Podcasts about Wendy Whelan

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning. Hosted on Acast. See acast.com/privacy for more information.

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning.

Can art pave the way for a politically divided nation to move forward? Artist, cultural strategist and TED Fellow Marc Bamuthi Joseph reflects on the role of art, forgiveness and remembrance in the pursuit of public healing — especially at a time when trust is contested and community forums fractured. Wendy Whelan, associate artistic director of the New York City Ballet, joins him on stage for a rendition of “The Carnival of the Animals,” exploring how the cuckoo bird exemplifies the cycles of inaction that lead to injustice. It's more than a performance — it's a reckoning.

Spoken word artist Marc Bamuthi Joseph and dancer Wendy Whelan discuss their remarkable new hybrid performance piece “Carnival of the Animals”, which addresses, among other things, the siege of the US Capitol on January 6, 2021, through the lens of Camille Saint-Saens' 1886 musical composition.  Marc Bamuthi Joseph conceived and wrote the piece, and performs the spoken word portions, and Wendy Whelan performs the dance portions, which are choreographed by Francesca Harper.  Marc Bamuthi Joseph is the vice president and artistic director for social impact of the Kennedy Center in Washington DC.  He was formerly chief of programs and pedagogy at the Yerba Buena Center for the Arts in San Francisco.  Wendy Whelan is a longtime dancer and now the associate artistic director with New York City Ballet.  They have performed “Carnival of the Animals” in several locations around the US, and will bring the production to New York City in March 2025. On October 28, 2024, Marc Bamuthi Joseph and Wendy Whelan spoke with critic and author Steven Winn at the studios of KQED in San Francisco. 

As we prepare for opening night of Spring performances, Associate Artistic Director and New Combinations host Wendy Whelan catches up with sought-after choreographer Amy Hall Garner between rehearsals for her first commission for NYCB, premiering in just over a week. Garner shares the long, dance-rich journey—including summer sessions at the School of American Ballet, studying modern, tap, and jazz, and performing on Broadway—that led to this moment in her dance-making career. "I love being in the studio," she says of the creative process. "I think that's a sacred space." (40:04)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

In the latest New Combinations episode, Associate Artistic Director and host Wendy Whelan chats with Principal Dancer Tiler Peck about memories from their time dancing together and Tiler's upcoming choreographic debut with the Company. Tiler describes how her internal sense of musicality drives her choreographic practice as much as her work as a performer, and shares that this commission from New York City Ballet came at exactly the right time—the dancers' happiness and enthusiasm in the studio were "exactly what she needed." (37:56) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

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In honor of International Women's Day, Nataly speaks with Wendy Whelan, one of the greatest ballerinas of our generation, a principal dancer with the New York City Ballet for 30 years, and now its Associate Artistic Director.-In this inspiring and fueling conversation, Nataly and Wendy talk about:How to break free of the limitations of perfection.Life's work and the process of chiseling away to find our truest expression of ourselves.How to grow through transitions and change with humility and joy.And so much more!-To learn more about Wendy, please visit https://www.wendywhelan.org-**REGISTER FOR AWESOME HUMAN HOUR LIVE**Click the link below to register for Awesome Human Hour Live and join us with the live audience, ask questions, and more!-https://zoom.us/webinar/register/WN_k8wilMrgQYu9Qa_9k0dilw

One of the most acclaimed dancers of our time, Wendy Whelan had a distinguished career for three decades as Principal Dancer at New York City Ballet, before becoming the first female to take on a leadership role with the company as Associate Artistic Director. Wendy and Alicia reminisce about taking classes together at Steps on Broadway, discuss Wendy's early struggles to be cast in a wider array of roles, and talk about Wendy's hope to leave a legacy of support for future generations of dancers.Check out Wendy Whelan on Instagram or at New York City Ballet.Learn more about Restless Creature here.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.

