Ep 7: Dance as a Tool for Social Change with Vannia Ibarguen

WEBVTT
00:00:00.577 --> 00:00:02.138
Welcome to Dance Unscripted.
00:00:02.178 --> 00:00:04.020
I am your host, Amy Elizabeth.
00:00:04.461 --> 00:00:07.224
Today, I am joined by Vanya Ibargwan.
00:00:07.924 --> 00:00:15.410
Vanya is a dance artist, educator, and community organizer whose work bridges movement, technology, and social change.
00:00:15.990 --> 00:00:21.917
She holds an MFA in dance from the University of Maryland and a degree in systems engineering.
00:00:21.957 --> 00:00:38.990
As the artistic director of Vida Vanya Ibargwan Dance Arts and Global Water Dances, Vanya's work expands beyond the studio as an arts fellow, journalist, communications manager, and advocate for greater visibility of the arts in public life.
00:00:40.212 --> 00:00:54.384
Our conversation today will discuss how socially engaged dance, rooted in place, people, and purpose can help us reimagine the recovery, advocacy, and creative leadership and what that looks like in today's world.
00:00:55.265 --> 00:00:56.707
Vanya, welcome to the show.
00:00:56.726 --> 00:00:59.728
Thank you so much for taking the time to be with us today.
00:01:01.826 --> 00:01:03.249
Thank you for the invitation.
00:01:03.268 --> 00:01:04.271
Glad to be here.
00:01:05.031 --> 00:01:05.352
Yes.
00:01:06.816 --> 00:01:12.746
So first, may we please discuss the connections between dance and systems engineering?
00:01:12.807 --> 00:01:19.700
How do you combine these two seemingly different ideas into your work?
00:01:21.921 --> 00:01:22.341
Yes.
00:01:22.563 --> 00:01:28.388
Well, I was, I feel like I was always a dancer, but when I went to college, this is back in Peru.
00:01:28.427 --> 00:01:29.048
I'm from Peru.
00:01:29.268 --> 00:01:30.790
I studied sciences engineering.
00:01:30.829 --> 00:01:48.305
And, um, cause usually by that time, especially dance looked as a profession or something that you will, maybe it was more like for people like it was wealthy and they cannot, you know, like it was seen differently by that time, especially.
00:01:48.545 --> 00:01:58.834
So I studied that as a, my bachelor degree and And then when I came to the United States, I studied masters in dance because that was my passion and that was where I really wanted to do.
00:01:59.536 --> 00:02:10.867
Although also with the experience that I had, I had as an IT consultant, I worked for 60 years before having my MFA and I was dancing at the same time.
00:02:11.088 --> 00:02:17.855
I decided to blend those, you know, my passion and also the knowledge of technology.
00:02:18.997 --> 00:02:56.616
My thesis actually was about how to stay connected through the distance so I was using a little bit of that knowledge about both system theory for my concert like there are different theories about divide and conquer and use the how to do composition in dance and I was using that also as a way to do my thesis concert for my MFA and I use technology I use video I use telematics for that but in my mind And always it wasn't like using technology just because using technology.
00:02:57.198 --> 00:03:03.745
And I know that many people do that, like more like research and what, you know, that could be.
00:03:03.844 --> 00:03:12.354
But in my case, it was mostly for communication and how to enhance the experience, the personal experience through technology.
00:03:12.955 --> 00:03:17.459
And yes, and that's how I started doing that.
00:03:17.740 --> 00:03:24.688
And until now, I feel like all the experiences that we have helped us to enhanced experience that we have right now
00:03:24.989 --> 00:03:50.186
yeah absolutely I mean technology and the connection with technology for presentation for communication for connection it feels like that's the direction that a huge section of the dance industry is really going and investigating that And I'm just really fascinated when people can take something that doesn't seem as if it connects to dance and show how it's all related to dance.
00:03:50.445 --> 00:03:53.688
It's all related to this idea of connection, communication, community.
00:03:53.748 --> 00:03:55.229
That's really beautiful.
00:03:55.270 --> 00:04:10.143
So you describe your work as spanning choreography, pedagogy, and community organizing, focusing on dance as a civic tool that fosters environmental and social awareness while cultivating healing and connection.
00:04:11.183 --> 00:04:14.032
That seems multi-layered.
00:04:14.072 --> 00:04:15.796
It's an understatement.
00:04:16.519 --> 00:04:21.411
So can we begin to unpack this vast span of your work?
00:04:21.632 --> 00:04:23.798
How did you get to this place?
00:04:25.185 --> 00:04:35.394
Yeah, I feel that description is about the different experiences that I had.
00:04:55.151 --> 00:05:05.201
about how we can find a balance so we can find a way to really think about our world and nature and a healthy relationship with our world.
00:05:05.701 --> 00:05:12.307
And that's how I also discovered the global water dances by the time when I was in Peru.
00:05:13.708 --> 00:05:22.795
So one of my mentors told me about the project that they were trying to do about putting together different people who were thinking about working actually.
00:05:25.346 --> 00:05:29.108
dance, but also with an environmental focus.
00:05:29.990 --> 00:05:33.612
And I was very excited about doing that.
