmCheck out a full list of productions for BalletMet’s 2017-18 40th Anniversary season.https://www.balletmet.org/2017-18-seasonhttps://www.balletmet.org/subscription-packages/An affiliate podcast of Circle270Media Network - http://www.circle270media.com

"Ironic" Toxic Masculinity & Rhetorical Chorus This week we were joined by Agatha Gothe-Snape and Megan Alice Clune for Agatha's new performance work 'Rhetorical Chorus' as part of Liveworks 2017. The work is on until October 22 at Performance Space, Carriageworks. We were also joined by Athena Thebus for her new work ''Dreaming about you woke me up". It's on until October 22 at 55 Sydenham Rd Marrickville. For Thoughts That Count we focused on an article by Junkee writer Jared Richards called Alex Cameron, Kirin J Callinan and The Problem with "Ironic" Toxic Masculinity, and heard from our listeners as well as All Our Exes Live In Texas' Hannah Crofts, LISTEN's Jonine Nokes and Sydney rapper Kimchi Princi.

Episode 6: Freedom of Speech features some of Brisbane's most talented, young free improvisers, including Andrew Ball, Brodie Mcallister, and Hannah Reardon-Smith. Through their diverse influences in jazz, classical, cross-genre and other styles, the musicians share their experience in finding a platform that expresses their artistic vision and taste. The venue featured in this episode is the Judith Wright Centre of Contemporary Arts. It lives and breathes creativity, both as a boutique performing arts venue and as a home to internationally-recognised arts organisations and creative industry tenants. The facility includes the Performance Space, Shopfront, Theatre Rehearsal Space, and Multipurpose Room, which caters for live performances, meetings, film shoots and screenings, workshops and seminars, through to major product launches, trade shows, arts festivals, awards nights, conferences and classes. More information at http://judithwrightcentre.com/ Directed and Hosted by Anna Kho. Recorded and Edited by Daniel Kassulke. Episode was recorded at Visible Ink. Music Credits: Musicians Unmuted Opening Theme - Daniel Kassulke CThonic Fanfare - Barega Sax Quartet, composed by Andrew Ball Improvisation 1 (Thinking Aloud) - Hannah Reardon-Smith Multiphonics - Brodie McAllister Emu Wars - Rogue Three (Hannah Reardon-Smith, Brodie Mcallister and Ryan Williams) Home - Con Artists, arranged by Brodie McAllister Groove Machine - Barega Sax Quartet

"We talk a lot about white guilt, and it is a real phenomenon. ... That guilt is kind of like the wages of privilege. But I'm interested in reframing it through my work, not as guilt, but as shame. Which is a different thing. It is a profoundly different thing." - Sarah-Jane Norman In the fourth episode of season three, we discuss the politically explosive work of Sarah Jane Norman, Aboriginal Australian, queer, non-binary, cross-disciplinary artist. SJ's whole body of work traverses performance, installation, sculpture, text, video, and sound; it is anchored in a multitude of physical disciplines, as well as the written language. SJ has presented their work at Venice International Performance Week, Spill Festival of Live Art, Fierce Festival, In Between Time, Edinburgh Festival, as well as Performance Space, Next Wave, the Australian Experimental Art Foundation, and Brisbane International Festival. A proud Indigenous Australian of both Wiradjuri and European heritage, SJ grew up in Sydney and regional NSW, but today divides their time between Australia and Berlin. Most recently, SJ Norman was one of the artists In Residence with Marina Abramovic in Sydney, and has presented their Unsettling Suite at Melbourne Festival, as part of Dancehouse's Dance Territories program. Looking through their rich body of work, we discuss inheritance of history, continuing transgenerational trauma, and the value of dissecting the effects of the politics of colonization with the artist’s body today. "It's a huge amount of emotional labour that I have to do on a daily basis, not just as an artist, but as a person. But, you know, it's the same kind of emotional labour that every person of colour or Indigenous person has to do, living in a white-dominated society. That is invisible labour. Part of my practice is to make it visible. And to make it clear, the imbalance that exists in the cultural expectations, that we're the only ones who have to do it, and that we're the only ones who have to carry and hold back history." - Sarah-Jane Norman It is hard to speak about this episode, harder than most. Whilst we like to keep our conversations light, perhaps to demistify and disarm the inquiries we posit, it is hard to find a space of levity when we talk about the weight of history that we all carry, some more, some less. "I'm really interested in complicity," says SJ, when describing the artistic labour she performs: "I'm really interested in blurring the line between guilt and complicity." It is a conversation we are very proud of; but oh, how heavy the history can be. Discussed in this episode: is Marina Abramovic a racist?, the futility of guilt, shame as an embodied sensation, Unsettling Suite, fetishisation of oral languages, being fairer than a whitefella, the emotional labour of confronting our colonial past, when people lose it, political performance, the logocentric West, Andrew Bolt, the kids who parrot the biases that their culture teaches them, contemporary Australia, and how there is no context for racism except racism. "Witchcraft, that's how I do it." - Sarah-Jane Norman Enjoy and stay tuned: we have more exciting and stimulating conversations to come. Podcast bibliography: Sarah Jane Norman Responds to Marina Abramovic, SBS, 25 August 2016 Performance artist Marina Abramovic calls Aboriginal Australians 'dinosaurs' in unpublished memoir, Sydney Morning Herald, 17 August 2016 Dance Territories at Melbourne Festival, 14-16 October 2016 Jessi Lewis: What The Water Gave Me, TAGG, 11 October 2016 For more information about Sarah Jane Norman and their work, check out their website. This series of AUDIOSTAGE has been commissioned by DANCEHOUSE as part of the 2016 Keir Choreographic Award Public Program and was generously supported by the Keir Foundation.