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. During the course, visiting artists to the MFA Theatre Program's Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance experiments. David Neumann and Marcella Murray are interviewed by Chisom Awachie (SLC 23) Marcella Murray is a New York-based theatre artist from Augusta, Georgia, Murray is a playwright, performer, collaborator, and puppeteer. Her work is heavily inspired by the observed ways in which people tend to segregate and reconnect. Her work tends to focus on themes of identity within a community and (hopefully) forward momentum in the face of trauma.  Performances include The Slow Room, a piece directed by Annie Dorsen at Performance Space New York; a workshop of Ocean Filibuster, which was co-created by the team Pearl D'Amour (Lisa D'Amour and Katie Pearl) with composer Sxip Shirey at Abrons Arts Center; the work-in-progress, I Don't Want to Interrupt You Guys, created in collaboration with Leonie Bell and Hyung Seok Jeon during RAP at Mabou Mines; New Mony, created by Maria Camia at Dixon Place; and Shoot Don't Talk at St. Ann's Warehouse/Puppet Lab, created by Andrew Murdock.  Along with David Neumann, Murray recently co-created Distances Smaller Than This Are Not Confirmed (Obie Special Citation for Creation and Performance), which opened at Abrons Arts Center in January 2020. Murray is part of an artist collective called The Midwives. As artistic director of Advanced Beginner Group, Neumann's original work has been presented in New York at PS 122, New York Live Arts, The Kitchen, Central Park Summerstage (in collaboration with John Giorno), Symphony Space (in collaboration with Laurie Anderson), Abrons Arts Center, The Chocolate Factory, and The Whitney. Advanced Beginner Group has also performed at the Walker Art Center, Jacob's Pillow, MASS MoCA, American Dance Institute, and Carolina Performing Arts, among others. Neumann has been a featured dancer in the works of Adrienne Truscott, Susan Marshall, Jane Comfort, Big Dance Theater, Doug Varone, Doug Elkins Dance Company, and in two duets with Mikhail Baryshnikov. His choreography in the theatre includes The Antipodes at Signature Theatre, Futurity with Soho Rep and Ars Nova, An Octoroon at Soho Rep, Underground Railroad Game at Ars Nova, and directing Geoff Sobelle in The Object Lesson at BAM Fischer and New York Theatre Workshop. Neumann was choreographer on Hagoromo with Wendy Whelan and Jock Soto, Home at BAM Harvey, and Sibyl Kempson's Let Us Now Praise Susan Sontag at Abrons Arts Center. His film work includes collaborations with Hal Hartley, I Am Legend with Will Smith, Marriage Story with Adam Driver and Scarlett Johanssen, and White Noise directed by Noah Baumbach. Neumann is the recipient of three New York Dance and Performance “Bessie” Awards (including Best Production in 2015 for I Understand Everything Better). The third installment of the Distances... trilogy, in collaboration with theatre artists Marcella Murray and Tei Blow, will be presented in New York in 2024. Neumann has also been nominated for Tony, Drama Desk, and Outer Circle Critics awards for his choreography on Hadestown. He is also the recipient of a 2019 Chita Rivera Award for Outstanding Choreography of a Broadway Musical for Hadestown. Most recently, Neumann was choreographer on Swept Away, with music by the Avett Brothers at Berkeley Rep. Photo: Maria Baranova

We are excited to bring you this podcast series, Choreographers in Conversation. This series will allow choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode Sam Pinkleton interviews Annie-B Parson. The two discuss the experience of choreographing for musicians and opera, being a choreographer not a dancer, and how one collaborates or doesn't with dancers and musicians. Sam asks Annie-B about how she prepares for a project, who she makes dance pieces for, and how she thinks teaching influences her work. Additionally, the two talk about Annie-B Parson's new book called The Choreography of Everyday Life that was published on October 11th, 2022. They also reiterate that choreographers are for more than carrying a couch across the stage.  Annie-B Parson: Annie-B Parson is a choreographer. She has made choreography for rock shows, marching bands, movies, museums, objects, television, augmented reality, opera, ballet, theater, symphony orchestras, string quartets, and a chorus of 1,000 amateur singers. She has made dance and stagings for the work of David Byrne, David Bowie, Lorde, St. Vincent, Mikhail Baryshnikov, Wendy Whelan, Laurie Anderson, Suzan Lori Parks, Spike Lee, Jonathan Demme, Salt ‘n Pepa, Esperanza Spalding, David Lang, Anne Carson, and the Martha Graham Dance Co. Annie-B is the artistic director of Big Dance Theater. Annie-B just published a new book on October 11, 2022 called The Choreography of Everyday Life. https://www.bigdancetheater.org/founders-directors/ Sam Pinkleton:  Sam Pinkleton is a Tony Award-nominated theater and dance maker. His work on Broadway includes Natasha, Pierre, and the Great Comet of 1812, Machinal, Heisenberg, Significant Other, Amélie, and Macbeth. His recent work includes Jeanine Tesori and David Henry Hwang's Soft Power, the youth-led civic spectacular Runaways in Central Park and collaborations with the Dutch National Opera, Carnegie Hall, BAM, Virgin Voyages, The Civilians, Swing Left, and Cirque du Soleil. He is currently directing the world premiere of Noah Diaz' You Will Get Sick for Roundabout Theater Company. He does not own any dance shoes. sampinkleton.com Stage Directors and Choreographers Foundation: Founded in 1965, Stage Directors and Choreographers Foundation (SDCF) exists to foster, promote, and develop the creativity and craft of stage directors and choreographers. SDCF's mission is to create access to the field, to connect artists to each other and to the public, and to honor these artists' theatrical legacies. The centrality of directors and choreographers in theatre and the impact they have on other artists' careers—from playwrights to designers to actors—makes SDCF's services essential to the wider theatre industry's continued health and vitality. Through its dynamic educational programming, including Observerships, Fellowships, public panels, and day-long symposia, SDCF serves the needs of directors and choreographers at every stage of career. www.sdcfoundation.org

