Podcast appearances and mentions of Ronald K Brown

"Dance Talk” ® with Joanne Carey with special guest, Robert Battle, choreographer, artistic director and newly appointed resident choreographer for the Paul Taylor Dance Company.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews Robert Battle. Together they discuss Robert's journey from his early beginnings in dance in Miami, his experiences at Juilliard, and his time as artistic director of the iconic Alvin Ailey Dance Theater. Robert shares insights on the importance of mentorship, the creative process in choreography, and the significance of celebrating humanity through art. The conversation highlights the challenges and triumphs of a career in dance, emphasizing the value of connection and community in the arts.Robert Battle's journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida where he showed artistic talent early and studied dance at a high school arts magnet program. From there he attended Miami's New World School of the Arts and then the dance program at The Juilliard School where he met his mentor Carolyn Adams. He danced with Parsons Dance from 1994 to 2001, and set his choreography on that company starting in 1998. Mr. Battle founded his own Battleworks Dance Company in 2002 which performed extensively at venues including The Joyce Theater, American Dance Festival, and Jacob's Pillow. A frequent choreographer and artist in residence at Ailey Ailey American Dance Theater since 1999, he set many of his works on the Ailey Company and Ailey II. In July 2011 he was personally selected by Judith Jamison to become Artistic Director of Ailey, making him only the third person to head the Company since it was founded in 1958. During his 12 years as Artistic Director he expanded the Ailey repertory with works by artists as diverse as Kyle Abraham, Mauro Bigonzetti, Ronald K. Brown, Rennie Harris, and Paul Taylor. He also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. He stepped down from the position in 2023.For more information about Robert Battle and the Paul Taylor Dance Companyhttps://paultaylordance.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Christian Warner hosts this episode focused on the human body's capacity to navigate collective grief, moving toward not only healing,  but self-actualization. Warner is a Black interdisciplinary performer, choreographer, and director. He shares his own  experiences as well as excerpts from conversations with dance artists Dormeshia, Camille A. Brown, Ronald K. Brown, and their collaborators.https://www.christianawarner.com/

Choreographer Ronald K. Brown joins Tavis to discuss dance, Alvin Ailey, and paying tribute to Judith Jamison.

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Founder and Artistic Director of the Evidence Dance Company, Ronald K. Brown deftly fuses traditional African dances with modern dance styles. Despite having suffered from a debilitating stroke in 2021, he continues to choreograph and teach, inspiring generations of artists. Alicia recalls the pivotal role Ron played in her career as a professional performer with Alvin Ailey American Dance Theater, and he shares his memories of dancing everywhere as a child. Ron discusses how he went from wanting to be a journalist and a performer to becoming a choreographer, and reveals his love for telling stories and social dance.Check out Ronald K. Brown and Evidence Dance Company on Instagram or the web.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss.This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Special Guest: Jacqueline Green Miller  In this episode,  “Dance Talk” ® with Joanne Carey, you'll listen in as Jacqueline Green Miller takes us through the journey of her dance career, recalling to mind her own mentors and teachers as well as the schools where she studied that laid a strong foundation for her career and who shaped her as an artist. She aspires to offer this same love and inspiration as she now guides the future generation of dancers as co-director with her husband of TDA Prep (The Dance Artist Prep) a cutting edge performing arts school based in Chicago.  Listen in, as we can't help but geek out! about all things dance! And Jackie, as she is referred to by her friends, indulges me with a discussion about performing the iconic piece, "Revelations" , a legendary ballet created by Alvin Ailey for the Alvin Ailey Dance Theater in 1960, that is still transforming audiences all over the world. Find her on Instagram @jagreen711 or @TDAPrep You can also listen to Jackie's previous IGLIVE interview with Joanne Carey @westfieldschoolofdance Jacqueline Green began her dance training at the age of 13 at the Baltimore School for the Arts. From there she trained at the Ailey School, Pennsylvania Regional Ballet, the Chautauqua Institution for Dance, and Jacob's Pillow Dance Festival. In 2011, she joined the Alvin Ailey American Dance Theater, where she performed as a principal dancer. In her career, she has performed works by a range of choreographers, including Alvin Ailey, Wayne McGregor, Judith Jamison, Ronald K. Brown, Aszure Barton, and Kyle Abraham. In 2016 she performed as a guest artist with The Royal Ballet in London.  Ms. Green is a 2018 Bessie nominee, a 2014 Dance Fellowship recipient of the Princess Grace Foundation-USA, a 2015 Clive Barnes Award nominee, a 2009 recipient of the Martha Hill Fund's Young Professional Award, and a 2010 recipient of the Dizzy Feet Foundation Scholarship.  She has modeled for Nine West, Dior, Temple St. Clair, and Ralph Lauren. In 2018 she performed on BET's Black Girls Rock honoring Judith Jamison. She is also seen dancing in the 2020 film Really Love. Ms. Green is a two time New York Times featured dance artist. Along with her husband Preston Miller, she is currently co-director of TDA Prep (The Dance Artist Prep), an in person and virtual pre-professional dance school dedicated to providing training for both dancers and dance parents navigating dance educational institutions, dance colleges, and the professional dance industry.   “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real. " Tune in. Follow. Like us. And SHARE! 

During the Christmas season, we are bringing you a super special series, “Stories of Faith & Transformation.” Our guest for part one is professional dancer Kevyn Butler. Kevyn shares a powerful story of transformation in his life!Kevyn has worked with Ad Deum Dance Company, Oakland Ballet, Störling Dance Theater, Zion Dance Project, Ronald K. Brown, EVIDENCE, a dance company and is a current member of Bruce Wood Dance in Dallas, TX. Kevyn started out in visual art and discovered a love of dance in high school. During his time training to be a professional dancer in New York City, he really started searching for his true identity, and he ended up on an EPIC faith journey! I loved hearing from Kevyn about how his view of dance has shifted over the years and about the power of truly loving others. I was so moved by this conversation with Kevyn, and I believe you will be inspired and moved as well!*Disclaimer: we do talk about some heavy topics during this episode. If you typically listen with young ears in the room/car, you may want to listen to this episode alone first.*Check out our website http://creativeimpactpodcast.com for the full show notes that include Kevyn's biography and additional links mentioned in this episode. You can be sure not to miss a Creative Impact conversation by subscribing through your favorite podcast app.  We are so grateful to have you as a part of the Creative Impact community and would love it if you would share the show with your friends!Support the show

Greetings Glocal Citizens! This week's episode is home grown in a sense as I had the chance to chat with long-time friend and collaborator, Farai Malianga. Born and raised in Zimbabwe, Farai's journey to the US found him at the University in Colorado in Boulder where our stories connect. He is a Videographer, Composer, and Musician who began his career in African Dance in Colorado with Leticia Williams' Harambee and Musical Director Judy “Fatu” Henderson. He later relocated to New York where he began studying dance and drum with pioneers Yousouf Koumbasa, Mbemba Bangoura and Ronald K. Brown. He has performed with creative Masters such as Chuck Davis in BAMs ‘Dance Africa', Reginald Yates and Heritage O.P. for the Alvin Ailey American Dance Theatre's their 40th Anniversary season; with musicians such as Roy Ayers, Wunmi Olaiya,, Manchild Black, and Akua Allrich to name a few. He has also performed on and off broadway in the musical 'Fela!' and “Darker Faces of the Earth” directed by Trezana Beverley, respectively. As a videographer, most recent projects include editing the archival documentary for “Kumbuka” the longest active New Orleans-based West African Dance troupe. This fall he joins Florida State University as a tenure track Professor with a focus on music for dance and choreography. He will be teaching Rhythmic Analysis, Music for Choreography, and Digital Audio Recording while also providing music support for African, Dunham and Contemporary classes. We definitely have something to look forward to seeing Farai's work flourish on a whole new level in this role! Where to find Farai? On LinkedIn (https://www.linkedin.com/in/farai-malianga-21b13351/) On Instagram (https://www.instagram.com/maliangafaraim/) On Facebook (https://www.facebook.com/farai.malianga) On Twitter (https://twitter.com/fmmalianga) On YouTube (https://www.youtube.com/user/PLFMM) What's Farai reading? Octavia E. Butler (https://www.octaviabutler.com) What's Farai listening to? Kendrick Lamar (https://oklama.com) J. Cole (https://www.dreamville.com) Pharoahe Monch (https://www.pharoahe.com) Other topics of interest: Regional Dance America (https://regionaldanceamerica.org) Ronald K. Brown (https://www.evidencedance.com) Scott Russel Sanders (https://www.scottrussellsanders.com/book_pages/dancing_in_dreamtime.html) Jawole Willa Jo Zollar (https://www.urbanbushwomen.org/the-founder) Beatrice Capote (http://www.beatricecapote.com) Onye P. Ozuzu (https://arts.ufl.edu/directory/profile/152957) Camille A. Brown (http://www.camilleabrown.org) Christal Brown (https://christalbrown.com) The Shift Network (https://theshiftnetwork.com) Amiri Baraka (https://en.wikipedia.org/wiki/Amiri_Baraka) The Lay Out (https://www.instagram.com/thelayoutco/?hl=en) About LEAP Transmedia (https://www.youtube.com/watch?v=-9xLBQraiSc) Special Guest: Farai Malianga.

