Podcasts about velocity dance center

When we think about consuming art, whether reading a book, visiting a museum, or maybe watching an outdoor performance act, we rarely consider the administrative efforts that go into making art possible. Creative administration is an evolving field that considers the innovation and organizational management necessary to create and present art. Artists find themselves having to balance their own vision, with the practicalities of physical production, collaboration, and so many other factors. Artists on Creative Administration: A Workbook from the National Center for Choreography, is a collection curated by Tonya Lockyer, containing firsthand accounts of creative administration in action. Lockyer is focused on telling stories that can help others progress, making a point to state, “This book is for anyone looking for paths forward; for anyone who believes we are in an exceptional moment of change—change is happening and needs to happen.” Please join us at Town Hall for an expansive conversation on the arts, leadership, and the craft of creative administration. Tonya Lockyer is an award-winning movement artist, choreographer, writer, and cultural curator. Lockyer was the executive and artistic director of Velocity Dance Center in Seattle from 2011 to 2018. Currently, she is also an adjunct professor in Arts Leadership at Seattle University. Her new anthology, Artists on Creative Administration, features the voices of thirty artists and arts workers, sharing their experiences as they navigate issues of equity, design, leadership, collaboration, family, ethics, and care. Jackson Cooper is the Executive Director of the American Genre Film Archive, the world's largest nonprofit archive and distributor dedicated to preserving, collecting, and presenting the greatest genre films of all time. In 2023, he was named one of the Top 30 Arts Professionals by Musical America magazine and was appointed by Governor jay Inslee to the Washington State Arts Commission in 2024. He serves on the faculties of both Seattle University and UNC-Greensboro where he teaches Fundraising and philanthropy. His first book entitled A Kids Book About Kindness was published in 2023 and his forthcoming book on Sustainable Fundraising will be published by Columbia Business School Publishing in 2026. He holds an MFA in Arts Leadership at Seattle University and a BA in Theatre/Business from UNCG which honored him with the university's Young Alumni Award this past October 2024. Buy the Book Artists on Creative Administration: A Workbook from the National Center for Choreography Elliott Bay Book Company

For many performers, a missed show can mean a huge pay cut.  Drag queens, comedians, musicians, and other entertainers are mostly independent contractors, which means no employer provided health insurance or sick time.  Now, local drag queen Betty Wetter, as well as the dance duo Drama Tops, and Velocity Dance Center, have come together to create the Queer Sick Pay Fund.  The Fund is meant to provide queer nightlife performers in the Seattle area with sick pay and resources when they have to miss a gig.  Guest: Seattle drag queen Betty Wetter Relevant Links: Velocity Queer Sick Pay Fund page See omnystudio.com/listener for privacy information.

On this episode, Dance Behind the Screen podcast co-hosts Martheya and YeaJean interview Erin Johnson and Fox Whitney about the Seattle Velocity Dance Center. They discuss the historical background of Velocity as well as how they have shifted post-2020. The guests talk about what it is like to value the community of dancers' needs in order to create a great dance city ecology. Episode Show kNOwtes Podcast Home

Three leaders of Seattle institutions discuss the ways a year without in-person events disrupted worlds and how it transformed how they do their work. Before the pandemic, it could be easy to take the live arts for granted. In a city like Seattle, on any given night, audiences gathered in all kinds of spaces to take in a performance or a screening. That this part of life would someday come to a halt was unthinkable. The arts did continue, much of it digital and streaming, but the spaces in our cities remained empty and the future of the organizations that once filled them, uncertain.  Now that audiences are tentatively beginning to gather again, they are returning to a landscape that has been forever changed, for worse and for better.  For this episode of the Crosscut Talks podcast, Crosscut arts reporter Margo Vansynghel speaks with the leaders of three Seattle institutions — Vivian Hua of the Northwest Film Forum, Tim Lennon from Langston and Erin Johnson of Velocity Dance Center — about the difficult decisions and innovations that have brought them this far and what the future looks like for their organizations.  --- Credits Host: Mark Baumgarten Event producers: Jake Newman, Andrea O'Meara Engineers: Seth Halleran, Resti Bagcal, Viktoria Ralph