Happy Birthday to Wendy Whelan, David Kasday, Gail Benedict, and Michele Wiles! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

每日英語跟讀 Ep.K360: Ballet is hard enough. What Happens When You Lose a Year?   In ballet when you lose a year, you lose a lot. It takes years of sacrifice and training to become a professional, and the performing life of a dancer is short. 在芭蕾的世界，你失去一年，你的損失可就大了。經過多年犧牲訓練才能成為一個專業舞者，表演生涯卻頗為短暫。 For elite ballet dancers, a solid career lasts around 15 years — and that comes after roughly a decade of schooling. Could this pause alter the evolution of dance generations? 對菁英芭蕾舞者而言，穩定的職涯約可維持15年，唯須先經10年左右正式學習。這波疫情中斷會改變舞蹈界的世代演進嗎？ “They're losing a year to a year and a half of their career that they're not going to get back,” Jonathan Stafford, New York City Ballet's artistic director, said. “It's not like they can make it up on the back end. Everyone eventually is going to age out.” 「他們損失一年至一年半的職涯，而且無法追回。」紐約市芭蕾舞團藝術總監強納森‧史代佛說。「這並非他們之後能補上的事，到頭來每個人都會不再適齡。」 Ballet dancers need mental toughness to prevail in ordinary times. But this collective timeout is unlike anything they have experienced in their careers. 芭蕾舞者平時就需有堅強的心智方能出類拔萃，碰上這波疫情被迫集體性暫停卻跟他們原來職涯中任何經歷都大不相同。 “It has to be brutal — physically and psychologically,” Mikhail Baryshnikov said in an email. He recalled having “tough tests” — times in his career when injuries had forced him to take off a few months. “But it's hard to imagine what it's been like for dancers sidelined by the pandemic.” 「這對身心肯定都是嚴苛考驗。」米夏‧巴瑞辛尼可夫在電郵中表示。他回憶職涯中多次因受傷被迫休息數月，遭遇「嚴酷試煉」。「但是，很難想像舞者因為疫情無法表演是何種光景。」 How does a dancer stay motivated and challenged? Some won't have jobs to return to, and those who do don't know when performances will return to normal. And the clock keeps ticking. 舞者如何維持積極向上和接受挑戰的心志？一些人將回不去原來的工作崗位，回得去的也不知演出何時能恢復正常。而時光繼續流逝。 “I can't imagine any point in my career being dealt this card,” said Wendy Whelan, the associate artistic director of City Ballet where she was a leading dancer for 30 years. “You are taking up steps — up, up, up, up, up — and you don't want to get knocked off of any one of those steps at any point. Then, when you get there, you want to hang on to it as long as you can.” 「我無法想像職涯中任何時間點碰上這種情況。」曾任紐約市芭蕾舞團首席舞者30年的該團副藝術總監溫蒂‧韋倫說。「你順著台階往上爬，一階階往上攻頂，不想在任何時刻從任何一階上被打下來。然後當你登頂後，會想在那兒待得愈久愈好。」 Stafford said he wasn't worried about dancers regaining their athleticism and movement quality; he even thinks their technique will be better, a result of working more slowly and focusing on the basics. But it will take time — months of classes and then rehearsals — to get them back to where they were last March. 史代佛說，他並不擔心舞者無法回復運動能力與動作品質，甚至認為他們的技巧會更好，因為能以較慢步調練習及專注於基礎。但需要相當時間，數月課程再加上排練，才能讓他們重回去年三月的狀態。 Dancers are practical; this year has shown that they are also incredibly resilient. While the shutdown has meant time away from performing, it has also given dancers an opportunity to experience life beyond their art, and many have relished the pause. They are taking college classes or teaching or having surgery they have put off, knowing there is time to recover. There are lots of babies on the way. 舞者是務實的，這一年顯示他們也極具韌性。封城雖意味無法表演，卻也給舞者體驗舞蹈以外人生的機會，許多人很享受這段空檔。他們去大學上課、教課或接受擱置的手術，因為知道有時間可以休養。另外也會有許多新生命即將誕生。 “I am convinced that they're going to come back more well rounded, more interesting, softer in a way,” Whelan said, adding: “This time has been so healthy. Unfortunate, yet healthy.” 「我確信他們再回來時會更全面而完整，更有趣，或者也可以說更柔軟。」韋倫說，她又說：「這段時光十分健康，雖不幸」Source article: https://udn.com/news/story/6904/5348793