Greetings Glocal Citizens! This week's episode is home grown in a sense as I had the chance to chat with long-time friend and collaborator, Farai Malianga. Born and raised in Zimbabwe, Farai's journey to the US found him at the University in Colorado in Boulder where our stories connect. He is a Videographer, Composer, and Musician who began his career in African Dance in Colorado with Leticia Williams' Harambee and Musical Director Judy “Fatu” Henderson. He later relocated to New York where he began studying dance and drum with pioneers Yousouf Koumbasa, Mbemba Bangoura and Ronald K. Brown. He has performed with creative Masters such as Chuck Davis in BAMs ‘Dance Africa', Reginald Yates and Heritage O.P. for the Alvin Ailey American Dance Theatre's their 40th Anniversary season; with musicians such as Roy Ayers, Wunmi Olaiya,, Manchild Black, and Akua Allrich to name a few. He has also performed on and off broadway in the musical 'Fela!' and “Darker Faces of the Earth” directed by Trezana Beverley, respectively. As a videographer, most recent projects include editing the archival documentary for “Kumbuka” the longest active New Orleans-based West African Dance troupe. This fall he joins Florida State University as a tenure track Professor with a focus on music for dance and choreography. He will be teaching Rhythmic Analysis, Music for Choreography, and Digital Audio Recording while also providing music support for African, Dunham and Contemporary classes. We definitely have something to look forward to seeing Farai's work flourish on a whole new level in this role! Where to find Farai? On LinkedIn (https://www.linkedin.com/in/farai-malianga-21b13351/) On Instagram (https://www.instagram.com/maliangafaraim/) On Facebook (https://www.facebook.com/farai.malianga) On Twitter (https://twitter.com/fmmalianga) On YouTube (https://www.youtube.com/user/PLFMM) What's Farai reading? Octavia E. Butler (https://www.octaviabutler.com) What's Farai listening to? Kendrick Lamar (https://oklama.com) J. Cole (https://www.dreamville.com) Pharoahe Monch (https://www.pharoahe.com) Other topics of interest: Regional Dance America (https://regionaldanceamerica.org) Ronald K. Brown (https://www.evidencedance.com) Scott Russel Sanders (https://www.scottrussellsanders.com/book_pages/dancing_in_dreamtime.html) Jawole Willa Jo Zollar (https://www.urbanbushwomen.org/the-founder) Beatrice Capote (http://www.beatricecapote.com) Onye P. Ozuzu (https://arts.ufl.edu/directory/profile/152957) Camille A. Brown (http://www.camilleabrown.org) Christal Brown (https://christalbrown.com) The Shift Network (https://theshiftnetwork.com) Amiri Baraka (https://en.wikipedia.org/wiki/Amiri_Baraka) The Lay Out (https://www.instagram.com/thelayoutco/?hl=en) About LEAP Transmedia (https://www.youtube.com/watch?v=-9xLBQraiSc) Special Guest: Farai Malianga.

Happy Birthday Olga Spessivtseva, Sada Yacco, Audrey Landers, Ronald K. Brown, and Gregg Russell! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

 Carl Hancock Rux's work crosses the disciplines of poetry, theater, music, and literary fiction in order to achieve what one critic describes as a "dizzying oral artistry...unleashing a torrent of paper bag poetry and post modern Hip-Bop music; the ritualistic blues of self awakening."Carl Hancock Rux is an American poet, playwright, novelist, essayist, recording artist, actor, theater director, radio journalist, as well as a frequent collaborator in the fields of film, modern dance, and contemporary art. He is the author of several books including the Village Voice Literary Prize-winning collection of poetry, Pagan Operetta, the novel, Asphalt, and the Obie Award-winning play, Talk. WRITER/POETWorking as a Social Work Trainer while moonlighting as a freelance art and music critic, Rux became a founding member of Hezekiah Walker's Love Fellowship gospel choir and later found himself influenced by the Lower East Side poetry and experimental theater scene, collaborating with poets Miguel Algarin, Bob Holman, Jayne Cortez, Sekou Sundiata, Ntozake Shange; experimental musicians David Murray, Mal Waldron, Butch Morris, Craig Harris, Jeanne Lee, Leroy Jenkins, Odetta, Steve Earle, Jim Carroll as well as experimental theater artists Laurie Carlos, Robbie McCauley, Ruth Maleczech, Lee Breuer, Reza Abdoh and others.RECORDING ARTIST/PERFORMING ARTISTHis CD Rux Revue was recorded and produced in Los Angeles by the Dust Brothers, Tom Rothrock, and Rob Schnapf and voted one of the top ten alternative music CDs of 1998 (New York Times). Rux recorded a follow up album, Apothecary Rx, (selected by French writer Phillippe Robert for his 2008 publication "Great Black Music": an exhaustive tribute of 110 albums including 1954's "Lady Sings The Blues" by Billie Holiday, the work of Jazz artists Oliver Nelson, Max Roach, John Coltrane, rhythm and blues artists Otis Redding, Ike & Tina Turner, Curtis Mayfield, George Clinton; as well as individual impressions of Fela Kuti, Jimi Hendrix, and Mos Def.) His fourth studio CD, Good Bread Alley, was released by Thirsty Ear Records, and his fifth Homeostasis (CD Baby) was released in May 2013. Rux has written and performed (or contributed music) to a proportionate number of dance companies including the Alvin Ailey American Dance Theater; Bill T. Jones/Arnie Zane Dance Company; Jane Comfort & Co. and Ronald K. Brown's "Evidence" among others.THE BAPTISMThe recently Lincoln Center commissioned poemWritten and Performed by Carl Hancock RuxDirected by Carrie Mae WeemsAboutBaptism (of The Sharecropper's Son & The Boy From Boonville) by award-winning poet and artist Carl Hancock Rux is a three-part poem and the artist's tribute to the legacies of civil rights leaders John Lewis and C.T. Vivian. Written and performed by Rux, the Lincoln Center commission is also an 11-minute short abstract film in two iterations—The Baptism and The Baptism (rhetoric)—directed by artist Carrie Mae Weems.http://thebaptismpoem.org

UCLA's Center for the Art of Performance will present award-winning choreographer Ronald K. Brown and his company EVIDENCE's newest dance work, The Equality of Night and Day: First Glimpse, at Royce Hall on Saturday, March 5. The work features recordings from UCLA distinguished professor emerita Angela Davis's speeches. CAP UCLA is highlighting the activist and educator's legacy with a special exhibition drawn from UCLA Library Special Collections.

Tislarm Bouie (IG:@tislarmbouie)(tislarmbouie.com) was born and raised in Brownsville, Brooklyn. He attended Professional Performing Arts School (NYC) and received his B.F.A from the University of the Arts (Philadelphia). His Film/TV credits include In the Heights, Saturday Night Live, Macy's Thanksgiving Parade, Live from Lincoln Center and Mrs. America. His theater credits include: Gary a Sequel to Titus Andronicus (Broadway) Carmen (Houston Grand Opera) Blueprint Specials (The Public Theater) and Regional productions of Annie, The Bodyguard and Swing!. He has danced for Coldplay, Alicia Keys, Jon Batiste, Bebe Rexha, Ronald K. Brown/ Evidence Dance Company and Norwegian Cruise Line. His print and commercial credits include Vogue, Estèe Lauder, Dior, Cadillac,Toyota,Samsung and Champ Sports. Tislarm's choreography has been featured in Dance Magazine, Brooklyn Dance Festival, New York Theater Barn, Young Choreographers Festival, Ars Nova and MonetXchange. He the ceo of his production company Planet Bouie.

Tislarm Bouie (IG:@tislarmbouie)(tislarmbouie.com) was born and raised in Brownsville, Brooklyn. He attended Professional Performing Arts School (NYC) and received his B.F.A from the University of the Arts (Philadelphia). His Film/TV credits include In the Heights, Saturday Night Live, Macy's Thanksgiving Parade, Live from Lincoln Center and Mrs. America. His theater credits include: Gary a Sequel to Titus Andronicus (Broadway) Carmen (Houston Grand Opera) Blueprint Specials (The Public Theater) and Regional productions of Annie, The Bodyguard and Swing!. He has danced for Coldplay, Alicia Keys, Jon Batiste, Bebe Rexha, Ronald K. Brown/ Evidence Dance Company and Norwegian Cruise Line. His print and commercial credits include Vogue, Estèe Lauder, Dior, Cadillac,Toyota,Samsung and Champ Sports. Tislarm's choreography has been featured in Dance Magazine, Brooklyn Dance Festival, New York Theater Barn, Young Choreographers Festival, Ars Nova and MonetXchange. He the ceo of his production company Planet Bouie.

