5.6.7.EIGHT

This week on 5.6.7.EIGHT, Aleksandra interviews Virginia Johnson — artistic director at Dance Theatre of Harlem. Prior to taking over as the artistic director, Virginia's run with Dance Theater of Harlem spanned 28 long years. In fact, she was one of the founding members of the company in the late 60s. Upon retirement, she returned to university to pursue a degree in journalism — a step that led to the creation of Pointe Magazine, where she was the magazine's first editor-in-chief from 2000 to 2009. And, in 2010, at the request of Harlem's co-founder Arthur Mitchell, she took over as artistic director.

Virginia's dive into ballet happened at a tumultuous time in our nation's history, as the Civil Rights Movement of the 1960s was in full force. In her earliest years, she was discouraged from ballet and was told she'd never succeed, as the art was largely White-dominated. However, with the help of courageous people like Arthur Mitchell, she found her groove and is now carrying his legacy from generation to generation. On the podcast, Johnson tells the full story of perseverance, hope, belief, and a deep love of the art.

Moving Quotes:

"Ballet doesn't belong to one group of people; ballet belongs to everyone. Arthur Mitchell just had to create opportunity."

"Arthur Mitchell created Dance Theater of Harlem out of inspiration and respect and out of a desire to emulate Dr. Martin Luther King's ability to use his talents to make change in the world."

"To me, dance is essential. It's the life and death of the spirit... Art is glue for us humans."

"Ballet is difficult and teaches you really important things like focus and self-discipline and perseverance."

"As an artistic director, you must be an omnivore, taking in all kinds of information and experiences because you bring that to your work."

"You have to learn how to rely on yourself. To know where the boundary is where, if it's not coming from outside but it's important to you, you have to find it in yourself."

"Ballet is changing. I don't want it to lose its beauty and tradition, but it needs to be an art form that is empowering."

"In the pandemic, the inability to do what we are meant to do is a great gift. Because coming out of this, we will have new tools for connecting to people."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:46: Virginia walks through her incredible journey of overcoming adversity — of being a Black dancer in a predominantly White artform — and eventually taking over the company that first showed her how to dream big.

10:54: Virginia reflects on, now, her role as artistic director of Dance Theatre of Harlem and how the task is daunting and intimidating and stressful yet joyful and surreal.

16:52: Johnson discusses the historic lack of women in dance leadership yet reflects on the winds of change in the dance world and how this trend is beginning to reverse.

20:59: Johnson discusses her nine years spent with Pointe Magazine and the incredible story of how she landed that role in the first place.

26:02: Virginia describes her views on role models and the importance of self-sufficiency.

28:56: Johnson discusses what's next for the Dance Theatre of Harlem as we all hopefully march towards the post-pandemic era.

32:15: Virginia shares some advice for aspiring artistic directors and describes the importance of being an avid learner.

Bullet List of Resources –

Virginia Johnson

• LinkedIn

Dance Theatre of Harlem

• Company Site

• Instagram

• Facebook

• Twitter

• YouTube

This week on 5.6.7.EIGHT, Aleksandra speaks with Julia Rhoads — founder, director, and producer at Lucky Plush Productions and lecturer and dance advisor at the University of Chicago. Julia is a seasoned dancer and artist, having danced and choreographed at a wide variety of companies. Her work has been featured in Dance Magazine and other prominent publications. Now, Julia leads her dance company — Lucky Plush Productions — which offers a unique blend of different arts disciplines and has toured globally, including performances in New Zealand and Cuba.

Julia is a lover of all different types of art, and that love is portrayed through her company's unique work. On the podcast, that love shines through, as she discusses her company's unique style, her experiences touring the world, why her formal education has advantaged her in the dance community, and why continuously making art is critical to life success and human flourishing.

Moving Quotes:

"When I approach my work, I think of it as a mix of the intellectual side and the artistic side... I think the best way to learn is both the intellectual pursuit and the embodied pursuit."