00:05:33.752 --> 00:05:45.043
So, and that's how I started doing more about the community engagement about, and little by little, I started to be more, yeah, more acquainted also about how to do that.
00:05:45.723 --> 00:05:50.887
And I was part of the steering committee and then that's how I became later on their district director.
00:05:51.548 --> 00:05:52.509
And yeah.
00:05:52.569 --> 00:05:54.430
So just to tell you a little bit about.
00:05:54.451 --> 00:05:54.531
Yeah.
00:05:55.312 --> 00:05:57.163
How I started doing that.
00:05:57.927 --> 00:06:00.766
So how does dance work?
00:06:01.218 --> 00:06:07.502
or what does dance as a civic tool mean what does it look like for you to use dance in that way
00:06:07.523 --> 00:07:38.136
yes uh for me i feel like once i connected with this project called the global water dances and also when i was doing my own research and choreography about how to use dance not only for entertainment but also to make people think a little bit about what is going on because sometimes when people receive the message you know verbally sometimes you know like somebody is talking about it it's a great research presentation until it's not done in a different way like almost subliminal or like through the body and then that's what I love to do like sometimes in my choreography I like to maybe engage with people with something that is funny or beautiful and then there's a little message over there there's a little something going on so for people maybe to think it's not on your face but it's just to people to think about their own yeah their own relationship with others and also with the world with nature so I feel like that's one part of dance as a civic tool and the other part is I was telling you when I discovered global water dances and also doing more site-specific work I feel like not labeling a site specifically, but actually dancing outdoors in public spaces.
00:07:38.836 --> 00:07:46.504
I feel like dancing in public spaces is something per se very, it's like activism, right?
00:07:46.605 --> 00:07:52.870
It's like seeing bodies in a space where it's not supposed to be for dance.
00:07:53.252 --> 00:07:55.093
It's self-revolutionary.
00:07:55.113 --> 00:08:10.290
So that makes the audience feel differently about the space and trying to find a relationship between the movement, the dances, and what the message is.
00:08:10.389 --> 00:08:12.892
Our brains always try to make sense about
00:08:13.473 --> 00:08:13.593
things.
00:08:14.454 --> 00:08:15.995
In that way, that could be done.
00:08:16.295 --> 00:08:22.202
Dance is a civic tool.
00:08:22.302 --> 00:08:25.185
How we can almost teach people about stuff.
00:08:25.906 --> 00:08:35.697
Yes, and you mentioned that this fosters an environmental and social awareness and that this awareness can then cultivate healing and connection.
00:08:35.716 --> 00:08:42.323
So can you speak a little bit more about the audience and what you hope the audience gets out through that idea of healing and connection?
00:08:42.644 --> 00:08:43.044
Yeah.
00:08:43.205 --> 00:08:52.955
So what I love to do also when I'm choreographing events is not only for audiences to be passive audience.
00:08:53.135 --> 00:08:58.802
So I like to involve them in also sort of movement, some of kinesthetic experience.
00:09:00.163 --> 00:10:07.014
In the case of global water dances and also specifically talking about that I know that we're going to talk more about it but we have a section that is the participatory dance so after experience the dance you know and watching and we allow the audience to we teach them four very basic movements and that reflects the cycle of water and the idea is for them to to move whatever way but following those four simple movements movements and then they express themselves I know for some people it's a little more difficult and we don't pressure them but it's like at the end everybody does it it's just a way for them to you know to not only be moved by what they say but also move so it's it's both and I feel like in that way they feel like they are also agents of action and they can actually do something about it so there's a you know a relationship that is more than just the brain and the eyes, you know, it's a whole experience.
00:10:08.096 --> 00:10:08.657
Yeah.
00:10:08.677 --> 00:10:14.183
So not just under, not just understanding it intellectually, but also this really, and feeling it in their body.
00:10:14.224 --> 00:10:17.548
And, and you mentioned that, that some of them are resistant to it.
00:10:17.707 --> 00:10:21.932
And that was going to be my next question is what is that experience like?
00:10:21.993 --> 00:10:28.200
I mean, we're not going to pressure them to do it, but you said in the end, they all join in.
00:10:28.299 --> 00:10:38.977
So what, I guess I'm curious as to that process of how you get what here on the podcast we call non-identifying dancers or non-identifying dancers.
00:10:39.639 --> 00:10:46.388
These are people who may say things like, oh, I have two left feet or I don't have any rhythm or I can't do that or, oh, no, that's not for me.
00:10:46.467 --> 00:10:47.470
I'm just the observer.
00:10:47.610 --> 00:10:55.701
So what is that experience like to get them to buy into this in this moment?
00:10:57.743 --> 00:10:59.304
Yeah.
00:11:00.066 --> 00:11:05.390
Well, first of all, there's always some people that will just, you know, and that's fine.
00:11:05.750 --> 00:11:06.511
That's perfect.
00:11:06.591 --> 00:11:18.522
And they enjoy actually watching other people that, oh, and they see themselves like, oh, that person is not really, you know, dancing as the professional dancers, but they see that they're having fun.
00:11:18.581 --> 00:11:21.043
And that's the, that's the thing, you know, that's the healing part.