Marlon Saunders is an https://en.wikipedia.org/wiki/United_States (American) https://en.wikipedia.org/wiki/Singer (singer), https://en.wikipedia.org/wiki/Songwriter (songwriter) and https://en.wikipedia.org/wiki/Record_producer (record producer). Marlon teaches at Clive Davis Institute of Recorded Music at NYU, The New School of Jazz and Contemporary Music, The Seamless Voice and was a former professor of voice at https://en.wikipedia.org/wiki/Berklee_College_of_Music (Berklee College of Music). Marlon has two solo recordings on his independent label, Black Honey Records: the improvisational A Groove So Deep: The Live Sessions and 2003's Enter My Mind. Marlon was co-founder of The https://en.wikipedia.org/wiki/Jazzhole (Jazzhole), a New York based band, widely regarded as one of the key members of the acid-jazz movement.  Marlon toured with Stevie Wonder on The Songs In The Key of Life Tour. He also served as the vocal contractor for Sam Smith, Bastille and most recently new pop/rock band Mondo Cozmo. Marlon has toured with https://en.wikipedia.org/wiki/Bobby_McFerrin (Bobby McFerrin) as a member of his vocal group, Voicestra. As a session and touring singer, he has worked with a variety of artists such as https://en.wikipedia.org/wiki/Michael_Jackson (Michael Jackson), https://en.wikipedia.org/wiki/Lauryn_Hill (Lauryn Hill), Billy Joel, Sting, Darius Ruckert, Donald Brown, https://en.wikipedia.org/wiki/Joe_Henderson (Joe Henderson), Ron Carter, Shawn, https://en.wikipedia.org/wiki/Nine_Inch_Nails (Nine Inch Nails), Jhttps://en.wikipedia.org/wiki/Jane_Siberry (ane Siberry), https://en.wikipedia.org/wiki/Shania_Twain (Shania Twain), https://en.wikipedia.org/wiki/Vanessa_L._Williams (Vanessa Williams), https://en.wikipedia.org/wiki/Julee_Cruise (Julee Cruise), Sting, Martha Wash, https://en.wikipedia.org/wiki/Freddie_Jackson (Freddie Jackson), Jeffrey Osbourne, https://en.wikipedia.org/wiki/Tramaine_Hawkins (Tramaine Hawkins), https://en.wikipedia.org/wiki/Peabo_Bryson (Peabo Bryson), https://en.wikipedia.org/wiki/Dance_Theatre_of_Harlem (Dance Theatre of Harlem), and Ronald K. Brown. Interview originally aired on Joe Kelley Radio in 2004. www.marlonsaunders.com www.joekelleyradio.com

True to her name, Brooklyn-native, Karisma Jay is an honors graduate of LaGuardia High School (Dance) and New York University's Gallatin School (Performing Arts and Pre-Medicine). She is a City College Mathematics Education Master's certificate Student. Teaching dance since the tender age of 11, she has honed her skills of working with children and adults to develop the confidence and charisma of even the shyest, youngest and/or oldest of students. She has performed/toured with prestigious dance companies such as Brooklyn Ballet, Deeply Rooted, Maimouna Keita, Creative Outlet, Asase Yaa, and Ronald K. Brown's Evidence. Most recently, she won the “Power Women in Business” award for her work as the Artistic Director and Founder of AbunDance Academy of the Arts. Annually, she writes, directs, produces and co-stars in musicals that AbunDance Academy presents. 

In this episode we’re talking to Fatima Jones, who I check in with almost weekly, getting a read on everything from the Black cultural landscape and how to keep my proverbial wig on straight when folks try us (you know how that goes), to understanding how to make the marketing and communications of our Black arts spaces sing, and whose family I love love love. We met through a mutual sister-friend Jessica Lynne, and continue to be sisters in this space and beyond. Fatima has joined hands with the Red Olive Universe and hosted one of the last in-person events known to man: a brunch in her house in Bed Stuy Brooklyn before we all retreated into our homes. That communal connection—around Black art, Black culture, small and community-based Black arts organizations, and the new and old friends who love them—has continued to inspire me through the past year. Fatima Jones is a cultural strategist, marketing, public relations and reputation management leader. She currently serves as Senior Director of Marketing and Communications at the Apollo Theater, a nonprofit arts and cultural anchor committed to Black artists and audiences, located in Harlem, NY. She is the former Director of P.R. for the Brooklyn Museum (BKM) where she led the media relations and social media campaigns for all of its exhibitions, including the critically acclaimed David Bowie Is and the transformative We Wanted A Revolution: Black Radical Women. Prior to Brooklyn Museum, she spent almost a decade at the Brooklyn Academy of Music (BAM). Her consultancy experience includes work with Ronald K. Brown/Evidence Dance Company, Weeksville Heritage Center and 651 ARTS. She is a former voting member of the Bessies Dance and Performance Awards and has served on many granting panels, including NYSCA and Mid-Atlantic Arts Foundation. She is a mother and wife, currently living in Brooklyn, NY. Connect with Fatima: LinkedIn: @FatimaJones Instagram: @LovejonesPR This episode was recorded on December 6, 2020 Produced by Lauren Francis Music by audionautix.com

Cheryl Boyce-Taylor in conversation with Hanif Abdurraqib to celebrate the release of Boyce-Taylor's intimate collection Mama Phife Represents, a tribute to her departed son Malik ‘Phife Dawg' Taylor of the legendary hip-hop trio A Tribe Called Quest. ---------------------------------------------------- Speakers: Cheryl Boyce-Taylor is a poet and teaching artist. She earned an MFA from Stonecoast at the University of Southern Maine and an MSW from Fordham University. Her collections of poetry include Raw Air (2000), Night When Moon Follows (2000), Convincing the Body (2005), and Arrival(2017), which was a finalist for the Paterson Poetry Prize. The founder and curator of Calypso Muse and the Glitter Pomegranate Performance Series, Boyce-Taylor is also a poetry judge for the New York Foundation for the Arts and the Astraea Lesbian Foundation for Justice. She has led workshops for Cave Canem, Poets & Writers, and the Caribbean Literary and Cultural Center. Her poetry has been commissioned by The Joyce Theater and the National Endowment for the Arts for Ronald K. Brown's Evidence, A Dance Company. Boyce-Taylor is the recipient of the 2015 Barnes & Noble Writers For Writers Award and a VONA fellow. Her life papers and portfolio are stored at the Schomburg Center for Research in Black Culture in New York City. Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His poetry has been published in Muzzle, Vinyl, PEN American, and various other journals. His essays and music criticism have been published in The FADER, Pitchfork, The New Yorker, and The New York Times. His first full length poetry collection, The Crown Ain't Worth Much, was released in June 2016 from Button Poetry. It was named a finalist for the Eric Hoffer Book Prize, and was nominated for a Hurston-Wright Legacy Award. With Big Lucks, he released a limited edition chapbook, Vintage Sadness, in summer 2017 (you cannot get it anymore and he is very sorry.) His first collection of essays, They Can't Kill Us Until They Kill Us, was released in winter 2017 by Two Dollar Radio and was named a book of the year by Buzzfeed, Esquire, NPR, Oprah Magazine, Paste, CBC, The Los Angeles Review, Pitchfork, and The Chicago Tribune, among others. He released Go Ahead In The Rain: Notes To A Tribe Called Quest with University of Texas press in February 2019. The book became a New York Times Bestseller, was a finalist for the Kirkus Prize, and was longlisted for the National Book Award. His second collection of poems, A Fortune For Your Disaster, was released in 2019 by Tin House, and won the 2020 Lenore Marshall Prize. In 2021, he will release the book A Little Devil In America with Random House. He is a graduate of Beechcroft High School. ---------------------------------------------------- Order a copy of Mama Phife Represents: https://www.haymarketbooks.org/books/1551-mama-phife-represents Watch the live event recording: https://youtu.be/EBSCuT-rM94 Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Join Cheryl Boyce-Taylor and Alexis Pauline Gumbs as they discuss mothering, parenting, loss, and Cheryl's new book Mama Phife Represents. ---------------------------------------------------- Speakers: Cheryl Boyce-Taylor is a poet and teaching artist. She earned an MFA from Stonecoast at the University of Southern Maine and an MSW from Fordham University. Her collections of poetry include Raw Air (2000), Night When Moon Follows (2000), Convincing the Body (2005), and Arrival (2017), which was a finalist for the Paterson Poetry Prize. The founder and curator of Calypso Muse and the Glitter Pomegranate Performance Series, Boyce-Taylor is also a poetry judge for the New York Foundation for the Arts and the Astraea Lesbian Foundation for Justice. She has led workshops for Cave Canem, Poets & Writers, and the Caribbean Literary and Cultural Center. Her poetry has been commissioned by The Joyce Theater and the National Endowment for the Arts for Ronald K. Brown's Evidence, A Dance Company. Boyce-Taylor is the recipient of the 2015 Barnes & Noble Writers For Writers Award and a VONA fellow. Her life papers and portfolio are stored at the Schomburg Center for Research in Black Culture in New York City. Alexis Pauline Gumbs is a Queer Black Feminist Love Evangelist, a daughter-on-assignment and a cousin-in-the-making. She is the author of Undrowned: Black Feminist Lessons from Marine Mammals, Dub: Finding Ceremony, M Archive: After the End of the World and Spill: Scenes of Black Feminist Fugitivity. She is also co-editor of Revolutionary Mothering Love on the Front Lines and co-founder of Mobile Homecoming Trust. This year Alexis is a National Humanities Fellow writing a new biography called The Eternal Life of Audre Lorde: Biography as Ceremony. Order a copy of Mama Phife Represents: https://www.haymarketbooks.org/books/1551-mama-phife-represents Watch the live event recording: https://youtu.be/sr1_I0h4HZM Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Cheryl Boyce-Taylor is a poet and workshop facilitator. The recipient of the 2015 Barnes and Noble Writers For Writers Award, she is the founder and curator of Calypso Muse and the Glitter Pomegranate Performance Series. Cheryl earned an MFA in Poetry from Stonecoast: The University of Southern Maine, and an MSW from Fordham University. She is the author of four  collections of poetry: Raw Air, Night When Moon Follows, Convincing the Body, and Arrival. A poetry judge for The New York Foundation for the Arts, and The Astraea Lesbian Foundation for Justice, she has facilitated poetry workshops for Cave Canem, Poets & Writers, and The Caribbean Literary and Cultural Center. Her poetry has been commissioned by The Joyce Theater and the National Endowment for the Arts for Ronald K. Brown: Evidence, A Dance Company. A VONA fellow, her work has been published in Poetry, Prairie Schooner, Aloud: Voices from the Nuyorican Poets Cafe, Pluck!, Killings Journal of Arts & Letters, and Adrienne.  Her life papers and portfolio are stored at the Schomburg Center for Research in Black Culture in NYC.