"Now, there is such an emphasis on the arts in non-arts fields. Thinking outside of the box — having a creative approach to big problems — is incredibly important."

"There's something unique about Lucky Plush's artistic vision in that we are very interdisciplinary... We're drawing from a lot of different languages to move the work forward."

"I'm so grateful that I had a lot of different experiences in a lot of different fields because I brought all of that to my work with Lucky Plush."

"We always want to make the work very accessible. So there are through-lines where it might toggle between English and Spanish as a way to not only demonstrate who we are as a company but also to reach people in different ways."

"In Chicago, the dance field is so incredibly vibrant. I still feel like I'm scratching the surface of everything here in Chicago... I feel really blessed."

"You don't have to go straight into a professional career in order to have professional experience in dance. There are so many opportunities for young dancers to participate in professional work, while working in other fields they're interested in."

"A lot of times, it's not until you get to college that you really get to see the field. You really begin to see what's possible in dance."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:29: Julia describes her company — Lucky Plush Productions — and what makes the company unique.

5:15: Julia discusses the events surrounding her company's receipt of the MacArthur Award for Creative & Effective Institutions and how this award has made her company resilient.

7:27: Rhoads describes why she believes Lucky Plush is the only dance company to have ever received this MacArthur Award.

10:50: Julia, who has toured globally with Lucky Plush, discusses traveling the world with her company and, specifically, how they landed gigs in New Zealand and Cuba.

14:07: Rhoads — a prominent woman leader — shares some thoughts on the importance of women in arts leadership roles.

16:12: Rhoads, who holds both bachelor's and master's degrees, discusses the advantage that her higher education has given to her work as an artist and teacher.

19:22: Julia shares some advice for any dancers that are weighing the choice of whether to pursue a college degree.

23:15: Rhoads speaks to the many job options for dancers, even if the position isn't necessarily performance on a stage.

26:56: Rhoads looks to her and her company's futures and discusses looking forward to returning to shared experiences, post-pandemic.

29:51: Julia rounds out the conversation with some advice for younger dancers on how to be successful in dance and in life.

Bullet List of Resources –

Julia Rhoads

• LinkedIn
• Facebook
• Julia on Lucky Plush site

Lucky Plush Productions

• Company Site

• Instagram

• Facebook

• Twitter

• YouTube

This week on 5.6.7.EIGHT, Aleksandra interviews Janice Barringer, a veteran dancer, teacher and author of The Pointe Book — the world's quintessential book on pointe training and pointe shoes. The Pointe Book has printed and sold many tens of thousands of copies since it was first written and just released its fourth edition. Janice is also currently a baller teacher and consultant, most notably with the Los Angeles-based company, Music Works.

Janice knows that there is more to a ballet shoe than meets the eye and has made it her life's goal to uncover and solve all pointe shoe mysteries — a goal which has led her to travel the world and research with some of the ballet world's biggest and best dancers and companies. On the podcast, Janice retells the incredible story of how her book came to be and shares some important life lessons on overcoming barriers in pursuit of your dreams.

Moving Quotes:

"Pointe shoes are quite a mystery. Training dancers to dance on pointe — and to dance on pointe well — is really complicated."

"With the book, we wanted to address questions that will help young beginner students, their parents, professional dancers, and professional dancers. And it seems to have worked. Everyone has benefitted on every single level."

"There's a difference between teaching a class and giving a class... The way you structure the class and see how everyone's bodies are just a bit different and work to keep others' bodies healthy."

"I would rather travel visiting all of these great dancers and meeting these great people around the world than go to the Riviera or the Caribbean or any place. It is so stimulating for me."

"You don't choose dance; dance chooses you. You have no options once it gets in your blood."

"You want to learn as much as you can about everything that's possible... You have no idea which way your life is going to go."