00:11:21.544 --> 00:11:29.410
So when you are actually participating and this simple movement, I say simple is actually, you know, you can do it however you want.
00:11:29.591 --> 00:11:29.991
I will say.
00:11:30.032 --> 00:11:30.702
Mm-hmm.
00:11:33.153 --> 00:12:30.609
you are able to let go of any you know judgment and what we do particularly is to use mirroring so we invite usually dancers different dancers in different parts of the world because this is done in different parts use different approaches so one is mirroring so it's just doing something very simple with the arms very accessible and then it's expecting a response and then the other person is like a little bit like okay yes i think i can do that too and then they continue doing and then it's like okay and then evolves and then you know it's like little by little kind of without you know if we feel resistance obviously it's like okay it's totally fine that was an invitation and you are welcome to join the party but if you know if you want to observe the invitation that's fine
00:12:32.250 --> 00:12:40.919
yeah so you Your work is kind of classified as a blend of or described as a blend of contemporary folk and interdisciplinary forms.
00:12:41.120 --> 00:12:46.807
And these address issues like climate change, migration, and social justice.
00:12:46.826 --> 00:13:03.596
So can you give an example of one of your works that generated dialogue regarding these ideas, climate change, migration, social justice, and maybe even how you combined the dance styles or genres.
00:13:05.857 --> 00:13:06.337
Yes.
00:13:07.038 --> 00:13:19.710
So I have a work that is called Through the Distance, where I use technology and I use also the idea of how different people that are far away from each other try to stay connected.
00:13:20.169 --> 00:14:21.332
It talks about migration, a little bit about my experience of going to living in Peru, living in the United States, living in Colombia for a different amount of years, and how I was always trying to stay connected with the people that I love, but at the same time also trying to construct or build a new life and you usually use technology right we use like right now we are in different places and that work I did 15 years ago so we didn't have zoom we have a skype I think or something like that and I was very curious about how that could be translated also in dance I mean dance is life life is dance so we were and And in that case, as I was talking about my experience in Peru, I used a beautiful composition that was made, I mean, a couple of them from a Peruvian composer, two Peruvian composers, a Peruvian-Japanese composer and another Peruvian composer.
00:14:22.013 --> 00:14:39.152
And also I was blending my knowledge in Peruvian folk dance with contemporary dance and ballet because I, I mean, like I started with ballet as a, that was my first, well, my first This one was gymnastic, but then after that I did more ballet.
00:14:39.351 --> 00:14:41.494
And then I discovered contemporary dance.
00:14:41.573 --> 00:14:47.980
So the work itself is a blend of those experiences that went through my body.
00:14:48.020 --> 00:14:54.307
And then I worked with also students from the University of Maryland program.
00:14:54.508 --> 00:14:58.471
And we made also some crazy connections.
00:14:58.673 --> 00:15:08.143
As I moved to California for a period of time, I was able to record some of the dancers that I was working with here for my pieces.
00:15:08.263 --> 00:15:17.793
And then when I went back there, I basically introduced them through video and then they were dancing together on video.
00:15:18.374 --> 00:15:19.193
That's incredible.
00:15:19.214 --> 00:15:22.817
Yeah, I was like, okay, these are the dancers.
00:15:22.918 --> 00:15:33.710
And then we did some projections and it was a really beautiful experience, a touching experience too, because some of the dancers also were international students.
00:15:34.490 --> 00:15:49.267
So I think I feel like the process itself was very rewarding, but also once we show it to the audience, they also had beautiful feedback.
00:15:49.567 --> 00:15:58.515
And as many of them were students too, they wrote their, let's say the critiques or their classes.
00:15:58.956 --> 00:16:05.003
And then some of the teachers actually send me those feedback that the audience had.
00:16:05.583 --> 00:16:23.123
And it really made them reflect about that migration and how feeling that sometimes loneliness, sometimes eagerness to be back in their places, but sometimes also like, okay, no, I need to continue my life, right?
00:16:23.143 --> 00:16:29.509
And so that's one work and that it was, I did it again in Peru too.
00:16:30.210 --> 00:16:37.437
And I had some conversation after the performance to allow the audience, to give me some feedback about it.
00:16:37.638 --> 00:16:52.453
Another work was about a solo that I made about Ima Sumac, who is a Peruvian, well, she passed away, a Peruvian singer, famous in the 60s, 70s, who had the experience of migrating also to the United States.
00:16:52.573 --> 00:17:05.288
So she was, basically she recreated herself by that time with all the, I don't know, you really needed to transform yourself in order to sell.
00:17:05.488 --> 00:17:17.300
And I kind of sprinkled some of the current migration issues that are happening in the United States specifically.
00:17:17.381 --> 00:17:22.145
So there was a little bit of political, a little bit of also fun stuff.
00:17:22.586 --> 00:17:26.130
And so, you know, the audience response was also...
00:17:26.590 --> 00:17:29.073
I like to do those post-talks and see,
00:17:29.252 --> 00:17:29.594
you know,
00:17:30.114 --> 00:17:31.415
what is the feedback.
00:17:31.695 --> 00:17:35.440
And then finally, another word that is called...