If there's one thing freelance dancers hate, it's the time off/between project hustle. And the pandemic has been one big chunk of time off and very little opportunity for projects. Check out the chat we got to have with freelance performer and mover Emma Lawes, who unpacks a whole new way of prioritizing "self care". We're talking silver linings! Check out this Tedx Talk mentioned in the pod: https://www.youtube.com/watch?v=yZRCFK1n-NM Check out Velocity Dance Center's website for One on One's: https://velocitydancecenter.org/events/one-on-ones/ Thanks for listening! Here's where you can find Emma: @emma.lawes @_oneonones @velocity_seattle And the usual suspects: @dancersdidthat @mcantolin @lizhoulton --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Incoming Northwest Heritage Centrum resident, Alice Gosti, invites Bebe Miller to have a conversation about dance, movement, and the context of their practices in the current moment. The two choreographers discover overlapping formative pedagogies and talk through the spatial experiences of zoom, intimacy and vulnerability in their bodies of work, the cultivation of collaboration and play, and the multiple influences of place, language, and connections with people. Listening to this conversation is a dance for the mind and offers new ways to think about how we move through the world. Alice Gosti is an Italian-American choreographer, hybrid performance artist, curator and architect of experiences. Alongside her company members, she has been working in public spaces and exploring unconventional performances since 2013. Gosti’s work uses the world, landscapes, and pre-existing architectures as stages. Recent productions include How to become a partisan (Velocity Dance Center, 2015) and Material Deviance in Contemporary American Culture (On the Boards, 2018). Gosti’s work has been recognized with numerous awards, commissions and residencies including being a recipient of the 2012 Vilcek Creative Promise in Dance Award, the 2012 ImPulsTanz danceWEB scholarship, a 2013 Bossak/Heilbron Award, part of the 2015 inaugural Intiman Theatre Emerging Artist Program as a Director, a 2015 Artist Trust GAP Grant, a 2015 and 2017 Seattle Office of Arts and Culture Award, a 2017 Artist Trust Fellowship, a 2016 NEFA National Dance Project Production and Touring Grant and, the inaugural Italian Council Grant from the Italian Government. In 2013 she founded the Yellow Fish // Epic Durational Performance Festival, the world’s only festival dedicated to durational performance. Gosti is also a recipient of Centrum’s Northwest Heritage Residency program in 2020. Bebe Miller first performed her work at NYC’s Dance Theater Workshop in 1978. Her choreography has been commissioned by Dayton Contemporary Dance Company, Oregon Ballet Theater, Boston Ballet, Philadanco, the UK’s Phoenix Dance Company and a host of colleges and universities. Since its forming in 1985 

Episode 6: choreographer and durational performance artist, Alice Gosti. Alice has a solo-show coming up Nov 1-17th at ACT Theatre called Where is home - birds of passage. The show is a 3 hour come and go durational performance examining Alice’s personal experience as an Italian-American immigrant artist. From Alice, “Like all of my work, birds of passage connects my personal history to wider collective histories. In this work, I tackle the history of Italian-American immigration to the US as well as the ongoing struggle for justice and equitable treatment that current immigrants and refugees face today.”Tickets are on sale now! Click here for more info and tickets.Before that solo show, Alice and her company Malacarne are having a fundraiser Party in Seattle on October 24th. And her work Material Deviance in Contemporary American Culture, which premiered last year at On the Boards is touring nationally to Boston (MA) Sept 27-29 and Charlotte (NC) Oct 17-18.In this episode, Alice and I talk about her dual identity as an Italian-American immigrant, how she became interested in creating durational performances, and how she approaches making collaborative work. Enjoy!Alice Gosti is an Italian-American Immigrant choreographer, hybrid performance artist, curator and architect of experiences, working between Seattle and Europe since 2008. She holds a B. A. in Dance from the University of Washington with a focus in choreography and experimental film.Gosti’s work has been recognized with numerous awards, commissions and residencies including being a recipient of the 2012 Vilcek Creative Promise in Dance Award, the 2012 ImPulsTanz danceWEB scholarship, the 2015 inaugural Intiman Theatre’s Emerging Artist Program as a Director, the Bossak/Heilbron Award, the Seattle Office of Arts and Culture Award, an Artist Trust GAP Grant and Fellowship, NEFA’s National Dance Project 2016 and of the inaugural Italian Council Grant from the Italian Minister of Culture (MiBACT). Gosti was also a two-time Cornish Artist Incubator Awardee, Velocity Dance Center’s 2015 Artist-in-Residence, is Seattle University 2016 Artist-in-Residency at the University of Washington.Gosti’s work has been commissioned and presented nationally, by On the Boards, Velocity Dance Center, Seattle Art Museum, Intiman Theatre, Vilcek Foundation at the Joyce (NY), ODC Theater (SF) as part of the SCUBA national touring network, Risk/Rewards Festival (PDX) and Performance Works Northwest (PDX).Find more info about Alice’s work including video of her work on her website: www.gostia.com. Follow along or become a supporter of Sharpest Knives at www.Patreon.com/SharpestKnivesPodcastFind Sharpest Knives on Facebook.com/SharpestKnivesPodcastFollow @SharpestKnivesPodcast on InstagramEmail any suggestions or questions for future guests to SharpestKnivesPodcast@gmail.comSharpest Knives is partially supported by the Seattle Office of Arts and Culture.Support the show (http://www.patreon.com/sharpestknivespodcast)