"Most doctors have no idea what ballet dancers go through."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:32: Janice retells the full story of how The Pointe Book came to be — a story which involves traveling the world and meeting with some of the top companies and dancers around the globe.

18:47: Janice describes how the book's fourth edition — which was recently released on Amazon — is totally different from the book's first three iterations.

24:01: Barringer describes her beloved co-author who was a tremendous friend and professional during the creation of the book.

26:43: Janice shares multiple stories of how her unending perseverance and passion made her a subject matter expert in the world of dance.

36:07: Barringer discusses what's next once the book hits shelves, including continuing her work making instructional videos for Music Works Unlimited.

Bullet List of Resources –

Janice Barringer

• Janice on Music Works Unlimited site
• The Pointe Book, Fourth Edition on Amazon

This week on 5.6.7.EIGHT, Aleksandra speaks with Alysia Johnson — a dancer at Hubbard Street Dance Chicago, a co-founder of Black Dance Change Makers, an entrepreneur, a thought-leader, and so much more. A Dallas native, Alysia has been dancing at a competitive level since the age of twelve and ultimately enrolled at The Juilliard School, where she earned a BFA in Dance. While getting her degree, Alysia developed an affinity for community engagement and secured two grants to help create dance education for students and parents in the Dallas area. As mentioned, she is co-founder of Black Dance Change Makers, which seeks to empower Black artists.

Alysia's early exposure to providing dance education to others has given her a genuine love and appreciation for teaching and teachers. At the early age of 19, she was tasked with recruiting quality educators to work at the dance schools that she founded in Dallas and, from then on, has maintained a healthy respect for the art of teaching the art. On the podcast, Johnson speaks to the respect she holds for those who bear the great responsibility of handing down arts from generation to generation.

Moving Quotes:

"I had lots of amazing mentors and teachers growing up. And through that, I started to understand the power and responsibility of teachers. And I thought, 'This is what I want. I want to help people and share my knowledge.'"

"It's important to me to have dance teachers who aren't just in it to make a living but who also enjoy it and understand the responsibility they have. Because dance is powerful."

"When starting a business, matter who is on your side, get down to the purpose of what you're doing. If it's necessary and you can do it out of a spirit of generosity and joy, then I think you should do it, no matter what."

"There's no room for doubt on your job application — it's the time to believe in yourself."

"Yes, you are auditioning for this company or that school. But you're also auditioning them — seeing if they're the right fit for you. That takes some of the power dynamic out of auditions."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

2:48: Alysia explains how she landed in Chicago and why she's enjoyed the city thus far.

5:22: Alysia discusses her work as a teacher and philanthropist, bringing dance to communities that may not be exposed to the art.

10:27: Alysia describes being an entrepreneur in the arts world and shares some advice for anyone looking to start their own business.

14:26: Johnson discusses the nonprofit organization that she has co-founded and its mission to empower Black artists.

18:20: Johnson describes her unique relationship with famed ballet dancer Misty Copeland, which blossomed when she moved to New York to attend The Juilliard School.

23:48: Alysia shares some tips for any dancers preparing for auditions and gives a story of where her under-preparation nearly led to a major life redirection.

29:59: Johnson gives some advice on acclimating to a new dance company and a new city.

35:31: Alysia speaks to her future and shares what's next on the horizon for her, in 2021 and beyond.

Bullet List of Resources –

Alysia Johnson

• Personal Website
• Instagram

Black Dance Change Makers

• • Company Website
  • Instagram

This week on 5.6.7.EIGHT, Aleksandra interviews Susan McGreevy-Nichols, Executive Director at the National Dance Education Organization (NDEO). Prior to her current role, she taught part-time at Loyola Marymount University and was a national consultant on Arts Education. Also, as a three-decades-long teacher at Roger Williams Middle School in Providence, Rhode Island, Susan founded and developed that institution's nationally renowned middle school dance program. On top of all of this, she is an author who has written and published five books.