00:17:35.440 --> 00:18:06.752
verde gris green gray that's specifically about how the our world is going towards not like a cycle of you know renewal but actually always consuming so in this work I was trying to say a little bit like it's good to have a balance so it's good to you know yes to still have all the different things that make it with over life easier but also to take care of nature.
00:18:06.853 --> 00:18:08.375
So, yeah.
00:18:08.734 --> 00:18:10.435
So that's a whole story.
00:18:10.537 --> 00:18:18.083
And we had also many invitations for the people to stay to talk about the work and, yeah, doing a little conversation.
00:18:18.844 --> 00:18:19.104
Yeah.
00:18:19.324 --> 00:18:33.256
So as a creative artist, this idea of feedback and hearing from the audience, what are you hoping to get from those conversations?
00:18:33.457 --> 00:18:33.676
Is it...
00:18:35.842 --> 00:18:37.663
validation of the work that you just did?
00:18:38.084 --> 00:18:40.625
Is it understanding their perspective?
00:18:40.665 --> 00:18:48.932
Is it like, what is your hope for having these conversations after the works that you present?
00:18:50.875 --> 00:18:51.655
Yeah.
00:18:51.776 --> 00:19:23.406
So I have done it in different ways and not always have, you know, that component in the dance, but specifically when I had it, usually it was for like, if it was an educational institution, that was something that we will, you know, yeah, like I will say in institutional educational institutions, it is something that is like, we will like to have so the students can have a little bit of reflection about what they saw and put that into words.
00:19:23.426 --> 00:19:30.835
So after watching and having this kinesthetic experience to how that is translated into words.
00:19:30.994 --> 00:19:39.923
And my hope is that that will also it's like when you are, you have a journal, right?
00:19:40.163 --> 00:19:46.869
And you have done a lot of things during the day and then either the evening or in the morning you write down.
00:19:46.910 --> 00:19:49.751
So when you put it on paper, you reflect into that.
00:19:49.771 --> 00:19:54.336
It's something that you can digest it better.
00:19:54.596 --> 00:19:56.637
And sometimes that is not in the audience.
00:19:56.678 --> 00:19:59.820
Like, you know, they go with somebody else and they can talk about it.
00:19:59.901 --> 00:20:34.134
And then after that, they can maybe take action or just, enjoy so with those conversations ideas that people can after that take some of action or sort of something so maybe that will you know allow them to go and see more dance, or maybe they would like to, depending on what is the theme, to support different organizations that are, yes, maybe fighting for the environment.
00:20:34.896 --> 00:20:38.142
So I feel like that's just a space for reflection.
00:20:40.834 --> 00:20:48.421
Of course, it's interesting what you say about validation, because artists, sometimes we need that in order to continue moving forward.
00:20:48.480 --> 00:20:51.542
We are rewarded, usually not so much monetary.
00:20:53.125 --> 00:20:57.749
So if we want to continue doing our work, we need a little bit of, oh, yeah, good job, right?
00:20:57.929 --> 00:21:01.632
That, yes, that was not the main, you know, reason.
00:21:01.672 --> 00:21:02.673
But yes, you're right.
00:21:04.114 --> 00:21:04.193
Yeah.
00:21:04.213 --> 00:21:08.857
Well, it's that idea of validation and, you know, and congratulations.
00:21:08.917 --> 00:21:27.248
But then also, too, when you have some that is a specific message, when you have something that you want the audience to see, understand, and then be able to reflect and take action on, I think sometimes that that feedback is an opportunity to hear, did they hear it?
00:21:28.109 --> 00:21:28.190
Yeah.
00:21:28.417 --> 00:22:38.964
yes were they able to receive my message is there something off about my message because I mean it is up to interpretation it's it's it may not be as straightforward as it is written in a pamphlet you know there it's you're not showing them statistics and and saying exactly these are the actions you should take and so because we're coming at it from a more abstract way and because each audience member is bringing in their own ideologies experiences backgrounds and things like I know for me sometimes I've missed the mark with an individual there too and so getting that feedback is like oh wow I didn't okay I need to go back and check that again but then other times they've shined a new light on the work itself and oh I hadn't seen it that way and so that's it's another layer of validation and also continued conversation Because I feel like most artists do feedback sessions or reflecting sessions and they want to know, especially if they have a direct message, they want to know, did you hear me?
00:22:38.984 --> 00:22:42.030
Yes.
00:22:42.692 --> 00:22:43.032
Yes.
00:22:43.905 --> 00:22:45.928
Yeah, yeah, yeah.
00:22:47.730 --> 00:22:52.336
Now, I know you've mentioned Global Water Dances, and I do want to talk about that.
00:22:52.395 --> 00:22:55.699
You're currently the artistic director of Global Water Dances.
00:22:55.739 --> 00:23:06.852
And so can you talk to us about the organization, its mission, and kind of how you got, how it got started, how the organization came to be?
00:23:06.892 --> 00:23:08.574
Yeah.
00:23:08.738 --> 00:23:09.199
yes
00:23:09.900 --> 00:23:29.153
so global water dances is an organization that orchestrates an event that happens every two years to raise awareness about water issues through dance and film so what we i mean our main motto is dance for safe water for everyone everywhere.