In the lead up to the premiere of his first ballet commissioned for the NYCB stage, choreographer Jamar Roberts joins host Wendy Whelan for the latest New Combinations conversation. From dancing to Mariah Carey after school in Jacksonville, Florida, to moving to NYC and joining Ailey II at 18 years old, to retiring as Resident Choreographer of the Alvin Ailey American Dance Theater last December, Jamar traces the route that brought him to working with the Company. As he tells Wendy, this ballet is intended to spark joy—in a spirit informed by its Wayne Shorter score, the openness of the dancers, and the needs of the current moment. (38:48) Edited by Emilie Silvestri Music "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

It's our highest honor to seal off Season One of the Artists Becoming Podcast with THE luminous Restless Creature herself: #HRH Wendy Whelan. While the journey of this fine Artist's blossoming is well known, the generosity of her conversation held us captive in the singular way her talent lit up stages across the globe for over 30 years. Join us, in welcoming this world-wide renowned Ballerina, choreographic muse, teacher, coach and current Associate Artistic Director of New York City Ballet. Wendy.

Organizations are learning the value of creating a coaching culture to develop leaders at every level. This episode reviews recent research on the ROI of coaching as well as three relevant questions: (1) What is the difference of coaching, counseling, mentoring, and life coaching? (2) What is the approach or methodology of coaching leaders at Right Management Florida/Caribbean? (3) What is the advantage of external coaching rather than using internal coaches for leadership development. This session will answer and raise questions. Please reach out to our Talent Management Team who are the presenters in today's episode. Dick Daniels, Angie Brainard, Wendy Whelan and Alan Griffin. Subscribe to the Show On Spotify: https://open.spotify.com/show/342cDYC6XXlpL4m5XcEkvJhttps://open.spotify.com/show/342cDYC6XXlpL4m5XcEkvJ Follow Right Management Via Our Website: https://www.rightflorida.com/ On LinkedIn: https://www.linkedin.com/company/right-management-florida-caribbean/ On Twitter: https://twitter.com/RightFlorida On Facebook: https://www.facebook.com/RightManagementFlorida/ Email the show - podcast@rightflorida.com

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Brooklyn New York based choreographer, Brian Brooks. Brian's work has toured internationally since 2002 with presentations by BAM, the Joyce Theater, Jacob's Pillow, the American Dance Festival, and Works and Process at the Guggenheim Museum, among others. He has developed and toured work with former New York City Ballet prima ballerina, Wendy Whelan, titled Restless Creature and appears in the film by the same name, with Whelan. https://www.bbrooks.org

On this episode we welcome, Faye Viviana a former professional ABT dancer. She shares her journey from being diagnosed with Scoliosis, to being in blinded in pain. At 16 she was being told she would need surgery & what that was like being with ABT in NYC When I was dancing I wasn't in pain. When I wore my brace at night the pain set in. Landing from a jump, I would go blind from pain Partnering in dance & the frustrations that came along with it. How costume fitting had to be tailored to her specifically. Feeling that her back made other peoples lives harder. What it was like when she met Wendy Whelan. The feelings that came along with being faced to look at her back every day. Finding that Feldenkrais was the quickest quick fix. How she was able to hold her curves. Finding herself in a dark place thinking about how she could magically fix her back. Her pain became crippling until she found the Scoliosis SOS clinic in London. How her professional carrier paved her forward for such a bigger path. Where can you find Faye Instagram: https: fyvivi Imdb: Faye Vivana Related Links: 3 Free tips for back stretches created by Teresa Teuscher for Scoliosis back pain. Grab your free tips here Do you follow Teresa on Instagram yet? Head over to T3Fitt on Instagram and follow her and her team for additional content. LEAVE A REVIEW: if you enjoy this episode, we'd to hear what was your take away. Be sure to do over to Apple Podcasts & leave a review. If you know someone who this can help please share. Take a screen shot & share it with us on instagram @ T3fitt. We'll see you on the next episode. Your Scoliosis friend, Teresa Related Links: 3 Free tips for back stretches created by Teresa Teuscher for Scoliosis back pain. Grab your free tips here Do you follow Teresa on Instagram yet? Head over to T3Fitt on Instagram and follow her and her team for additional content.

Wendy Whelan joins Dick for this episode to discuss organizational culture. A strong organizational culture helps retain your very best talent and deliver business results. Join us to explore how organizational culture is defined, how you can identify if your organization has experience  culture erosion and most importantly, the steps you can take to address culture erosion. As leaders, how can you foster and protect the culture of your organization? Subscribe to the Show On Spotify: https://open.spotify.com/show/342cDYC6XXlpL4m5XcEkvJhttps://open.spotify.com/show/342cDYC6XXlpL4m5XcEkvJ Follow Right Management Via Our Website: https://www.rightflorida.com/ On LinkedIn: https://www.linkedin.com/company/right-management-florida-caribbean/ On Twitter: https://twitter.com/RightFlorida On Facebook: https://www.facebook.com/RightManagementFlorida/ Email the show - podcast@rightflorida.com