As an arts educator, Susan realizes the value of harnessing the creating process, both inside and outside of the arts. In fact, during her run as an educator, Susan has developed a cutting-edge reading comprehension strategy that uses text as inspiration for original choreography, created by children. On the podcast, Susan speaks to how the creative process drives everything she does — her work, her books, her curriculum, her life — and how the arts world uses the creative process to train thinkers, even more so than dancers or artists.

Moving Quotes:

"I don't focus well. I multitask. But, because of that, it's made me very creative. That's why I feel that I've become a very creative problem solver. I attack everything thinking, 'Okay, I'm going to make this work.' And it all goes back to the creative process."

"The cognitive processes involved in creating dance really help you be a better learner, a better thinker — a thinking dancer... The work I do focuses on creating thinkers and making dance for everybody."

"As a dance studio owner, you can never replace the face-to-face connection with your students — of being a part of this wonderful community and culture that has been set up. That will never be replaced by Zoom."

"Dance education is very small compared to the other art forms. We really need to stick together."

"As dance teachers, make sure you collaborate with others. Make sure you network with others... It's important that you embrace the fact that all sectors need each other. You can learn so much from so many other people."

"Dancers should always know how to be good teachers."

"It doesn't matter what's going on in the world. There's always a silver lining; there's always a way to push back on things and make them work."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:03: Susan describes all of the activities conducted by her organization, the National Dance Education Organization (NDEO).

5:39: Susan explains how the NDEO unites dance educators across all forms of dance and how the NDEO is different from other dance organizations.

8:50: Susan discusses her observations on how dance improves so many others' lives and how the creative process is a catalyst for joy in dance.

10:15: McGreevy-Nichols describes her work as a consultant and generally speaks to the importance of incorporating the creative process into learning.

13:00: McGreevy-Nichols speaks to her reading comprehension strategy, which combines the fundamentals of reading with choreographic movement.

15:47: Susan discusses observed patterns on modern dance but explains why virtual technology will never replace face-to-face interaction.

20:02: Susan shares some advice for anyone looking to have a career in dance, either on or off the stage.

24:36: Susan discusses her five published books and speaks to her work teaching inner-city children how to dance, which ultimately was the catalyst for her first book.

31:00: McGreevy-Nichols looks towards the future for the NDEO, hoping to foster a more inclusive environment moving ahead.

32:10: Susan shares some last words of encouragement and advice for dance teachers across the world.

Bullet List of Resources –

Susan McGreevy-Nichols

• LinkedIn
• On Amazon.com

National Dance Education Organization

• Company Website
• Facebook
• Instagram
• Twitter
• LinkedIn

This week on 5.6.7.EIGHT, Aleksandra speaks with Amy Giordano, Founder and Executive Director at The Gus Giordano Jazz Legacy Foundation and Executive Director at Gus Giordano Dance School. Growing up, Amy danced and trained in all styles, while assisting her parents – Gus and Peg Giordano — as they ran the school. However, after a car accident shattered her kneecap, she was forced away from the stage. Amy went on to pursue a Bachelor of Arts from Tulane University and, upon her mother's passing in 1993, assumed all of her mother's responsibilities at the school.

On her father's birthday in July of 2017, Amy founded the Gus Giordano Jazz Legacy Foundation, which offers financial assistance for dancers seeking education at the school. On the podcast, Amy speaks directly to the pride she takes in carrying on her father's legacy — a legacy of extreme generosity, driven by a love of people and a love of the arts — and how, now, Gus's spirit and his movement will be carried on from generation to generation.

Moving Quotes:

"The school was never to promote Gus; it was always about promoting the dancers."

"This year, the foundation has become even more important with the pandemic. It's turned the world upside down for so many dancers... I feel so fortunate to help more children in a time where life is so upside down. I can give them the consistency of dance."

"At the school, I tell my dancers, 'Yes, you're all doing the same technique. But I want your influence on it. Because that's what makes it come alive.'"