We dig in to the program for Liveworks 2016: Performance Space's festival of playful and experimental art. Hear from Tina Havelock Stevens about the epic Texan storm that inspired her video work, Thunderhead. Then we chat to Pony Express about their 'ecosexual bathhouse', where nature-boners are 100% encouraged. Soundtracked by Stiff Gins, who are bringing indigenous stories to life in Spirit Of Things.

Jon hangs out with fellow company members in front of the new Mopco Theatre during the 2016 Italian Festival. Talks to passers by about the new performance space, and leans how to make Mop Corn!

"I remember the first time I went to a funding meeting, and the guy who was responsible said: "Can't you get a boyfriend without a festival?" - Zvonimir Dobrović And it's time for a new season of Audio Stage! The question we are asking is: queer? What is queer? What is not queer? How does queer exist in performance? How does queer performance exist in the world? What is its political power, and what its aesthetic urgency? In the first episode of the season, Jana is talking to compatriot Zvonimir Dobrović, curator of Queer Festivals in Zagreb and New York. For the comfort of our listeners, the conversation is NOT in Croatian! We talk about his controversial curatorial policy, the power of norms, and how Queer Zagreb developed out of the anti-war activism in 90s Croatia. When you have fear in the public sphere, you can do anything with people. You can manipulate, because it plays with the basic notions of safety. Conservatism always plays with fear, and it's always fear of the other. And anything can be that 'other'. ... This education, constant education of acceptance and tolerance of the 'other', can't be forgotten. You have to do it with every generation. It should be in schools from the earliest age." - Zvonimir Dobrović Zvonimir was in Australia to give a lecture at Performance Space in Sydney and see some work at Dance Massive in Melbourne, and we jumped at the opportunity to talk to him. Queer Festival was very important in Croatia, both as a very visible part of the LGBT activism in the 200s, and for decisively redefining the notion of queer away from the narrow LGBT question and into a broader political gesture of resisting normativity. In this episode, we take time to talk about formative experiences, about being young, and about how arts festivals are so conducive to falling in love. Discussed in this episode: what we did in the 1990s, James Welshby's HEX, what is gay and what is queer, the tabloid press, teaching tolerance in schools, barebacking in Australia, BalletLab's Kingdom, Jerome Bel makes queer art!, single mothers are queer, heteronormativity, the monochrome Western uniform of LGBT sexuality, pulling flags out of your pussy VS lesbian pottery, whether art can really change the world, and how, if you must be gay in patriarchy, at least don't be a bottom. "Queer is everything outside the norm. It is subversive, but never violent." Stay tuned: we have more exciting and stimulating conversations to come. Podcast bibliography: 2015 INTERNATIONAL LECTURE SERIES: Zvonimir Dobrovic, at Performance Space Oral History of Homosexuality: Preface, by Zvonimir Dobrovic and Gordan Bosanac For more information about Zvonimir Dobrovic's work, visit the official pages for Queer Zagreb and Queer New York International Arts Festival. Photo credits: Daniel Moss.