This conversation with Shockwave is deep and very important to listen about the expectations that we have as humans in which we have the power to improve in society. In this episode you will learn about:Where your street dance movements come from.The importance of you knowing where styles originated.How you can improve society expectations by being yourself and not following the leader.How some trends become toxic instead of creating unity.How artists can create more money by working together to create a better financial industry. Favorite Quote: “The great thinker talks about ideas, the average thinker talks about events, the small thinker talks about people .” Shockwave has experience learning from freestyle popping legends and he is able to teach where those movements come from. About Shockwave:Shockwave is a  Los Angeles born dancer who expresses through physical and spiritual energy with respect to tradition. He strives to instill belief in one’s self and unlock creativity while preserving the culture of art forms.Through foundation, perspective and vision, he looks to inspire others to feel what can’t be expressed through words and be more than what society dictates, for the new generation, and to those who dance for a lifetime. Follow Shockwave:Instagram Facebook Shockwave - Soul Levels (by Beatslaya) Text: ANNIVERSARY to (323) 524-9857 to view our WATCH PARTY for our 20th Anniversary Maxt Out Dance Competition online! Follow us:Learn more: Dance Your LifeLearn more: Maxt Out Dance CompetitionInstagram @maxtoutdanceMaxt Out on FacebookTikTok @maxtoutdanceSign-up for our FREE Maxt Out at Home Dance Classes!Follow Joanna:Learn more The Get Up GirlJoanna Vargas on InstagramJoanna Vargas on FacebookTikTok @joannavargasofficialOperation Underground Railroad – OURRescue.org

It is our very own Reid Bartelme's birthday. Join us for a really incredibly extra special episode with nice, mundane parts too. Reid, we really hope you loves it. We loves you!!! WATCH: IN THE CLOSET with REID BARTELME WATCH: FANCY NUT MIX on DECEMBER 20th at 7pm EST CHECK OUT: THE DANCE EDIT SPECIAL THANKS TO OUR SPECIAL GUESTS: ISAAC MIZRAHI, BARTON COWPERTHWAITE, ISABELLA BOYLSTON, JAMES WHITESIDE, HARRIET JUNG, WENDY WHELAN, LLOYD KNIGHT, DREW JACOBY, LIDSEY CLARK, SIMONE CLARK-SLOMINSKI, JACOB SLOMINSKI, DAVID HALLBERG, JOSEPH WALSH, LAUREN STRONGIN, GAREN SCRIBNER, JUSTIN SCRIBNER, LINDA MURRAY, PATRICIA DELGADO, JUSTIN PECK, PAM TANOWITZ, and HONEY WOLTERS. MORE: WWW.DANCEANDSTUFF.COM YOUTUBE.COM/DANCEANDSTUFF SUPPORT via PATREON MAKE A DONATION INSTAGRAM: @DANCEANDSTUFFSHOW @REIDBARTELME @JACKFERVER @THEJEREMYJACOB

We’re championing a new generation of younger artists who were also looking at ways to make this art form relevant, contemporary, and even more equitable” Author - Melanie SmithIn this episode, our featured voice is Melanie Smith, President of San Francisco Performances. San Francisco Performances is an innovative curator of established classical music, jazz, and dance artists as well as a leading supporter of the next generation of performance artists with a commitment to equity for all. Their artist’s residencies provide opportunities for public school students who encounter music and dance for the very first time—to engage personally with artists and gain a deeper understanding of their work.The Covid-19 pandemic has led to a very big economic impact on performance organizations and the performing art community with an estimated 50% unemployment rate for performance artists on a national level. The financial impact will continue since the gathering of people in theaters will be one of the last business sectors to re-open in the San Francisco Bay Area.  To Melanie and John’s point performing art organizations are being forced to develop new models of live streaming of shows and when small socially distanced audiences can come back into the theater the creation of hybrid performances of both on-line and in person could become the new theater experience. To find out more about how you support San Francisco Performances 41st season go to sf performances dot org.

In her eleventh year of teaching both American and women’s literature, Wendy Whelan-Stewart is an associate professor of English at McNeese State University, where she also directs the Master of Arts in English program. She has published articles on Margaret Atwood, Sylvia Plath, H.D., and Gwendolyn Brooks and is working on her first book.