[On fighting the gender gap in dance leadership] "Just be who you are. And if you feel like you can do the job, do the job. Because anyone that is doing their job will be respected."

"My dad felt very strongly that every dancer should train in every dance style. Because that's going to guarantee you success in a dance career. If you only know how to do one thing, you're limiting yourself."

"Ballet is the foundation for everything. People sometimes want to skip the ballet, straight into hip hop and quick movement. Ballet teaches how the body is connected. If you have the ballet, you can have every style."

"You have to be willing to put the work in and present a product that you're proud of. If you're proud of it, you'll attract people who want to be a part of your whole community."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:40: Amy discusses the Gus Legacy Foundation and the pride she feels in carrying on her father's generous spirit.

10:49: Amy explains why she believe dance is a universal language that transcends demographic differences and cultural barriers.

15:07: Giordano speaks to the gender gap in dance leadership and how she believes women can overcome the disparity.

17:55: Giordano speaks to the evolution of modern dance and how the change has only cemented her belief that ballet is the backbone of all dance types.

22:52: Giordano briefly walks through the Gus Giordano technique and what makes his specific form unique from others.

27:15: Amy describes how dance teachers and professionals can obtain training on the Giordano dance technique.

29:00: Amy discusses future events for the Giordano Legacy Foundation, as it continues to raise money to ensure dancers receive training who otherwise may not receive it.

Bullet List of Resources –

Amy Giordano

• LinkedIn
• Instagram

The Gus Giordano Jazz Legacy Foundation

• Company Website
• Instagram
• Facebook
• YouTube
• Twitter
• LinkedIn

This week on 5.6.7.EIGHT, Aleksandra interviews Damien Simon, a renowned musical composer, author, and guest lecturer who has written dozens of scores for multiple genres and sizes of groups around the world. Damien is a graduate of the Purchase Conservatory in New York and the University College of Dublin in Ireland. Damien guest lectures at dance conservatories, consulting his audiences on how to best collaborate when creating art. Damien consolidated these lectures into his published book — The Collaboration — which seeks to help others create well together.

When Damien began composing scores for dance and ballet, his music passion found new life. He found himself swept up in the magic of seeing others reacting to his music in a fresh way. However, Damien quickly became aware of the natural friction that occurs between the artists that make the music and the artists that choreograph the dance. On the podcast, Damien shares his experiences producing scores for the stage and shares some key tips on making the most out of every collaboration.

Moving Quotes:

"There's a lot of fear with choreographers and artistic directors about working with composers. They're scared it will be a mess. It's the same with composers. It's so easy to overcome that. It's all about communication between the two of you. The more you communicate, the more you get the job done well. And quickly. And leave wanting to do more."

"I enjoy using my music as a medium. I see my music. Not only do I hear it. I also see what others get out of it... That's what I love."

[On marketing yourself] "No one is going to come to you; you have to go to them. If they don't know who you are, they're not going to come to you."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

2:55: Damien discusses his journey as a musician, from his first instrument to studying on a different continent.

4:45: Damien, who has had a diverse background as a musician, explains what brings him joy when writing music for dance and the arts.

5:53: Simon gives some tips on working well when creating a score alongside a choreographer.

8:11: Simon, a published author, discusses his book — The Collaboration — including why it was written and who it was written to.

12:34: Damien speaks to the natural friction that occurs between the artistic goals of the composer and the choreographer and gives some advice on how to overcome those differences.

14:26: Damien shares some tips on creating a business based on your craft.

17:55: Simon encourages younger musicians to heavily consider which route in music you want to take prior to choosing your path.

21:32: Simon discusses the change that he hopes to see in the arts world through the knowledge that he shares.

24:09: Damien rounds out the conversation by sharing some of his future plans.