There's nothing better than when you're in the flow and flexing your artistic muscles. We all have artistic muscles, you just have to discover what yours are. In this conversation, I was joined by a longtime friend of mine that I've known since high school, Jacqueline Green. Jacqueline is a principal dancer for Alvin Ailey and has been in love with the art of dance since she was younger. We chatted about taking the first step of being courageous and how she overcame all odds to become a professional dancer. She shares how she uses dance for release, the importance of self-love and why you need to listen to your body.    What you'll find in this episode: How she became a principal dancer for Alvin Ailey What made it possible for her to show up and step forward What happens when you fall in love with your passion How she uses dance as a release How Jacqueline overcame all of the odds of being a professional dancer Why you should love on yourself for being different  Why you need to slow down and listen to your body   About Jacqueline: Jacqueline began her dance training at the age of 13 at the prestigious Baltimore School for the Arts. She is a 2011 cum laude graduate of the Ailey/Fordham BFA Program under the direction of Denise Jefferson. During that time she also received training at the Pennsylvania Regional Ballet, the Chautauqua Institution for Dance, and Jacob's Pillow Dance Festival. In her career she has performed works by a wide range of choreographers, including Wayne McGregor, Jiří Kylián, Elisa Monte, Ronald K. Brown, and Kyle Abraham. In 2016 she performed as a guest artist with The Royal Ballet. Ms. Green is a 2018 Bessie nominee for sustained achievement with the Company, a 2014 Dance Fellowship recipient of the Princess Grace Foundation-USA, a 2015 Clive Barnes Award nominee, a 2009 recipient of the Martha Hill Fund's Young Professional Award, and a 2010 recipient of the Dizzy Feet Foundation Scholarship. In 2018 she performed on BET's Black Girls Rock honoring Judith Jamison. Ms. Green is also a two time New York Times featured artist. She was a member of Ailey II in 2010 and joined the Alvin Ailey American Dance Theater in 2011, where she is currently a principle dancer.   Connect with Jacqueline: Instagram   Links mentioned:Self Pleasure Challenge   Now is your opportunity to really dive DEEP into your pleasure and see what's possible! Connect with me on my website, on Instagram or join us in my free Facebook community, The Pleasure Circle to get in on the conversation. Want even more tantalizing insights to embody and harness the power of your erotic energy? Be sure to subscribe so you never miss an episode and so you can get on the path to living a life of wealth, ease and hot juicy sex! 

Interview with Johnnyangel Pineda Tech Talk with Ethan Today onTech Talk With Ethan we welcome Johnnyangel Pineda!⁠⠀ ⁠⠀ Fabric and costume aficionado, Johnnyangel Pineda, has been designing, sewing, and studying Costumes for over a decade. Having designed costumes for film, stage, cosplayers, and drag queens, he strives to create and unlock the magic that is oftentimes hidden from reality. Having jumped head-first into costuming as lead stitcher on Joseph and the Amazing Technicolored DreamCoat (2007), he has been both apprenticing & freelance-designing ever since. He has twice won the 'Best Costume Design' award at the Mother Lode Drama Festival, designed/constructed costumes for many full length plays and musicals, and created countless commission pieces. Johnnyangel's extensive theatre background (onstage as a tap performer/actor, and backstage in every possible crew position) has not only supported him through his career, it has provided him with a full and thorough knowledge of the needs of both performers and technicians. ⁠⠀ ⁠⠀ Prior to Covid he has worked as The Wardrobe Technical Specialist at The Broad Stage in Santa Monica where he has had the privilege of working alongside theatrical companies from around the world, including the Bristol Old Vic (London), The National Theater Of Scotland (Scotland), HeadLong (London), Ronald K. Brown (New York), Royal Court Theater (UK), and Long Beach Opera (California), all while also the general manager of retail and theatrical rental shop, Make Believe Inc, Costumes. ⁠⠀ ⁠⠀ He currently focuses on custom commissioning with his costume company, Prismatic Costumes, who strives to help create clothing for Drag Queens, Cosplayers, Burlesque performers, and Theatrical Companies. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p3-theatre-company/support

Our mid-week service blends traditional and contemporary worship styles, creating a mixture that is informal and reverent, often humorous, and always Spirit-filled. Sermons by Dr. Michael Bos and others, with dynamic contemporary music led by a praise vocal ensemble and band. All are welcome! Marble Summer Arts Festival Dancer Bio for Wednesday, June 24, 2020 LaToya Roberson RAD RTS LaToya began her ballet training in her hometown of Shreveport, Louisiana. LaToya has been a student at many prestigious dance schools including Pittsburgh Youth Ballet, North Carolina School of the Arts, Dance Theater of Harlem and The Ailey School, where she received the the Judith Jamison Fellowship. Studying at these schools has given LaToya the privilege of studying under and dancing for dance greats such as Melissa Hayden, Gelsey Kirkland, Arthur Mitchell, Ronald K. Brown and Judith Jamison. Since finishing her training, LaToya has gone on to perform on stage as well as on television. She has been a featured dancer on Live! With Regis and Kelly and the MTV Video Music Awards. She has danced with Contemporary Ballet Theater and Genesis Dance Company. She has also had the opportunity to dance as a guest artist in roles for ballets such as Swan Lake, Sleeping Beauty, Firebird, Gaite Parisienne, The Nutcracker, Giselle and more. LaToya has been on staff and guest teacher at numerous dance schools including Shreveport Metropolitan Ballet, Theater School of Dance and Santa Clarita Ballet, Los Angeles Ballet Academy and the Dance Teacher Web Live teachers’ conference every year in Las Vegas. She is currently a staff member of D’Valda and Sirico Dance and Music Centre in Fairfield, CT under the direction of Angela D’Valda Sirico and Steve Sirico (founders of Dance Teacher Web) and is the Ballet Department director at Dance Impressions in Union, NJ. She holds a certification in Ballet Teaching and Registered Teaching status with the Royal Academy of Dance (London, England).