00:23:29.192 --> 00:23:47.749
So, especially initially, that was the main idea that the creators of Global Water Dances, because I was not part of the first group, they are non-verbal, I mean, they are certified movement analysts and experts in non-verbal communication.
00:23:47.769 --> 00:24:02.442
And then they found out in a conference that they we're having about arts and environment, that water is very important.
00:24:02.522 --> 00:24:04.904
I mean, we always say water is life, right?
00:24:06.346 --> 00:25:01.925
And they found out by that time, that was 2008, that how we as artists, as dancers, can actually put our part in letting people realize how important is water and why it's important to protected so that's how it started as a simple idea of it will be really good if everybody in the world could have water access to water and then it kind of grow a little bit more to be more about um obviously water protection but also other environmental issues that could affect that access to water so yeah people This started as an event, as I was saying, every two years, but then we started to do more projects around it.
00:25:02.487 --> 00:25:11.596
We built a curriculum so that they can be used by different educational settings and year round.
00:25:11.936 --> 00:25:14.900
So it doesn't need to be in one single day as we usually do.
00:25:16.501 --> 00:25:51.578
But as I say, that was the first, the point of entry, like to find choreographers, site leaders who would like to develop the dance that is done outdoors by a body of water free of charge and to invite audiences to join them with this idea of protect your body of water because this is the water that you get and you if we don't have safe water and then the word you know um yeah could collapse so we the idea is to protect water for the future generation yes
00:25:52.460 --> 00:26:26.632
so global water dances as you mentioned it's a site specific meaning that it's unique to the location and cannot be recreated exactly the same way anywhere else and you commented that site-specific dances serve not only as artistic expression but also as creative research educational outreach and activism so can you take a moment to reflect on why the site-specific element is most important to this project?
00:26:29.493 --> 00:26:29.814
Yes.
00:26:30.974 --> 00:26:47.630
So when we contact, or sometimes the choreographers contact us, we explain that they are usually, I mean, we divide the work in different sections.
00:26:48.911 --> 00:26:55.857
So, and The idea is that they could find a body of water where they would like to develop their dance.
00:26:57.980 --> 00:27:06.229
But the thing here is that the two first sections are about creativity and the other two sections are given by us.
00:27:06.930 --> 00:27:08.951
And I will explain a little bit about that.
00:27:09.031 --> 00:27:12.736
So the first two sections, the first section is called the ritual.
00:27:12.776 --> 00:27:19.963
So we invite them to start with something very small and very intimate.
00:27:19.983 --> 00:27:22.365
to create this sensational place.
00:27:22.685 --> 00:27:26.229
So to invite the audience to see this place as something unique.
00:27:26.450 --> 00:27:31.713
So obviously they are the ones who know more their space, their place, and also the culture.
00:27:31.894 --> 00:27:33.955
So what a ritual actually means, right?
00:27:33.976 --> 00:27:35.718
It's different in different locations.
00:27:36.317 --> 00:27:38.160
So sometimes we just call it an opening.
00:27:38.200 --> 00:27:45.246
So we don't have anything, you know, like that could be taken as something, I don't know, religious or anything.
00:27:45.365 --> 00:27:50.727
But if you would like to do it in that way, because you know your community, that's Totally good.
00:27:51.386 --> 00:27:53.068
And that's part of the healing part too.
00:27:53.769 --> 00:27:58.634
So we start with a ritual and it could be a ritual dance or opening ceremony.
00:27:59.273 --> 00:28:01.836
Then we have the second section is the local dance.
00:28:02.076 --> 00:28:08.662
So in the local dance, that's when we give absolute freedom to the choreographers to create their own.
00:28:09.202 --> 00:28:19.951
If they want a specific dance, if they want just locally based or something that they maybe could rehearse in the studio and then put it on the space.
00:28:19.951 --> 00:28:21.953
which is not necessarily site-specific.
00:28:22.153 --> 00:28:26.278
So we give a little bit of freedom and those are options.
00:28:26.898 --> 00:28:34.446
So if the space is actually available for them to develop a whole site-specific dance, that's perfect.
00:28:34.807 --> 00:28:37.009
But we know that sometimes that's not available.
00:28:37.130 --> 00:28:52.686
So yes, the idea is that this local dance could reflect a little bit about this place, the body of water, the history of the site, and also the cultural elements of their own city or town or locality.
00:28:53.347 --> 00:29:04.640
So maybe music that is from their own culture, maybe dances that are from there, but also they can do whatever dance they are more, you know, inclined to do.
00:29:04.859 --> 00:29:08.784
Again, we give freedom about that, but that's a, you know, a suggestion.
00:29:09.084 --> 00:29:14.750
And then the other two parts, the other two sections, we call it the global dance section three.
00:29:14.790 --> 00:29:19.154
It's a dance that is done almost in the same way in different locations.
00:29:19.214 --> 00:29:20.576
So we give a sort of a script.
00:29:20.997 --> 00:29:23.619
It's called a rhythm motif where they can follow.
00:29:23.640 --> 00:29:28.105
And it's usually reflecting about the water.
00:29:28.684 --> 00:29:32.328
And we create a different one for each year, more or less.