Bullet List of Resources –

Damien Simon

• Personal Website
• Facebook (Business)
• Facebook (Personal)
• YouTube
• The Collaboration on Amazon

This week on 5.6.7.EIGHT, Aleksandra speaks with Elizabeth Yntema — the President and Founder of the Dance Data Project, which provides helpful resources and studies of the world of dance, all in an effort to inform gender equity and level the playing field. Elizabeth holds a law degree and serves on multiple nonprofit boards — arts-related and otherwise. Additionally, two years ago, she was one of 450 global participants selected to the final full year training cohort of The Philanthropy Workshop, where she spent a year honing her skills as a philanthropist.

The Dance Data Project is a collision of two of Elizabeth's dearest passions — dance and equal opportunity — and through her company's work, she's looking to move the needle towards gender fairness in the arts world. On the podcast, Elizabeth lays out her company's mission and reveals that the hard data points towards a bleak reality in the world of dance — one where men have been given a clear advantage and women have been shown the backseat. However, Elizabeth is hopeful that her shedding of light on this issue using real, tangible data will make a world of difference.

Moving Quotes:

"I started Dance Data Project because I think this is something I can solve. There are a lot of problems in the world that I can't fix... I saw this problem as something that I could attack and succeed at."

"People may say, 'This is just ballet. This is how it's always been.' That's actually not true... Most of the big companies in the United States were founded by women."

"I think mentorship is critical — whether it's formal or informal. The best way to get better is feedback."

"Common sense and the willingness to drill down and keep asking questions gets you a long way."

"With big budgets, I think the assumption is that, if a man runs the company, it's somehow more prestigious."

"Sometimes you don't know why you're doing what you're doing. You just try something."

"At every step of the way, men do have mentors. I think we need to institutionalize it for women."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:27: Elizabeth describes the Dance Data Project and reveals some of the stunning statistics the group has uncovered thus far on the gender gap between women and men in dance.

11:48: Elizabeth offers some suggestions for actions that should be taken based on the data to improve the gender gap in dance.

17:20: Yntema talks on the importance of mentors for female dancers and gives some thoughts on the lopsided number of men in dance leadership positions.

23:18: Based on the data that she's gathered, Yntema sheds some light on the wealth and resources gap between larger and smaller dance companies.

26:32: Aleksandra and Elizabeth discuss the importance of cultural exchanges and the significance of the Russian ballet.

28:52: Elizabeth walks through her own journey, how she got involved with supporting the arts, and why it's important for others to do the same.

33:10: Yntema gives a podcast recommendation and discusses the difficulties of entrepreneurship.

36:17: Elizabeth describes the progress that she hopes to see in the next five years.

Bullet List of Resources –

Elizabeth Yntema

• LinkedIn
• On Dance Data Project site

Dance Data Project

• Company Website
• Instagram
• Facebook
• Twitter

This week on 5.6.7.EIGHT, Aleksandra interviews Jimmy Locust — an artistic director, entrepreneur, dance educator, and philanthropist who has spent his career rubbing shoulders with some of the entertainment industry's top stars, including Michael Jackson, Janet Jackson, Paula Abdul, Justin Bieber, and Joe Jonas, to name a few. Jimmy has also starred in a number of iconic music videos and films and helped choreograph the opening and closing ceremonies at the 1996 Olympic Games. He is currently the founder and owner of Locust Dance Academy and Locust Performing Arts Center.

Throughout Jimmy's incredible career, he has found himself surrounded by some of the world's most talented artists and stars. Yet Jimmy attributes his success not to conforming to their likenesses but by discovering and embracing his own unique identity as an artist. On the podcast, Locust walks through his journey as an artist and entrepreneur and discusses — among many things — the importance of finding your "thumbprint" and leaving an impression that lasts.

Moving Quotes:

"As an artist, you must be true to yourself. You must be aware that you have an original thumbprint. There's no one like you."

"I consider it a mission for [dance leaders and teachers] to continue passing the torch."

