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Awake, Alive, Curious: An Interview with Arika Yamada

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“It began as the one way I could speak for a time during my childhood. I first stepped foot into a dance studio as a seven-year-old. During that time I was mute for a few months from the culture shock of moving back and fourth between the United States and Japan. My mother thought that perhaps expression through the body would help me use words again since I didn’t want to talk in either English or Japanese.”

Awake, Alive, Curious: An Interview with Arika Yamada Read More »

“It began as the one way I could speak for a time during my childhood. I first stepped foot into a dance studio as a seven-year-old. During that time I was mute for a few months from the culture shock of moving back and fourth between the United States and Japan. My mother thought that perhaps expression through the body would help me use words again since I didn’t want to talk in either English or Japanese.”

Invitation to Cross-Pollinate

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Gertrude Stein’s Tender Buttons is sometimes described as a work of “verbal cubism.” Wrote Marcel Proust in a letter: “For several years, Beethoven’s late quartets and Franck’s music have been my primary spiritual nourishment.” You probably know that Karl Ove Knausgård wrote a music column when he was sixteen (covered: Simple Minds, Talking Heads, David Bowie, and Eric Clapton). And you?

Invitation to Cross-Pollinate Read More »

Gertrude Stein’s Tender Buttons is sometimes described as a work of “verbal cubism.” Wrote Marcel Proust in a letter: “For several years, Beethoven’s late quartets and Franck’s music have been my primary spiritual nourishment.” You probably know that Karl Ove Knausgård wrote a music column when he was sixteen (covered: Simple Minds, Talking Heads, David Bowie, and Eric Clapton). And you?

“I Want to Be a Long Dirt Road”: An Interview with Bobbi Jene Smith

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I met the dancer Bobbi Jene Smith at the Batsheva Intensive in New York City last year. Bobbi is a beautiful force, an intensely gorgeous, honest, and strong mover. And on top of all this, she’s intelligent and insightful. The Batsheva repertoire she taught at the intensive, as well as her words, will not leave me, and her presence and influence continue to circulate.

“I Want to Be a Long Dirt Road”: An Interview with Bobbi Jene Smith Read More »

I met the dancer Bobbi Jene Smith at the Batsheva Intensive in New York City last year. Bobbi is a beautiful force, an intensely gorgeous, honest, and strong mover. And on top of all this, she’s intelligent and insightful. The Batsheva repertoire she taught at the intensive, as well as her words, will not leave me, and her presence and influence continue to circulate.

Ian Spencer Bell at the Poetry Foundation: An Invitation

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I subscribe to the Poetry Foundation’s “Around The City” emails that contain information about events happening in and around Chicago. It was in February when, two-thirds of the way down the list of events, I landed on a name I had never heard before who would be coming to the city in March, performing at the Poetry Foundation, and doing something that for years I had struggled to do: integrating poetry with dance.

Ian Spencer Bell at the Poetry Foundation: An Invitation Read More »

I subscribe to the Poetry Foundation’s “Around The City” emails that contain information about events happening in and around Chicago. It was in February when, two-thirds of the way down the list of events, I landed on a name I had never heard before who would be coming to the city in March, performing at the Poetry Foundation, and doing something that for years I had struggled to do: integrating poetry with dance.

Celebrating Eileen Cropley

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To have the fire in the belly means to have the drive and the desire. But it’s more than that. In terms of dance, it means the dancer must communicate the want and need to dance, embody it, and project it outward. It’s the essential thing that sets the professional apart from the amateur.

Celebrating Eileen Cropley Read More »

To have the fire in the belly means to have the drive and the desire. But it’s more than that. In terms of dance, it means the dancer must communicate the want and need to dance, embody it, and project it outward. It’s the essential thing that sets the professional apart from the amateur.

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