Episode 4: Listen to Maris and Kaitlin McCarthy, Editor of SeattleDances, talk about the importance of talking about art, distinguishing between work you’re good at and work you actually like doing, and the joy of feeling uncomfortable. SeattleDances has a new and improved interactive Seattle-wide performance calendar! Kaitlin McCarthy is a dance artist operating in Seattle, WA since 2010. She grew up dancing in Ann Arbor, Michigan and continued dancing on the East coast, where she graduated summa cum laude from Mt Holyoke College. In Seattle she has danced with over a dozen local artists and has choreographed work for Velocity Dance Center, On the Boards, Evoke Productions, BOOST Dance Festival, SOIL Gallery, Washington Ensemble Theatre, and others.Her dance work blends surreal imagery, elements of theater, and athletic dancing to construct abstract narratives and perform human relationships. Weaving kinesthetic empathy and cultural mythology, her art often addresses an underlying forbiddenness finding its way to the surface. Improvisation and experimentation are driving forces in her work, guided by intuition, intellectualism, and a midwestern work ethic. Kaitlin is a member of the Seattle Contact Improvisation Lab, a teaching artist at Velocity Dance Center, and is the Editor for SeattleDances. As a freelance writer she has published over 100 articles for City Arts Magazine, Dance International Magazine, and SeattleDances. She regularly dances with Alice Gosti and collaborates with Jenny Peterson, among others. Follow along or become a supporter of Sharpest Knives at www.Patreon.com/SharpestKnivesPodcastFind Sharpest Knives on Facebook.com/SharpestKnivesPodcastFollow @SharpestKnivesPodcast on InstagramEmail any suggestions or questions for future guests to SharpestKnivesPodcast@gmail.comSharpest Knives is partially supported by the Seattle Office of Arts and Culture.Support the show (http://www.patreon.com/sharpestknivespodcast)

Episode 3 is Maris’s conversation with Colleen Borst, who is the Development Manager at Velocity Dance Center. At the time of the interview, Colleen was also the Interim Managing Director at Velocity, and since then, Velocity has hired Catherine Nueva Espana as their new Executive Director.Colleen is an experienced fundraising and development professional and print production artist with over 20 years of working in nonprofit organizations experience. She has worked at Seattle University and the PETA Foundation. Colleen is also a fundraising consultant, freelance print production artist, and Tarot card slinger. She can be found at ColleenBorstConsulting.com. She holds an MFA in Arts Leadership from Seattle University. Maris and Colleen talk about making space for art, how to talk to multiple groups of people at once, Colleen shares what to avoid when talking to people who might give your organization money, and why everybody should watch the Great British Baking Show. A note: This episode was recorded at Maris’s apartment, and Maris’s dog, Finn, makes a few appearances. There are a couple points where you can hear Finn panting or bumping the table. Follow along or become a supporter of Sharpest Knives at www.Patreon.com/SharpestKnivesPodcastFind Sharpest Knives on Facebook.com/SharpestKnivesPodcastFollow @SharpestKnivesPodcast on InstagramEmail any suggestions or questions for future guests to SharpestKnivesPodcast@gmail.comSharpest Knives is partially supported by the Seattle Office of Arts and Culture.Support the show (http://www.patreon.com/sharpestknivespodcast)

Guests: ARTISTIC + EXECUTIVE DIRECTOR Tonya Lockyer and ASSOCIATE PRODUCER Erin Johnson of http://velocitydancecenter.org/

Jade Solomon Curtis,  born in Texas, is a choreographer, dance artist and founder of Solo Magic, a non-profit arts initiative collaborating with innovative artists to create socially relevant multi-disciplined performances highlighting dance; “Activism is the Muse". A celebrated soloist of Donald Byrd's Spectrum Dance Theater for four seasons, Curtis is also the subject of an Emmy Award winning short film, Jade Solomon Curtis directed by, Ralph Bevins. 2017 began with Curtis being awarded SeattleDance's first “Dance Crush Award” for Performance/Choreography in the riveting workshop of “Black Like Me”.   Curtis received her BFA in Dance Performance from Southern Methodist University and is the recipient of fellowships and grants from the University of South Carolina, Seattle Office of Arts & Culture, Artist Trust and 4Culture. Curtis is currently the Director of the Arts Program for the Pan African Center for Empowerment (PACE) and is an artist-in-residence at Velocity Dance Center.  

In the second half of my conversation with Tonya Lockyer we discuss the challenges of turning Velocity Dance Center around and reinvigorating its community reach, then move on to examining the nature of dance and art and they're relationship with broader society. And as always, a bunch of other stuff. Stuff that further cements the idea that Tonya is the bees knees.

Tonya Lockyer began dancing at the age of four, at 9 she was invited to join the National Ballet School of Canada in Toronto, after which moving to New York to study with Merce Cunningham. From there her explorations as a dancer and choreographer has taken her all over the world, eventually bringing her to Seattle where she worked with local dance institutions like On The Boards, Cornish College for the Arts and Velocity Dance Center, where she became Executive Director in 2011. After revitalizing and dramatically expanding the organization over the next three years she proposed changing the organizational structure to an executive team, with Tonya becoming Artistic Director in 2014. But these highlights don't begin to tell half of her story. Tonya is an incredibly energetic and generous soul and sitting down with her in her place in Pioneer Square was a fantastic experience, one which produced one of my favorite conversations thus far. This is part one of a two-part episode, and to be honest, I'd happily sit down with her again and again, she's the cat's pajamas.

Jeremy Wade talks with STANCE co-editor Tyler P. Wardwell about the desert, the club, and Fountain--the solo he's bringing to Velocity Dance Center on February 15+16.