For our 25th episode (recorded May 26th, 2020), we are thrilled to have as our guest Wendy Whelan: former principal dancer and current associate artistic director of the New York City Ballet, widely considered one of the world’s leading dancers of her generation. During her 30 years at the New York City Ballet—23 of them as a principal dancer—Wendy danced virtually all the major roles in the company’s repertoire and also developed a reputation for being a choreographer’s muse, creating many original roles with the foremost dancemakers of our time. A documentary, entitled Restless Creature: Wendy Whelan, was released across the country in 2017, and is now available on iTunes and Amazon. The film recently won the Chita Rivera Award for Best Dance Documentary. Join us for this conversation to hear Margaret and Wendy talk about: The formative years Wendy spent in treatment for severe scoliosis and how that experience transformed her attitude toward challenges What it was like joining NYCB shortly after Balanchine’s death How Wendy’s mother, a college basketball coach, instilled in her an interest in and appreciation for sports psychology and how psychotherapy helped her in her career at NYCB Two unexpected qualities Wendy believes dancers can tap into in order to become better artists Words of wisdom from Wendy (can we make that a thing if it isn’t already??) on working in the studio with choreographers on new creations and how bringing authenticity and a spirit of play to the process helped build her reputation as being a muse for choreographers like Christopher Wheeldon and Alexei Ratmansky The connection between the mind and the body being in conversation when it comes to growth, change, and injury Exploring the parallels between two times of heavy transition for NYCB: when Wendy first joined the company after Balanchine’s death, and last year when she assumed the position of NYCB’s associate artistic director We couldn’t have made it to 25 episodes with you all—so thanks for listening and supporting the show, and here’s to many more episodes to come! - - - For more information, as well as any links, see the blog post for this episode: https://www.margaretmullin.com/episodes/episode-25-wendy-whelan Follow Beyond The Barre: https://www.instagram.com/beyondthebarrepodcast/ Wendy Whelan: https://www.instagram.com/wendyw/ https://www.wendywhelan.org/about/ https://www.nycballet.com/ Restless Creature: Wendy Whelan (documentary film): https://www.restlesscreaturefilm.com/ Host: Margaret Mullin http://www.margaretmullin.com/ https://www.instagram.com/margaretmullin/ Producer: Sarena Fishman Jimenez http://www.sarenafishman.com/ http://instagram.com/sarenafishman Music: William Lin-Yee https://soundcloud.com/williamlinyee

She’s been with the New York City Ballet for 30 years, rising from apprentice to principal to associate artistic director. “When I moved to New York at 15, by myself, I moved into Jacques d’Amboise’s home. He rented the third floor of his brownstone to four young ballet students.” The world’s coolest boarding house. I want the sit-com rights to that story. This is our first pandemic Zoom episode. Forgive the audio quality and my occasional despondence.

durée : 00:27:49 - La Grande table culture - par : Olivia Gesbert, Jean-Christophe Brianchon - Comment danser la mémoire collective ? Wendy Whelan est danseuse, directrice associée du New York City Ballet, et à retrouver sur la scène de l'Espace Cardin pour "The Day" (Théâtre de la Ville, du 24 janvier au 6 février). - réalisation : Eric Lancien, Gilles Blanchard - invités : Wendy Whelan Danseuse et directrice artistique associée du New York City Ballet

durée : 00:27:49 - La Grande table culture - par : Olivia Gesbert, Jean-Christophe Brianchon - Comment danser la mémoire collective ? Wendy Whelan est danseuse, directrice associée du New York City Ballet, et à retrouver sur la scène de l'Espace Cardin pour "The Day" (Théâtre de la Ville, du 24 janvier au 6 février). - réalisation : Eric Lancien, Gilles Blanchard - invités : Wendy Whelan Danseuse et directrice artistique associée du New York City Ballet

In this episode, New York City Ballet leaders Jonathan Stafford and Wendy Whelan discuss the experience of taking over the largest ballet company in the US during a tumultuous time in its history and their vision for the future of ballet. The interview is moderated by Goldman Sachs' Rob Mass. September 16, 2019 This podcast should not be copied, distributed, published or reproduced, in whole or in part, or disclosed by any recipient to any other person. The information contained in this podcast does not constitute a recommendation from any Goldman Sachs entity to the recipient. Neither Goldman Sachs nor any of its affiliates makes any representation or warranty, express or implied, as to the accuracy or completeness of the statements or any information contained in this podcast and any liability therefore (including in respect of direct, indirect or consequential loss or damage) is expressly disclaimed. The views expressed in this podcast are not necessarily those of Goldman Sachs, and Goldman Sachs is not providing any financial, economic, legal, accounting or tax advice or recommendations in this podcast. In addition, the receipt of this podcast by any recipient is not to be taken as constituting the giving of investment advice by Goldman Sachs to that recipient, nor to constitute such person a client of any Goldman Sachs entity. Copyright 2020 Goldman Sachs & Co. LLC. All rights reserved.

Rebecca and Michael record an emergency podcast to discuss and react to the big news this week in the ballet world: the announcement of the appointment of Jonathan Stafford as artistic director and Wendy Whelan as associate artistic director of New York City Ballet.  Our sound quality isn't our best, and for that we apologize, but we […] The post (128) Rebecca & Michael: NYCB Directorship Announcement appeared first on tendusunderapalmtree.com.