Jon takes a walking tour with the Artistic Director of the Mop and Bucket Improv Company, Michael Burns, of the new Mopco Performance Space.

With a collection of brand new songs in tow, this week on TransCanada Music West, we welcome Jesse and the Dandelions to CKUA’s Performance Space. Jesse began his musical career in Lethbridge. It wasn't long before he was at the nexus of that city’s music scene, serving as a producer and engineer in addition to recording his own material. Drawn to Alberta’s capital by the creative force that was Edmonton’s Old / Ugly recording company, Jesse now calls Edmonton home. If you’re a regular listener to CKUA, you’ve likely heard many of the alt-pop gems on Jesse’s 2013 album, A Mutual Understanding. Jesse and the Dandelions new LP, True Blue, is due out this September. But on this episode, Jesse and his crew debut a few of those brand new tracks live in our performance space. Set list: Looking at the Sun Break Me     No Fun     True Blue     Give Up The Gold     Brother     Ammonite     Til The End    

This week’s featured act on TransCanada Music West (8pm MT Friday) is Jom Comyn, in concert in CKUA’s Performance Space. If there were a soundtrack to those cold, dark Canadian winters, it would sound something like Jom Comyn’s latest full length record In The Dark on 99, All The Time, All Time Time. That record made our list of the Top 40 most played releases in 2014 on these airwaves. Last year, Jom followed that critically-acclaimed record up with a new EP The Black Pits. Both under his given name of Jim Cuming, and as Jom Comyn. Jim has released a slough of albums ranging from traditional folk to experimental psychedelia. He always has an incredible touch with melody, and a penchant for affecting lyrics. This week’s set features Tom Murray on bass, Andy Mulcair on drums, Jessica Jalbert on guitar, and Jim Cuming, aka Jom Comyn himself on vocals and guitar.

On this show we chat to the Director of Campbelltown Arts Centre Michael Dagostino about their 2016 program, as well as his own art practice. Madison Moore, artist, academic and pop scholar, talks to us about the politics of clubbing and more broadly the epic queer program 'Day For Night' at Performance Space. Curated music by Eugene Choi.

This week: The second installment in our Open Engagement 2013 series! Caroline Picard talks to Amy Spiers. Amy Spiers is a Melbourne-based artist and writer interested in socially engaged and participatory art. She employs a cross-disciplinary approach that includes photography, video, installation, text and performance for both site-specific and gallery contexts. Amy completed a Master of Fine Art at the Victorian College of Art in 2011. During her studies she explored strategies for inviting viewer participation in her art. Amy has presented numerous art projects in festivals and galleries across Australia, including Melbourne Fringe, Next Wave, Tiny Stadiums, This Is Not Art, Performance Space, Platform, Inflight ARI and SASA Gallery. For more information about Amy’s work go to: amyspiers.tumblr.com

Choreographer Megan V. Sprenger joins me to talk about "...within us," her new, evening-length production at PS 122, May 17-24 (Tues-Sat at 7:30pm; Sun at 5:30pm. Company information at Megan V. Sprenger/mvworks -- http://www.mvworks.org/ Further information at Performance Space 122 -- http://www.ps122.org -- or 212-352-3101 (c)2009, Eva Yaa Asantewaa, http://infinitebody.blogspot.com

Acclaimed performance artist Sara Juli discusses her new solo piece--"Death"--which premieres at Performance Space 122 on October 24. [Contains some explicit language.] Program notes--http://infinitebody.blogspot.com. Guest info at http://www.ps122.org and http://www.elsieman.org/artists/sara_juli.html. (c)2008, Eva Yaa Asantewaa