In this episode, I welcome Bryant Williams! Bryant hails from Mexico, and shares his stories about encounters with art that changed the trajectory of his life. Links to get in touch with Bryant Williams: https://www.facebook.com/BeMovedBryant/ | https://www.facebook.com/kcjazzdance/Artist's Edge: The Mission of Artist’s EDGE is to raise the level of Business Intelligence, Life Skills and Emotional Intelligence for people who are committed to expressing their passions, their creativity, and their unique genius through their careers, helping them reach higher levels of success with ease. Click here to access all courses!Artfully Told links: www.facebook.com/artfullytold | elevateartskc@gmail.comSchedule your interview with Artfully Told! https://calendly.com/artfullytold/podcast-interview SHOW NOTES:Episode 002 - Bryant WilliamsLindsey Dinneen: [00:00:00] Hello and welcome to Artfully Told, where we share true stories about meaningful encounters with art.[00:00:06] Krista: [00:00:06] "I think artists help people have different perspectives on every aspect of life."[00:00:12] Roman: [00:00:12] "All I can do is put my heart in to the world."[00:00:15] Elizabeth: [00:00:15] "It doesn't have to be perfect the first time. It doesn't have to be perfect ever, really. I mean, as long as you, you're enjoying doing it and you're trying your best, that can be good enough."[00:00:23] Elna: [00:00:23] "Art is something that you can experience with your senses and that you just experience as so beautiful."[00:00:33] Lindsey Dinneen: [00:00:33] Hello and welcome to another episode of Artfully Told. I am Lindsey, and I am so excited to have one of my very favorite people on the show today, and his name is Bryant Williams, and he actually is hailing from Mexico on a beach. So I'm super jealous, but that's okay.[00:00:57] But I am so excited. He is an amazing artist. He has had an incredible career as a professional dancer, choreographer, teacher, but that just like barely scratches the surface of who he is, what he contributes to the world through his art. So I will actually let Bryant introduce himself, but thank you so much for being here today. I really appreciate it.[00:01:23]Bryant Williams: [00:01:23] Oh my gosh, thank you so much for having me and thanks for creating this platform for us to come together and talk about art and how it inspires us. I think now more than ever is the time to really figure out the new directions for art.[00:01:38] I've spent my whole life as a dancer. I started when I was five years old, and I started because I didn't get a job for a commercial that I auditioned for because I wasn't a dancer, and I was so upset that someone said no to me. And so I told Mom she had to put me into dance classes because I needed to get that job at five.[00:02:01]And I started dance classes and fell in love with it, and dance and art in general have been in my blood, you know, ever since then and even before then. But my career has taken me all over the world. I trained to dance in New York City professionally, Chicago, L.A., Miami, and all over the world, which has been incredible, and really helped me gain inspiration from every corner and every culture, which has been awesome.[00:02:30]Lindsey Dinneen: [00:02:30] That is awesome. Yeah. Well again, thank you for being here cause I'm super excited to chat with you[00:02:36] Bryant Williams: [00:02:36] I'm so excited to be here![00:02:39] Lindsey Dinneen: [00:02:39] So I know you have a couple of different stories of some encounters with art that were particularly meaningful to you. So I would love, if you don't mind sharing.[00:02:49]Bryant Williams: [00:02:49] Yeah. I think the first one-- art to me is so personal and spiritual in a way, you know, it's, and they always say, one moment in your life can completely change you, you know. As "Wicked" said best, you know, and far good. You know, there's so many unexpected moments that change you. When I was a young kid, I think I was 13, I was staying up late one night and I was watching a PBS documentary on the Alvin Ailey American Dance Theater.[00:03:19] Now, keep in mind, when I was growing up as a kid, I was a jazz dancer. I was a competition kid, and I loved jazz. Still do. And so I was staying up really late watching this documentary on Alvin Ailey, which some of you may or may not know is the world's largest modern dance company. And they were talking about Mr. Ailey's specific, religious influences and how, his quote, unquote, "blood memories," as he called them, of his time growing up in Texas and the very religious culture that he grew up in had really inspired him to create some of the works that we love and know from him and his company.[00:03:56] And there was this light bulb that went off in me, while I was up, I think it was like midnight that this was on. But I remember thinking, "Holy cow, like, wait, I can take my faith and I can take my personal life experiences and I can put that into my dance." And that all goes together. I think that as a young kid like that had never really, that had never really, come up for me. I just thought dance was jazz squares and a high kick.[00:04:24] Lindsey Dinneen: [00:04:24] Everyone loves a good jazz square.[00:04:25] Bryant Williams: [00:04:25] Right? I had never, I, I had never been so moved by someone being able to say, you can take every little part of yourself, every little piece of what makes you you and put that into dance.  And that's what dance is. That is what people resonate with when they watched dance and that has never left me--that one moment. And I remember going to the library, this was back before, we had like computers at home, and I went to the library, and I started researching Alvin Ailey and it turned out they were coming to the Bay area.[00:04:57] I'm originally from San Francisco. They were on their national tour and they were coming, and I begged my mom to buy me tickets to go see the Alvin Ailey American Dance Theater. And as true mothers do, she made me clean the garage, and I did it. And we sat, we sat there in the performance and the curtain came up. And I'm getting goosebumps telling you this now-- the curtain came up and there was a woman dressed in white. Her name was Renee Robinson--is Renee Robinson-- and all she did was walk down stage, in this white costume in this white light, and it was to, "Come Sunday" was the song, and I burst into tears and I can't, I cannot even tell you why I did.[00:05:43] I just had this visceral moment of connection to her and this dance. And that had never happened in my life, especially for, you know a teenager. The piece was called "Grace," choreographed by Ronald K. Brown. And the piece is essentially about-- we are born free from sin and we are born in grace and through life, through the challenges that we have, we are in constant struggle of good and bad, of the choices we make and you know, of, just navigating our life. I think that resonates so much now in this current climate. And at the end of the piece, reprieves comes of "Come Sunday," and the entire company walks upstage into a white light, to really signify that at the end of our lives, we go into grace.[00:06:32]And the curtain comes down and I look over at my mom and she is a blubbering mess. And I'm a blubbering mess, and it was intermission after that and we sat there during intermission and didn't say a thing. And to me, you know, when you told me that this episode was talking about, you know, art that inspired you, I think that to me was the first time I was ever viscerally moved by a piece of art. And that I'd never understood that dance can tell a story in that way that can connect to you in that way without ever saying anything.[00:07:11] Um, still to this day, I think about "Grace" and you know, the impact that Ronald K. Brown had on me, in that moment, because it was, it was ever changing, you know, and my mom and I left the performance. They, of course, closed the performance with Alvin Ailey's "Revelations," and we walked out into the lobby and we saw a poster in the lobby saying they were auditioning for the summer program for the school the next day.[00:07:39]I begged my mom to take me to the audition. and she did, and I was accepted, and I was in New York a couple months later in the summer program, and then never left. That's how I got to New York. For me, like, seeing "Grace" and being touched by this piece of art completely changed my life.[00:08:01] You know, who knew before me watching that PBS documentary a couple of months earlier, and within six months I was living in New York and dancing in New York, and never left. And my professional career went on from there. You know, I think itself, it's so interesting even now to go watch dance performances.[00:08:17] And I'm sure you have some too-- moments that you have when a piece of art just moves you so much. You know, whether it makes you cry or whether it makes you laugh. You know, dance is meant to convey that story.[00:08:29]Lindsey Dinneen: [00:08:29] Yeah. That's beautiful. You were probably already on the path to become a dancer, a professional, but I love how that completely changed your trajectory. Who knew? You know, that's so cool.[00:08:42] Bryant Williams: [00:08:42] In a moment,  and I think that's one of the coolest things about art in general is, you know, art has that opportunity to truly touch you in a way,  Even songs, like, I'm sure all of us can think of a song that can make you cry, that can make you miss somebody.[00:08:58] Have you seen the, I dunno if you've seen that, "30 Day Music Challenge" that's going around.[00:09:02] Lindsey Dinneen: [00:09:02] I haven't...[00:09:03] Bryant Williams: [00:09:03] And it's on Facebook and every day, like, there's different themes of like songs you can choose. But I saw that and immediately thought of like, Oh my God, even music is so interesting. And when you're really forced to think of, well, what's a song that makes you think of this? Or what's a song that you know, reminds you of that? It's a really interesting concept of how art is impactful, you know, in so many ways.[00:09:26]Lindsey Dinneen: [00:09:26] Yeah. Yeah. That's awesome.[00:09:28]Bryant Williams: [00:09:28] There's so much inspiration out there. You know, I think as an artist, you're constantly looking for, the next thing to inspire you. You know, you're constantly aware of your surroundings and what's happening, because this could be that moment, you know, this could be that, that inspiration that you have. I choreographed a piece a couple years ago, and I kept looking for inspiration everywhere, you know, like what? And it was, the theme was I had to theme the piece around-- what's the word I'm looking for?[00:09:57]A painter and artist, and I, I can't--let's see--now I can't think, but we're just going to keep moving on. I had to find an artist, a theme, a dance around, and I kept going back and forth, and there was one piece in particular--I had the idea of what I wanted to do and it was a crazy idea, but I didn't have the artist.[00:10:19]And so I kept looking and looking and I found this mirrored room online, and I just love the picture of it. And it is an art installation, and it is a room full of mirrors and all of these circles and orbs. And I just thought it was so cool. And so I thought--keep in mind this dance that I was choreographing had a lot of big balls in it that the dancers were using to manipulate in their dancing.[00:10:48]And so I was really inspired. I was intrigued by this room, and I started looking up the artist, and it's a Japanese artist, and her name is. Yayoi Kusama. And I could be pronouncing that wrong. I apologize if I am. But  what I thought was cool is she only draws circles and all of her art and these huge installations that she does is all in circles, whether it's a painting, sculpture, these giant installations, like that room of mirrors. It's a really abstract kind of thing, but I thought it was really cool. And so I started looking her up-- and what I think is more interesting, that really resonated with me-- is, since she was a young child, she actually has been experiencing hallucinations.