"Always have your reels and information updated on your website where it's accessible. Always keep your stuff current."

"You always want to be alert on a job. So that, if there's a special part coming up, the lead choreographer is thinking of you."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

3:44: Jimmy talks about his work with his school (Locust Dance Academy) and his performing arts center (Locust Performing Arts Center).

4:36: Jimmy speaks to the challenge of developing young dancers through virtual teaching.

6:23: Locust, who has danced for a variety of pop superstars, discusses his close relationship with Janet Jackson.

9:48: Locust, who has rubbed shoulders with the biggest of celebrities, shares what he believes is the secret to having a successful and high-profile dance career.

13:57: Jimmy discusses the importance of investing in others — because what goes around inevitably always comes around.

16:36: Locust retells the incredible story of his involvement in choreographing the opening and closing ceremonies in the 1996 Olympic Games.

19:49: Jimmy and Aleksandra talk about the importance of networking and keeping connections alive — especially in the arts world.

23:37: Locust, who has done lots of commercial dance work, gives some advice about making a difference on commercial shoots.

30:03: Jimmy shares what's next for him, including working on a book and continuing to educate young dancers.

Bullet List of Resources –

Jimmy Locust

• Personal Website
• Instagram
• Twitter

Locust Performing Arts Center

• Company Website
• Facebook

Locust Dance Academy

• Company Website
• Instagram
• Twitter

This week on 5.6.7.EIGHT, Aleksandra speaks with Tony Duncan — who is also known as Yellow Bird Dancing. Tony is an award-winning Native American flute player and hoop dancer who has performed on some of the world's biggest stages, including the Kennedy Center for the Performing Arts, The Tonight Show, and even The White House. As a hoop dancer, Duncan is among the best in the world, winning the title of "World Champion Hoop Dancer" five times. Duncan is also an award-winning flute player, who is currently signed to the largest and oldest Native American music label, Canyon Records.

For Duncan, dance is more than artistic body movement — it is a way to keep his family's rich history alive. Duncan considers it an honor to be able to use dance tell his family's stories and educate others on the lives and ways of Native Americans. On the podcast, Tony goes into detail on his unique type of dance, discusses the symbolism involved in every aspect of his performance, and lays out his entrepreneurial journey — one filled with grit, determination, and family pride.

Moving Quotes:

"I try to tell people that Native Americans are very very much still here. Our culture is very strong — very vibrant. Our stories are still being told. Our ceremonies are still being done. That's a testament to the strength and resilience of our ancestors."

"One of the main reasons why I dance is because there's a great need to educate people on the true history of Native American people."

"For every occasion, there's a song. And for every song, there's a dance... When you're really into your dance form, you get lost of it. You go into another place — another realm."

"Every day is an opportunity to take a step forward with what you're trying to do."

"Whatever you're doing with your business, it's important to hear other people's stories."

"We dance as a way to pray — as a way to connect to our Creator."

"Any time of need — any time of despair — we turn to our dance. To that way of connecting to our Creator through dancing."

Bullet Points (w/ timestamps) - Highlighting key topics discussed:

4:10: Tony speaks to his family's history in Native American hoop dancing and how he began performing professionally.

8:22: Tony discusses the significance of his Native American regalia and hoop colors.

13:00: Duncan explains how one of the main reasons he dances is to educate others on the rich history of the Native American people.

18:14: Tony shares his thoughts on why dance is such a formative and significant art for so many people.

22:36: Duncan explains how Tony Duncan productions got off of the ground and how his first recorded album broke him into the music business, paving the way for many more albums.

27:50: Duncan describes the earliest days of Tony Duncan Productions and how his professional success can only be attributed to his grit and determination.

34:53: Tony discusses what's next for him — a large musical collaboration involving many voices and talents.

Bullet List of Resources –

Tony Duncan

• Personal Website
• TikTok
• YouTube
• Instagram
• Twitter
• Facebook