Rebecca and Michael record an emergency podcast to discuss and react to the big news this week in the ballet world: the announcement of the appointment of Jonathan Stafford as artistic director and Wendy Whelan as associate artistic director of New York City Ballet.  Our sound quality isn’t our best, and for that we apologize, but we […] The post (128) Rebecca & Michael: NYCB Directorship Announcement appeared first on tendusunderapalmtree.com.

Wendy Whelan spent 30 years with New York City Ballet, 23 of those years as a principal dancer. She has danced virtually every major Balanchine role, and worked closely with Jerome Robbins on many of his ballets. She originated leading roles in works by such notable choreographers as William Forsythe, Twyla Tharp, Alexei Ratmansky, and Christopher Wheeldon. Wendy has been a guest artist with The Royal Ballet and the Kirov Ballet and has performed on nearly every major stage across the globe. She received the Dance Magazine Award in 2007, and in 2009 was given a Doctorate of Arts, honoris causa, from Bellarmine University. In 2011, she received both The Jerome Robbins Award and a Bessie Award for her Sustained Achievement in Performance. Since 2013, Wendy has been developing her own independent projects including, Restless Creature and Some Of A Thousand Words both co-produced by The Joyce Theater Productions, Whelan/Watson Other Stories co-produced by London’s Royal Opera House and Hagoromo, self-produced for the 2015 BAM Next Wave Festival. A documentary, entitled Restless Creature: Wendy Whelan, was released during the summer of 2016, in movie theaters across the country.

The Queens go to legendary NYCB ballerina turned contemporary dance collaborator extraordinaire Wendy Whelan’s apartment to discuss dance and stuff. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Wendy Whelan, whom The New York Times has called "America’s greatest contemporary ballerina," sits down to discuss her life and work with us in this week's episode of Still Spinning, The Joyce Theater's podcast about dance and the creative process. Read more about the duet First Fall that Brian Brooks created for Whelan, discussed in the episode.  Watch a mini-documentary we made on Whelan's and Brooks' evening-length show Some of a Thousand Words here.  Watch the documentary Restless Creature on Netflix.  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.  

Peter Boal does a Q&A with Wendy Whelan, chatting about her first staging experience (with Ratmansky's Pictures at an Exhibition), her new documentary Restless Creature, and how she was recently published in The New York Times writing about her first time dancing a Balanchine ballet (which coincidentally was the same day he died).

Prima ballerina Wendy Whelan, is one of the most acclaimed dancers of our time. She had spent 30 years at the New York City Ballet, 23 of those as principal dancer, before her final performance in 2014. She started taking ballet lessons when she was only 3 years old, began intensive training at the Louisville Ballet Academy at age 9 and then continued to spend most of her life dedicated to the craft. Since leaving the New York City Ballet, Whelan has joined the faculty of New York City's Ballet Academy East and was appointed Artistic Associate at New York City Center. She also premiered her inaugural independent project "Restless Creature" followed by two more independent projects, Whelan/Watson Other Stories, at London's Royal Opera House and Hagoromo at BAM's Next Wave Festival. On May 24, 2017 Abramorama released the film, "Restless Creature: Wendy Whelan" in New York at Elinor Bunin Theater and Film Forum, a documentary giving an intimate look at Whelan as she prepares to leave NYCB. In this episode, Whelan discusses the dedication and difficulties associated with being a ballerina and also the rewarding experience of fully committing to her passion and the lessons she learned by letting it go. Like what we're doing? Leave a review! ----> http://bit.ly/2ks4f90 Follow Sara Haines Twitter & Instagram: @SaraHaines Follow Jedidiah Bila on Twitter & Instagram: @jedediahbila Follow

This week's guest is former New York City Ballet principal dancer Wendy Whelan.

Friday Reading Series Sarah Rodigari creates performances that address economies of exchange pertaining to socio-political engagement, shared authorship and new institutional critique. Her projects take the form of lecture, text, video and collaborations. She recently published a chapter on performance art, and sympathetic magic for the publication Travel and Transformation and co-edited the book Going Down, an anthology of contemporary Sydney performance. Rodigari has presented work at the Museum of Contemporary Art, Melbourne International Arts Festival (Australia), South Project (Indonesia), PACT Zollverein (Germany), Centre for Contemporary Art Glasgow, The National Review of Live Art (UK), Anti-Contemporary Arts Festival (Finland), and SOMA (Mexico). She is currently a PhD candidate in Creative Art at the University of Wollongong and a founding member of the collective Field Theory. In an ongoing fascination with form, choreographer Annie-B Parson decided to “choreograph” the language of the naturalistic film script: Terms of Endearment. To do this she studied poetic forms, and then attacked the screenplay with such weaponry as trochees, spondees, tetrameters and pantouns. This became the stylistic hub of the text for Big Dance Theater's 2014 piece, Alan Smithee Directed This Play: Triple Feature. On May 1, Parson will attempt to reconstruct the poetics she applied to the text, and read some of the results. Parson is the co-artistic director of Big Dance. She also makes dance for pop music (David Byrne; St. Vincent); opera (Nico Muhly), film and theater. She has a work in the repertory of The Martha Graham Co., and is creating a solo for ballerina Wendy Whelan. Her awards include: Olivier nomination, Guggenheim Fellowship, Doris Duke Artist Award; USA Artist Award/Ford Fellow; Foundation for Contemporary Art Award; The Jacob's Pillow Award; Lucille Lortel nominations; Bessie Award; OBIE Award.