00:29:32.690 --> 00:29:36.413
But it has elements from the first one that we did in 2011.
00:29:36.814 --> 00:29:42.000
So we carry that legacy from the first choreography.
00:29:42.420 --> 00:29:47.766
And people love to do it because that's when we unite the local with the global.
00:29:47.905 --> 00:29:52.931
So it's like, okay, everybody's dancing in the same way in different locations, almost at this time.
00:29:53.332 --> 00:29:57.756
If you're in the same, yeah, more or less the same time.
00:29:57.777 --> 00:30:01.019
So maybe you're dancing with somebody else in a different location.
00:30:02.101 --> 00:30:05.984
I didn't tell, but last time we were 130 locations.
00:30:06.526 --> 00:30:09.729
We have been sometimes 150 locations around the world.
00:30:10.589 --> 00:30:15.474
And it started with 55 locations in 2011, but it's been growing.
00:30:15.515 --> 00:30:19.759
And yeah, so that's the same.
00:30:19.759 --> 00:30:52.474
of cohesiveness sorry I don't know I said something different yeah but cohesion to feel like you are sometimes we as artists especially it's something in a niche that is very specific you know environmental activists or you know we feel a little bit isolated because there are not so many people doing that or at least 10 years ago it wasn't so that actually makes you feel part of a bigger community and give you a little bit of, oh, yes, you're doing the right thing.
00:30:52.694 --> 00:30:54.076
Let's continue doing it.
00:30:54.938 --> 00:31:00.182
And that's why we hold meetings also for this process.
00:31:00.303 --> 00:31:04.387
I actually hosted this year that we just had our water dance.
00:31:04.488 --> 00:31:07.270
I hosted 10 meetings because of the different time.
00:31:07.590 --> 00:31:19.584
I mean, there was five series of meetings to follow them and also so they can meet each other too, meet other people that maybe are in different, you know, like somebody.
00:31:19.663 --> 00:31:25.549
from Japan meeting somebody from Brazil and somebody from, I don't know, Ohio.
00:31:25.750 --> 00:31:28.594
So, you know, the States or, you know.
00:31:30.615 --> 00:31:32.217
So, yeah, that's the global dance.
00:31:32.758 --> 00:31:39.744
And then the fourth section, you know, it's a long explanation, but the fourth section is the participatory dance.
00:31:40.365 --> 00:31:42.407
And that's what I was telling you about.
00:31:43.249 --> 00:31:51.817
Once the dancers finish in their performance, they share those movements, the four movements that are about the cycle of water.
00:31:51.837 --> 00:31:54.181
And they do it by themselves.
00:31:54.260 --> 00:32:00.867
And they open this to the community and they invite them to, you know, a mirroring first and then invite in a circle.
00:32:00.907 --> 00:32:02.009
They go around.
00:32:02.128 --> 00:32:08.395
I mean, there is no specific script, but the idea is that they can actually move through the space.
00:32:08.615 --> 00:32:14.362
And in that way, they are recognizing the space that they are in and recognizing themselves as part of that community.
00:32:14.502 --> 00:32:19.288
And the dancers are not only dancers, but actually also part of the community because they're with them, you know.
00:32:19.567 --> 00:32:23.152
So, and then it's usually in celebration.
00:32:23.231 --> 00:32:29.157
So it depends on how excited everybody is or how ceremonial everything is.
00:32:29.198 --> 00:32:39.630
So usually we end up in front of the body of water and with a sense of gratitude and also giving this to the other place that is going to take maybe in a different hour or time.
00:32:40.069 --> 00:32:41.951
You know, it's like a wave that is around the world.
00:32:41.991 --> 00:32:45.875
So it's like very poetic and also at the same time, meaningful.
00:32:47.438 --> 00:32:47.518
Yeah.
00:32:47.842 --> 00:32:49.023
Yes, it really seems
00:32:49.084 --> 00:32:49.523
that way.
00:32:49.544 --> 00:33:04.865
That's just it's a little trying to put the pieces together and how how this presentation looks like these things are happening and, you know, 55 to 160 different locations all within this timeframe.
00:33:05.085 --> 00:33:05.705
How is that?
00:33:05.746 --> 00:33:09.931
Is it just presented in that moment in that time in that space?
00:33:09.971 --> 00:33:15.598
Is it recorded and made available for everyone to see?
00:33:15.739 --> 00:33:17.622
What does that presentation look like if you're not?
00:33:17.922 --> 00:33:19.163
in that particular area.
00:33:20.577 --> 00:33:31.126
So we have different ways to make that visible because that was also one of our objectives, goals, part of our mission, to make visible the world of these choreographers.
00:33:31.307 --> 00:34:21.577
So we do, last time we did, we did a live stream and through YouTube, so we were coordinating and they will, so only for those who have the, you know, the technology or the availability, it's that can do that we ask them to do the live stream and this was something that we just did the first time before well we I will back up first so what we do usually is to ask them to record their performances if that is possible so to have somebody who will record and then we ask them to send videos so we can do a compilation.
00:34:21.757 --> 00:34:25.661
We edit it and then we do a compilation and also individual videos.