[00:11:30]And she was in and out of mental hospitals when she was younger, and a lot of people called her crazy. And one of the only things that ever helped and assisted with those hallucinations or those episodes was drawing circles. And that like, really blew my mind in a way because, you know, we all have those coping mechanisms, right? And this artist has found a way to take that coping mechanism that, you know, a way of life for her, and turn it into art. And I think the whole concept of art out of perceived insanity is so interesting and there's so much depth there and it's, there's, there's a lot to go with. I loved it when I originally came up with this concept.[00:12:14] I was, like, I am crazy for, like, trying to choreograph this dance with these giant piles of--these girls are gonna dance on and I'm going to figure out a way to make it work. And then I just happened to find an artist who society calls crazy and she just happens to find a way to make it work. And so to me, there was such a like, cool--I felt so connected to her because, yeah, it was such a, it was such an interesting dynamic that we shared. But I think it's interesting now, and she still lives in a mental institution, and the only time she leaves there isto go to her studio to paint. She is still creating all of these installations and all of these amazing sculptures and paintings, and I just thought it was so--ever since then, I've been so captivated by her because-- first of all, she is an amazing dresser. She has all these fun, colorful linens and she's kinda kooky. And as artists, we love kooky.[00:13:09] I think, that was one of those moments where I started with this concept of this idea and just knew that somehow it would come together. And as an artist, I think sometimes we do start with the ending and then figure out a way to make it work. Am I right?[00:13:25] Lindsey Dinneen: [00:13:25] Yes. Oh yes.[00:13:27] Bryant Williams: [00:13:27] And I just, I loved it like it how things come together then become an organic part of the process, you know, that it's not so, so structured and contrived in a way.  It's very, it's very organic and how that progression happens. And I loved that, you know, like that there's, again, art inspiration comes from everywhere.[00:13:48]Lindsey Dinneen: [00:13:48] Absolutely. And so do you, when you choreograph, do you have, like, a kind of a set process that you follow or is it always different depending on what's inspiring you or whether you have, like, parameter--or what's it like for you?[00:14:06] Bryant Williams: [00:14:06] It's very interesting how I choreograph and a lot of people would not, would not go about it this way. But I'm such an emotional person, which I hate to say, but that's okay... [00:14:18] Lindsey Dinneen: [00:14:18] Absolutely[00:14:19] Bryant Williams: [00:14:19] That I have to--I cannot choreograph something that I'm not 100% invested in. and so for me, a lot of times I will create a concept of what I want. So I understand where we start, where we finish. And the middle to me should be a reflection of the process.  I only choreograph what I plan to do that day, and the reason being is--I could choreograph a whole piece in my home, but then can get in the studio and put it on those dancers,  and that's not what I want. And so there's a lot of ways that, like, I will take different sections of choreography, put them together in the moment, and then I always know that there's a way that they're going to go together. I don't ever know how, but I know that it will get there in the end because if it is a truly organic part of myself, and if I know where I want the story to end up,  then I know every chapter of sorts in between. I might have to move some around, but building that vocabulary of, of sections depending on where I am that day in my life.[00:15:21] You know, what do I think about the topic? You know, what do I think about this piece today might be different than what it was yesterday. And so, I always say I'm just a half a step ahead of the dancers and I kind of like it that way. I feed off of that energy. And that pushes me. Like if we get to the end of the phrase that I'm tired and we still have more time, like, okay, what else can we do? Like what else can we explore? I love that. I know it sounds crazy, but a lot of people probably-- there's some people that are super prepared with choreography and like have everything written down and blocked and set. I do not cause I feel like it should be, it should be an emotional process, you know? And that is with the dancers as well.[00:15:57] Lindsey Dinneen: [00:15:57] Yeah, you're right. Yeah. Well, it's fun as a dancer to have that kind of style where you almost get--maybe a little more, kind of, insight into the process of somebody setting a piece on you, which is kind of interesting. And me being such a planner, I mean, I've, I've choreographed in both ways, but there are a lot of times where I'll just come in and like--"Here's, here's the piece," and we'll just, like, knock it out, you know, in a day or something. But,  I love the creativity that can develop when you, when you do something a little more organically, like you were saying--okay, so we ran out of material for today, but maybe let's just experiment for a little while and see what happens. You know, that can create the most magic that way sometimes.[00:16:43] Bryant Williams: [00:16:43] Absolutely, and a lot of times in the middle of that, like I could create a phrase and then in the middle I would be like, "Oh, well let's add something here. It's missing something here." You know? And I like that process. I also felt as a dancer, I've worked with a lot of choreographers and I, the ones I didn't like as much were the ones that treated me solely as a vessel for their agenda. You know, I also want it to be a part of that, if that makes sense. And so there were some choreographers that I worked with that, you know, didn't care what I thought--or not that they should-- but didn't care about me as a person dancing their work.[00:17:23] Lindsey Dinneen: [00:17:23] Yeah.[00:17:24] Bryant Williams: [00:17:24] And I never want my dancers to feel that way.[00:17:27] Lindsey Dinneen: [00:17:27] Yeah, that's good. You care, no, that's--you care. And it's good because once you have those experiences that you don't-- that you didn't love, we'll just put it that way--then it's, it's helpful cause it helps you grow as, you know, as a creator as well. So that's, that's cool. And I think there is something to that too. And you know, because we're all artists. And in theory, you would hope that the process would be more, you know, collaborative, at least a little bit more because you're an artist just as much as, you know, the choreographer is an artist, and so hopefully it's just a meeting of minds and bodies and creating this, you know, inspirational piece.[00:18:15] Bryant Williams: [00:18:15] So I have this-- if I can tell you another funny story.[00:18:18] Lindsey Dinneen: [00:18:18] Oh, please do.[00:18:19]Bryant Williams: [00:18:19] When I was dancing with Gus Giordano Jazz Dance Chicago, the world's largest jazz company-- when I was dancing for them, we had a new piece set--it was my second year in the company,  and choreographer, Ron De Jesus came in, and set a piece and--I, we were all ready to get up and start dancing, and he took us into his studio and he turned the lights off and he told us to lay down on the floor. And he gave us a piece of paper and a pencil. And I was like, "What the heck are we doing?" And he said, "Okay, put your pencil on the paper, close your eyes." And he said, "Without lifting your pencil off the paper, draw your life story. Draw your lifeline." And keep in mind, I was 18 or 19 when this happened. I had not a lot of life story[00:19:12] Lindsey Dinneen: [00:19:12] Oh my word![00:19:14] Bryant Williams: [00:19:14] And he turned the lights off and he put this really soothing music on and we were there for five minutes and I had no clue what I was doing. So I was just doodling around, just drawing circles. And I just remember I kept thinking, like, I do not get it, but I'm too embarrassed to ask questions so I'm just going to go with it.[00:19:37] We stop, and we go back upstairs to the main studio and he said, "Okay, now I want you to imagine this studio is that piece of paper. Go to the spot in the studio where you started your lifeline on the paper." And I'm like, "Okay, I can do that." So I go to like the general area and he said, "Okay, I want you to walk your lifeline." And that's when I thought, "Oh no, I completely failed because I'm just going to be walking in random circles!"[00:20:08] Lindsey Dinneen: [00:20:08] Oh my word.[00:20:09] Bryant Williams: [00:20:09] And I'm there until other people started moving because I wasn't sure, like, what I was supposed to be doing, and then I just aimlessly started walking around because, again, it was too embarrassed to ask the question. Might as well just keep going. So we did that for about 15 to 20 minutes. I--no lie--like we walked for a long time.[00:20:28]And, keep in mind who was videotaping this whole thing. This is so odd. Oh, and after that 15, 20 minutes, he said, "Okay, put your papers down. I want you to go back to that same spot in the room that you started your lifeline." And so we all did. And he put on some music and he said, "Okay, now I want you to dance your lifeline." And I was like, "Okay, this is no better."[00:20:59] And so we started at improving our lifeline, and so this was now step three of the process, and we're doing this for like another 20 minutes. And what was interesting is as I started improv, and at first I was just arbitrarily moving around, like trying to fit in with what everyone else is doing. And then I kept noticing that I kept going back to the same spot in the room.[00:21:24] You know, and I would go away from it and then I would go back to the same spot in the room. And to me, that really clicked and resonated with me that sometimes in life we keep going back to the same stuff. Maybe we shouldn't. Maybe we should. Maybe it's just part of life. But to me that was comfortable. And the one thing I got out of doing that is, like, I always kept going back to the comfortable, to the same spot, to the same mess. And I was like, I remember thinking, and this is like, what, an hour into this now? And I'm like, "Oh, maybe I did get it! And I just had no idea. And this went on for the whole day. And so we walk in the next day and there's a big whiteboard up and there were like two or three TVs in the room, with VHS tapes in them.[00:22:10] There were our names on the board and it had a time next to it, like a time code, and he said, "Okay. I want you to go find your name, your time, and then go to one of those TVs. Scroll to that part of the video, learn your phrase, and then you're going to teach it to all of us. So all of us took that day, you know, learning those phrases and really coming up with them.[00:22:33] And out of those phrases, he took our lifelines and he put them into this piece,  and his--in his voice. And so it was a really interesting process because we created the vocabulary for it, you know, based on our life's experiences.  And it's so funny thinking about it now, cause I've never asked anyone else if they were just as confused as I was.[00:22:53]I don't know to this day if they really had a clue. But, you know, what I think is amazing about that is, how he could take so much of that,  so much of that that made us us and translate that movement and that vocabulary into his voice, into his piece. Still to this day--the piece was called"Prey." P. R. E. Y. Like preying on something, and it's still one of the pieces that, Gus Giordano Jazz Dance Chicago is known for, because it is such a powerful piece. And I remember when we premiered that piece and the end came and the standing ovation was nuts, cause--and we had no idea like what the audience reaction was going to be! What I think is interesting is, you know, most people don't know that, that story behind creating it, but you know, that was a choreographer that definitely worked in a different way, but in a way that still resonates with me. It was a cool piece.