On each episode Megan answers YOUR questions each and every Monday, Tuesday and Wednesday. Today’s question come from: Hi Megan! I’m a big fan of yours and of NYCB. I saw a video of Wendy Whelan helping you sew up your pointe shoes. I’m not a dancer, so I didn’t know pointe shoes were so custom made. At this point in your career, do you think you could manage to dance in shoes made for another dancer? How many pairs do you go through a day and if you don’t mind me asking, what size shoe do you wear? I love this podcast; thanks so much for taking the time to answer questions!   Find Megan Fairchild ~  website/Twitter/Instagram Do you have a question about Ballet? YOU can be a part of the show by sending us your questions by clicking HERE:  BalancingPointe.com   Twitter/Instagram Please leave Rate and Review this show

In this episode I share with you one of my pre-show chats with guest Nel Shelby. You will hear us discuss Ballet, our kids and how we are so impressed by Wendy Whelan. This is your chance to get to know my guest in a much more personal level. Balancing Pointe Website Nel Shelby's website PS Dancer! website Wendy Whelan's "Restless Creature"

Nel Shelby Productions is New York City’s premier source for dance videography, editing promotional films and live-streaming performance.  Now, Nel Shelby Productions has grown from a one-woman show to a thriving operation with an excellent team of creative videographers, editors, marketing minds, client relations and project managers. Nel’s company is deeply dedicated to the preservation of dance through documentation of live performances, while also focusing on digital marketing and promotion with fully edited marketing reels, documentaries and dance films. Nel’s company has  filmed more than 700 dance events and performances in traditional theaters, outdoor plazas and gallery spaces.She also works as Festival Videographer for the internationally celebrated Jacob’s Pillow Dance Festival in the Berkshires and as Resident Videographer at the Vail International Dance Festival in Colorado. Be sure to check out her half-hour documentary (link below) on Vail’s festival, The Altitude of Dance, debuted on Rocky Mountain PBS in May 2013.Nel has also created four short films for Wendy Whelan’s Restless Creature project, and “Folie a Deux,”.  Nel’s short dance film made in collaboration with Adam Barruch Dance, was selected and screened at the Dance on Camera Festival in New York City and the San Francisco Dance Film Festival. She recently edited a dance documentary titled Where Women Don’t Dance, featuring Nejla Y. Yatkin and filmed during a month-long tour in Central America.Her latest project, PS Dance! which is a documentary about dance education in public schools hosted by TV journalist Paula Zahn. (link below) BalancingPointe.com http://www.psdancenyc.com/ http://www.nelshelby.com/dance-video-portfolio/#.VUz1Yo5VhBc http://www.nelshelby.com/dance-video-portfolio/#.VUz1jY5VhBc

Cathy Levy chats with dancer-choreographer Kyle Abraham who was at Canada's National Arts Centre in February 2014 to perform The Radio Show with his company Abraham.In.Motion. Kyle talks about his childhood in Pittsburgh, Pennsylvania, and how his passion for music led him to dance. With the support and guidance of his parents and teachers he pursued dance studies and eventually joined David Dorfman Dance and Bill T. Jones/Arnie Zane Dance Company. Kyle explains how The Radio Show, originally conceived as an homage to his father, also became a tribute to the Pittsburgh radio station WAMO. He then reflects on the accolades and awards he and his work received in late 2000 in the form of a Bessie Award and an important mention in Dance Magazine, as he and his company were struggling. Kyle Abraham also talks about his collaboration with world-class ballerina Wendy Whelan as well as the significance of receiving a MacArthur Foundation Fellowship, being named the 2012-2014 New York Live Arts Resident Commissioned Artist, and being labeled the “best and brightest creative talent to emerge in New York City in the age of Obama”. Finally, he gives us a sneak peak at his works in development.

For me, Jock Soto was the best partner on the planet. He's a celebrated artist who has danced with several of New York City Ballet's prima ballerinas. Perhaps most notably, Heather Watts, Darci Kistler and Wendy Whelan. Jock teaches at the School of American Ballet, and joined me from his childhood home in New Mexico.