00:34:25.942 --> 00:34:31.246
And then we put it on our website and also on a YouTube channel that we have.
00:34:31.487 --> 00:34:37.894
And then we have also in our website a map of locations so you can see who performed where.
00:34:38.114 --> 00:34:44.300
And also before that, we invite people to find your nearest location so you can go and see live.
00:34:44.501 --> 00:34:55.152
But if not, we have in our website a link to our YouTube channel where they could see also the live stream So some locations were sending the information or the video live.
00:34:55.353 --> 00:35:02.099
But for those who are not able to do that, they send us the video after.
00:35:02.139 --> 00:35:08.728
And then we have also our social media that actually has been very active these past years.
00:35:09.068 --> 00:35:11.690
And people will tag Global Water Dances.
00:35:12.311 --> 00:35:20.300
And if you enter in our social media and Instagram or Facebook, you're going to see all the people who were sending their videos live.
00:35:20.400 --> 00:35:21.380
like right away.
00:35:22.001 --> 00:35:30.990
So that's part of the technology thing that we were trying to be very clear and see how other, you know, how that can serve for a bigger purpose.
00:35:31.351 --> 00:35:40.722
And then, yeah, I think that's, yeah, YouTube, Facebook, Instagram, and then the live stream through Zoom and YouTube.
00:35:40.922 --> 00:35:42.923
So different ways.
00:35:43.784 --> 00:35:58.219
This is the perfect example of how technology can be used for connection for healing, for removing barriers, creating access, all of these wonderful things.
00:35:58.298 --> 00:36:08.146
And I know here lately, sometimes conversations about technology and what is currently happening aren't as positive and they come across as a little more negative.
00:36:08.186 --> 00:36:19.958
And I feel like this is just an example of how we can use technology as a tool and a way to really just enhance our life experiences.
00:36:20.673 --> 00:36:21.416
And I do.
00:36:21.456 --> 00:36:32.862
I think it's really beautiful that you're able to take that systems engineering and help the world, you know, on a global scale to find solutions.
00:36:33.313 --> 00:36:41.083
This fantastic community and a positive way to connect around something that's very meaningful.
00:36:41.324 --> 00:36:42.326
I will circle back.
00:36:42.365 --> 00:36:44.889
You'd use the word activism.
00:36:44.909 --> 00:36:51.577
So what does dance activism look like for you as a dance maker?
00:36:51.617 --> 00:36:59.307
And or can you give an example of how global water dances has played a role in this global communities for change?
00:37:02.177 --> 00:37:36.157
yes i um i believe that global water dances gave some validation also to people who were working already uh different places and using arts and dance as a form of activism just to give some examples in new york city there is a in new york there is a company called artichoke dance and they have been doing this for years and they join us I think it was in 13, Lynn Newman, she joins.
00:37:36.217 --> 00:37:46.686
And by that time, the artistic director was Marlee Hardenberg, who actually wrote the idea of doing the different sections based on the work that she did before with the River Mississippi.
00:37:46.846 --> 00:37:52.331
So she had different, the River Mississippi goes all along North America.
00:37:52.451 --> 00:37:57.416
So she connected different cities that were there and she did this four section.
00:37:57.436 --> 00:38:01.159
I just wanted also to give credit to that.
00:38:01.398 --> 00:38:02.320
It wasn't all my idea.
00:38:02.480 --> 00:38:08.485
But I really love that.
00:38:08.567 --> 00:38:16.394
And I, yes, we, through the years we were given, you know, more, we were finesse, all that beautiful work.
00:38:17.275 --> 00:38:19.398
I was talking about artichoke dance.
00:38:19.938 --> 00:39:51.617
So they have been doing work about the environment, especially about the Gowanus River in Brooklyn, because that was considered one of the most polluted rivers and they are working with different organizations I'm trying to remember the name 360 I think and also the yeah I think it's Friends of the River I forgot the name but with different organizations through all these years to make visible that so their work is actually yes to make visible the actions of they are not you know they are just partners for different processes now that they are the face of this organizations but by doing that they continue you know being truth to their mission and i know that lynn she's yeah she's an activist and an artistic director at the same time you know so i think somebody coined the word artivist right to just uh say how we as artists are you know connect with that kind of yeah goal um of making art something bigger even you know itself so So that New York and Peru also, we had two different site leaders who were also, I mean, almost in every location, not every location, but almost in every location, there is a site leader who is partnering with an organization or maybe they are already an organization that is doing that.
00:39:51.737 --> 00:40:20.231
So in Peru, we had, in north of Peru, in the past, there used to be a lot of, not a lot of waters, always, scarves in the coast of Peru but there used to be systems that will allow to access to water but not anymore because of the technology actually what is happening is that they are taking all the water for the big agriculture.
00:40:20.311 --> 00:40:35.204
So they were able to gather people from the communities to have like a, it's called townhouse, I'm thinking in Spanish.
00:40:36.025 --> 00:40:40.728
Yeah, and to write a paper and to do a petition.
00:40:40.869 --> 00:40:42.891
And so it's a mix.
00:40:43.130 --> 00:40:46.474
So within the bands, that is something celebrational.