[00:23:51] Lindsey Dinneen: [00:23:51] Yeah, that is really cool. Well, thank you. Oh my goodness. Thank you for sharing all these amazing stories. I just love hearing people talk about, you know, experiences that helped shape them and inspire them. And that's just awesome. So thank you.[00:24:09]Bryant Williams: [00:24:09] And you know what I'll say is like in this time especially, I just want to encourage people, go out and find an artist in a different medium than you, know, go out and find a painter, or go out and find a singer/songwriter. Like that's been the coolest thing for me is really, going out there and celebrating other people's art. You know, I think especially now, go find an amazing artists and send them a comment and say, you're awesome. You know, keep going.[00:24:35] Lindsey Dinneen: [00:24:35] Yes, yes.[00:24:37] Bryant Williams: [00:24:37] We've got the time. I mean now's the time more than ever to go be inspired by new things in art.[00:24:44] Lindsey Dinneen: [00:24:44] Yeah, you're right. And everyone needs that encouragement. I mean, even if you are a, quote unquote, "accomplished artist," you're still going to have moments of complete insecurity when you're premiering something new or just, yeah. It's so important.  So I have a couple of questions for you, if that's okay. Okay. So how do you personally define art or what is art to you?[00:25:11] Bryant Williams: [00:25:11] Art to me is inspiration. Art to me is vital. I think that's the best--where art is vital and art is a form of expression meant for the world to share in a mutual experience.[00:25:26]Lindsey Dinneen: [00:25:26] Yeah, I love that. Okay. What do you think is the most important role of an artist.[00:25:32]Bryant Williams: [00:25:32] Artists needs to be truly authentic. You know, in this day and age, you know, whether people like that or not, it's--art is subjective--and be authentically you.[00:25:45] Lindsey Dinneen: [00:25:45] Love it. Okay. And then,  for the last question I have, I'll kind of explain my terms because it might sound a little funny, but, do you personally-- just a personal opinion--feel that art should be inclusive or exclusive? And to give some context to that. So exclusive kind of referring to: an artist creates something, puts it out there, but doesn't necessarily put much of an explanation behind it. It could be something that's not even titled or you're just, you don't have the context of, maybe what inspired the artist or kind of the reasoning behind what they did. Versus inclusive being artist trying to share with you more about either what inspired the piece or why they created it, or basically giving the audience, more context.[00:26:37]Bryant Williams: [00:26:37] Yes. To all of the above. As an artist, like, there's so many different phases of--oh, art that you go through life. You know, even if you don't classify yourself as an artist, like, there's so many ways each one of us creates in our life. And there are some times that you want to go shout that from the rooftops and tell everybody what it is. And there are some times where you want it to be super internal and it's more of a cathartic experience for you. And I think they can live in the same person. You know, they definitely lived within me, you know, and I think what's so cool about, the artist's opinion in, in sharing something or not sharing something or--decision not opinion--decision to share, is such a personal thing for them.[00:27:26] And it's something that I think a lot of artists spend time thinking about. Am I willing to open myself up to share this, you know, or is this something that's more of an intimate experience for myself? I've definitely created works that I was so proud of that I was like, it's about "this!" And I want everyone to know. And there are certain works that I've choreographed, based on people in my life based on experiences in my life that maybe I don't wanna share.[00:27:54] But I think the great thing about artists, there's a universal experience that everyone has when they see it. You know? And that's why I think art is so vital that, I think both are valid in a way. Do I think there should be more of either way? I know this is a horrible answer, but I don't, I don't know: I think that's all up to the artist and I think it's up to-- think people respond either way. The cool thing is that you get different responses, but I think that's kind of cool too.[00:28:22]Lindsey Dinneen: [00:28:22] Yeah. Yeah, absolutely. Well, and I asked that question cause I get, a variety of responses and I always just sort of love hearing different perspectives on it because. You know, like art, everyone's opinion on this is subjective, and I think that, you know, it's, it's what you, it's what you make of it and get from it ...[00:28:39] Bryant Williams: [00:28:39] I think it depends on where you are in your life. Everything is ever changing. I think after, you know, this unique shared experience that we're all in, I'm excited to see what, what comes out of this in the art world. I'm excited to see what people create during this time and, you know, immediately after this time. Like, what an interesting time that we get to live in. And if there's one silver lining, you know, the amount of really personal art that I think is going to be created is mind blowing to me. I mean, I'm excited to see it. I'm excited to see what, what people's experiences were that are different than mine.[00:29:17]Lindsey Dinneen: [00:29:17] Yes. Yeah. Well, and I think you just struck upon a really good, really good point about art in general is that people's experiences are different. And one of the most wonderful things that art can do is share those differences, in a truly unique and beautiful way that help us to relate to each other  more so than if, you know, we were just talking about it even.[00:29:40]Bryant Williams: [00:29:40] I agree a hundred percent, you know? And you never know when that's going to happen or what that's going to be. You know? You just have to be open to whatever that is.[00:29:49]Lindsey Dinneen: [00:29:49] Yeah. Love it. Love it. Well, thank you so much, Bryant. You are awesome. Really appreciate you being here.[00:29:57] Bryant Williams: [00:29:57] I talk a lot, I'm sorry. I've got a lot to say.[00:30:00] Lindsey Dinneen: [00:30:00] No, no. Yeah, never apologize. I love it. No, it's wonderful. And so if people want to connect with you, are, do you have, some ongoing things that, that you--or any upcoming projects you want to talk about or share? Any way that we can keep in touch?[00:30:20]Bryant Williams: [00:30:20] I  teach a really, really important, and I use this word again--vital --dance movement called BeMoved Dance, and this was created by a mentor of mine, Sherry Zunker, who wanted a dance experience for people of all skill levels, but really designed for former dancers  who want to be in class, but our bodies don't want to do eight pirouettes and a battement to a split, which...[00:30:43] Lindsey Dinneen: [00:30:43] What are you talking about? Don't we always want to?[00:30:43]Bryant Williams: [00:30:43] I want to; I just wouldn't get up. I would be permanently on the floor.[00:30:51] Lindsey Dinneen: [00:30:51] Right.[00:30:53]Bryant Williams: [00:30:53] So BeMoved has really allowed me a space to find peace and joy, and just space to remember the things that we love, you know, being a part of that shared community. So I'm just about to start teaching BeMoved classes online-- which I'm so thankful for the opportunity to continue to share in this community in a new way. And I'll be honest, I'm still getting used to this new way that we're doing it. But, any opportunity we can to share that community, I think is important.[00:31:25]And especially with the dance movement, like BeMoved that is so vital to keeping that space in our lives for joy and for happiness. And now, they say you can't pour from an empty cup and, you know, finding those things in your life, whether it's BeMove or yoga, or meditation--find the things in your life that fill your cup, to get you through this time and to do all that.[00:31:47]And you can follow that at @BeMoved Bryant-- are all of my classes for that. Yeah. So that'll be, I, there's a lot that we're working on.[00:31:57]Lindsey Dinneen: [00:31:57] Awesome. I love it. Well, good. Yeah, and I just have to say, I have taken Bryant's class. I took it regularly back when he was still in Kansas City, and first of all, he's an awesome instructor in general, but the BeMoved experience is really special. And, I kind of came at it at a time where I couldn't take regular technique classes, because they, they just, they hurt my body a lot. I was coming out of some injuries and so BeMoved was my way to get back moving and actually do a class where I wasn't, like, miserable at the end.[00:32:32] I was completely the opposite. I was just, you know, filled back up with energy and joy, and it's just so much fun. So I would say as a recipient or a student, yeah, these classes are awesome. So, once all the craziness is over and you're not, necessarily having to take everything virtually, definitely try to find a class in your area because it's for everyone, truly, and it is so fun.[00:32:59] Bryant Williams: [00:32:59] I mean, you leave class and there's just such a, there's such a beautiful sense of energy to it, which is cool. And I hope you all get to experience it wherever you live. BeMovedDance.com has a list of all the classes, all over the country. There's some people, even in Australia that teach teach it, in the UK, in Canada. So there's lot of BeMoved teachers around. Yeah, and until then, take some of mine online.[00:33:26] Lindsey Dinneen: [00:33:26] Exactly. Exactly. It is fun. Well, again, thank you so much, Bryant, and thank you for your contribution of art to the world, and the fact that you're still contributing and creating and, and, you know, teaching the next generation through the dance intensive and just everything you do.  I'm a firm believer that art--I'm biased--but art makes the world better. And I just really appreciate anyone who's willing to share art with, with the world. So thank you.[00:33:58] Bryant Williams: [00:33:58] I agree with you 100%, and thank you for what you're doing. And this is an awesome platform for people to continue to inspire and get inspiration and continue moving that forward. You're amazing.[00:34:10]Lindsey Dinneen: [00:34:10] Aww, you're sweet. All right. Well, thank you, everyone, so much for joining us and definitely get in contact with Bryant through those different avenues that he has, to continue dancing and encourage other people to do so, and we will catch you next time.[00:34:29] If you have a story to share with us, we would love that so much and I hope your day has been Artfully Told.[00:34:39]Hey there, Artfully Told listeners, I wanted to share a really amazing resource with you that I think you will find invaluable. This website is called Artist's Edge. The mission of Artist's Edge is to raise the level of business intelligence, life skills, and emotional intelligence for people who are committed to expressing their passions, creativity, and unique genius through their careers, helping them reach higher levels of success with ease. Artist's Edge is the education arm of Debra Russell Coaching, and she is an awesome person who uses all of her business background and skills to really assist artists become who they want to be. She has a bunch of different courses that you can go through as well as personalized coaching. If you are a wannabe artist that wants to turn their passion into a career, or is an already established artist that wants to take their career to the next level, she is the person to talk to you about this, so please follow the link in my comments and show notes, and we will catch you next time.  Intro & Outro Music Credits:Bad Ideas (distressed) by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3412-bad-ideas-distressed-License: http://creativecommons.org/licenses/by/4.0/

When Brooklyn native Ronald K. Brown and his dance company Evidence bring their signature contemporary African style back to The Joyce Theater this week with a program that honors two of the company’s seminal works and a new piece direct from its world premiere, it will mark a 35-year run in the venue. Join us for a discussion of this revered partnership with Ronald K. Brown and Executive Director of The Joyce Theater Linda Shelton in this installment of Leonard Lopate at Large on WBAI.

In this episode of Still Spinning, choreographer Ronald K. Brown discusses the ways that art can be a salve for grief, and recalls an early encounter with Judith Jamison—a moment in time that would later inspire his beloved work Grace. See this dance and more when the company returns to The Joyce Feb 25-Mar 1.   *** More Info About The Joyce.  Tickets Facebook Instagram Thanks to Simon Kafka, the composer of our theme music, and the East West Quintet, who performed it. If you like it, you can purchase the song here.  Thank you to photographer Carrie Schneider and choreographer Kyle Abraham for providing the photograph for our show image. The photo features dancer Tamisha Guy in Abraham's Dearest Home. 

“Creativity is something we all possess and tapping into it helps us live our best lives.” Princess Mhoon is truly a wonder-leader: an award-winning choreographer, educator, entrepreneur and scholar all in one! Her artistic brilliance was sought out by the While House and Michele Obama; her work commissioned by the Kennedy Center and she’s been called "A visionary of her generation!" In this dynamic, enlightening interview you’ll hear her amazing story of growing up in Chicago as the daughter of artists and granddaughter of entrepreneurs; how she artfully integrates art and business; her insights for dealing with the the most challenging circumstances and people with grace, respect and power; and so much more! What you'll learn A wonderful story of how growing up as a daughter of artists in Chicago influenced Princess’s personality, artistic life and professional direction as an adult How her trailblazing, financially savvy grandparents helped develop her entrepreneurial side Artful (pun intended!) ways Princess utilizes and integrates both parts of her experience - artist and entrepreneur – in her life and work Inspiring story of how Princess redefined her identity and self-value after a difficult divorce Obstacles she has faced as a double minority - an African American woman - in business and ways she has learned to overcome them How Princess balances love, respect, grace and assertiveness when dealing with difficult people and situations Her aspiration to find a managing director (do apply within) to run her art organization to focus on being an artistic director Valuable advice to young entrepreneur, women and leaders facing challenges And so much more! Links & Resources Princess Mhoon Dance Institute – link to Princess’s amazing organization Leadership Greater Washington - fantastic organization for leaders in the D.C. area Books we discussed and recommended in this episode Emotional Intelligence by Daniel Goleman How to Think Like Leonardo Da Vinci by Michael Gelb Seven Habits of Highly Effective People by Stephen Covey  About Princess Mhoon Princess Mhoon is a choreographer, producer, educator, and scholar recognized in 2015 by HUFFINGTON POST as one of 26 Female Choreographers "You Should Know" and Dance Magazine's 2006 "Top 25 to Watch" in the world for the Women's Choreography Project titled This Woman's Work.  Mhoon is a second generation artist and entrepreneur who has set her sights on enhancing the artistic landscape of the Nation’s Capitol. In 2016 she was invited to participate as one of the region's leading dance leaders by First Lady Michelle Obama during her Celebration of Black Women in Dance; she also served as a panelist for The White House Initiative on Educational Excellence for African Americans during Women's History Month. Mhoon is also a 2015 Helen Hayes Award Nominee for Best Choreography in a Musical, a Helen Hayes winner for Best Musical, and one of 37 International artists invited to Lusaka, Zambia for solo performance and master classes at the 2015 Barefeet Theatre Festival for vulnerable youth sponsored by UNICEF. She is also a 2016 class member of Leadership Greater Washington. With work commissioned by the Kennedy Center for the Performing Arts and the DC Jazz Festival, Princess Mhoon has been called "A visionary of her generation." She is the Founder and Director of the Princess Mhoon Dance Institute with locations in DC and Maryland. Mhoon has served on faculty at Howard University, where she received a Bachelor of Fine Arts degree in Dance and a Master of Arts degree in Public History. Her research focuses on Dance History and the African-American experience in dance. In 2015, she was awarded the Owen Dodson DISTINGUISHED ALUMNI award from her Alma Mater. A native of Chicago, Illinois, she began her training with Alyo Children's Dance Theatre, Joseph Holmes Dance Studio, and Muntu Dance Theatre of Chicago. Mhoon Cooper has received numerous awards and scholarships for her excellence in dance, including recognition from the American Dance Festival, Dance Magazine, Howard University, Career Transitions for Dancers, and the Kennedy Center for the Performing Arts. She has performed and toured with the world-renowned Ronald K. Brown/Evidence Dance Company, Rennie Harris Puremovement, The Chuck Davis African American Dance Ensemble, Nathan Trice Rituals, and Deeply Rooted Productions. She is the founder of DANCING FEET, an integrated arts program that includes classes and workshops for schools and outreach institutions. The opening of PMDI is the continuation of a life long commitment to the field of dance.  

WHERE IN THE WORLD IS TECHNOGRANNY? Trip to t he Southside: Lucy's Handmade Gifts| "Annie" at Southside Works Cinema| Lucy's Handmade Gifts for "Bling"| CULTURAL CLUES: Maceo Parker | My Fair Lady at PBT| Audra McDonald | Pittsburgh Rockin' Reunion| 2013 Pittsburgh Symphony Orchestra Opening Night Gala and Soiree, â??Once Upon a Time,â?? 2015 Gala Award, â??Best Fundraising Event,â?? | Kinky Boots with hometown Billy Porter| Silk Road Ensemble with Yo Yo Ma| Ronald K. Brown/Evidence| January Gallery Crawl | Pittsburgh Ballet Theatre Premieres â??Beauty and the Beastâ?? Valentineâ??s Day|  Pittsburgh Symphony Orchestra PNC Pops: Chris Botti| Antibalas, with Zap Mama| KIDZ KORNER: Girlsâ?? Maker Night | Neighborhood Learning Alliance Tech Warriors| WOMEN AND GIRLS ADVANCEMENT : Ready to Run Pittsburgh | BUSINESS BUZZ: Plan to attend: â??Preparing for Equity Investors: Exchanging Some of Your Money for Some of Their Cashâ??| POSITIVELY PITTSBURGH LIVE! BURGH BIZ SATURDAY SHOWCASE: Professional Limousine Service| Chris Reidenbaugh of Higher Images, Inc. Google Business Tours| PITTSBURGH HISTORICAL STUFF: Historic Designations| NON-PROFIT EVENTS SPONSORED BY BLACKTIE PITTSBURGH: 12t Annual Glass Slipper Ball| The Amchi Initiative| NEIGHBORHOOD HI-LIGHTS: Collogquial (Pittsburgh) Humor| Wilkinsburg Awarded Main Street Program Designation| POSITIVE PITTSBURGHERS: Pittsburgh Restaurant Week's Winter Celebration| ROVING PITTSBURGHER REPORT Sponsored by Pittsburgh Trade Alliance: Trip to Southside| PITTSBURGH LOCAL SPORTS: Pittsburgh Sportsline with Al Levine at Atria's| STEELTOWN HERO: Nancy Bolden| VETERANS VET and MILITARY METTLE: Veteran Voices of Pittsburgh Podcast (c) Joanne Quinn-Smith and PositivelyPittsburghLive 2007-2015 All Rights Reserved.

We open with Donald "Duck" Bailey's Gone, followed by a lovely conversation with Nathaniel Stampley as Porgy with  Alicia Hall Moran's Bess in SHN's production of The Gershwins' Porgy and Bess with Suzan-Lori Parks's book adaptation, Diedre L. Murray's musical score adaptation, Ronald K. Brown's choreography with director Diane Paulus. The show is up at San Francisco's Golden Gate Theatre, 1 Market Street, Tuesday-Sunday, through Dec. 8, 2013. For a discount enter the code AfroSolo at http://www.blogtalkradio.com/wandas-picks/2013/11/27/wandas-picks-radio-show-nathaniel-stampley-as-porgy

Today we will rebroadcast an interview taped Feb. 6, 2010, with Ronald K. Brown, Evidence Dance Company, whose work is a part of Alvin Ailey Dance Company's tour currently at UC Berkeley's Cal Performances Tuesday, March 9 through Sunday, March 14, 2010. We start with a poem by Marilyn Buck from her Revolutionary Petunias. The show closes with an interview with directors of "Hold the Sun," one of the feature films at the San Francisco International Asian Film Festival, March 11-21 in venues throughout the San Francisco Bay Area.