00:40:46.574 --> 00:41:35.844
They are also gathering people say okay this is a moment that we can actually take action and talk with our authorities and that they have been doing this for many years joining us and and now i mean this last one also they did another community gathering and then in lima too because of the um nino So there was a lot of destruction in different beaches and they gathered people to kind of do a cleanup and also to call to action and call the authorities also to put together community and also the parties so they can actually work on fixing and also to talk about prevention, how to mitigate that.
00:41:36.105 --> 00:41:49.338
And then there are many examples like in Flint And in Buffalo also, and I'm looking at my notes, in Buffalo, New York, there was a group of Parkinson's dancers, actually.
00:41:49.418 --> 00:42:09.059
So we have a site leader over there that has a group of people who joins them, and they dance for the water dancers because they discover that in the water that is polluted too, there are some chemicals that could affect and that could be the cause of Parkinson's disease.
00:42:10.000 --> 00:42:15.485
that dance was very meaningful too, because they were actually people who were affected by that.
00:42:16.347 --> 00:42:22.413
And just to wrap up, I would like to mention that we have a program that is called the SIF program.
00:42:22.472 --> 00:42:23.675
It's the Side Impact Fund.
00:42:23.914 --> 00:42:38.851
And as we saw that there were many people who were doing this, because we have many sites that dance for water and that are, it's more like a celebration and that's totally good and perfect and celebrate the beauty of water, moving like water.
00:42:38.871 --> 00:42:39.911
That's very healing.
00:42:39.952 --> 00:42:51.844
but also some sites that I was referring to, they want to give a little bit more, you know, and to partner with organizations to do a call to action.
00:42:52.445 --> 00:43:14.369
So this program, the Site Impact Fund, we try to give funds to those artists who would like to do this kind of work and we give them like a little mini grant for anything that they will, yeah, that maybe need to do the dance and also to have a video, to have some support.
00:43:14.469 --> 00:43:22.117
And so we select about 10 from all those that would like to apply for that grant and we redirect some grants for them.
00:43:23.599 --> 00:43:29.244
And that's how also we are able to know a little bit more about them and to make their work visible.
00:43:30.085 --> 00:43:47.041
Yeah, so it's not just, I mean, some could see these dances as a form of protest and that brings about awareness I mean, for one, I did not know about the connection between the chemicals in the water and Parkinson's disease.
00:44:10.786 --> 00:44:18.215
that it goes beyond the presentation aspect, which is what most people see about dance.
00:44:18.976 --> 00:44:19.838
It's a performance.
00:44:20.940 --> 00:44:21.820
That's healing.
00:44:21.880 --> 00:44:22.581
That's beautiful.
00:44:22.641 --> 00:44:23.923
That was a nice experience.
00:44:24.423 --> 00:44:40.144
But it really seems as if the organization continues to go one step deeper into making a shift, making a change, finding out what support is for that community from the presentation of the dance to the connection of the organizations.
00:44:40.802 --> 00:44:43.527
I mean, that's really commendable.
00:44:43.567 --> 00:44:45.471
It really is.
00:44:46.012 --> 00:44:48.717
Thank you all for the work that you are doing.
00:44:48.777 --> 00:44:55.108
Sorry, I got sidetracked because this is all new information to me.
00:44:55.208 --> 00:44:56.612
So it's just washing over me.
00:44:56.811 --> 00:44:59.978
My thoughts are going in several different places.
00:45:00.097 --> 00:45:02.202
But to kind of keep us on track here.
00:45:04.641 --> 00:45:19.224
We were talking about socially engaged dance and defining this as dance rooted in place, people, and purpose, and how this can help us to reimagine what recovery, advocacy, and creative leadership could look like in today's world.
00:45:19.826 --> 00:45:24.273
So can you take a moment to describe what this vision looks like?
00:45:25.255 --> 00:45:28.840
And I guess maybe more specifically, what's happening now that we wish...
00:45:30.146 --> 00:45:35.032
could be different or has the potential to be different based on this work?
00:45:35.293 --> 00:45:36.673
Many
00:45:36.733 --> 00:45:38.356
layers also in that question.
00:45:39.117 --> 00:45:39.197
I do.
00:45:39.398 --> 00:45:39.478
I
00:45:39.538 --> 00:45:40.639
ask long, big questions.
00:45:41.219 --> 00:45:43.583
I was trying to...
00:45:47.088 --> 00:45:47.568
Yes.
00:45:49.951 --> 00:45:50.311
I think...
00:45:54.114 --> 00:45:55.255
Yeah.
00:45:56.175 --> 00:45:57.416
Can you repeat your question
00:45:57.476 --> 00:46:06.123
again?
00:46:06.764 --> 00:46:23.438
Sorry, I'm like, I have one idea.
00:46:24.079 --> 00:46:28.324
look like that's different from what we have now?
00:46:28.465 --> 00:46:28.925
What is our
00:46:28.965 --> 00:46:29.706
hope?
00:46:33.409 --> 00:46:54.411
Yes, I think also looking back on how it started, it was mostly what you were saying at the beginning, like more like the beauty of dance and that's actually healing about dancing together because that also gives the sensation of, you know, we are together here and, you Yeah.
00:46:54.853 --> 00:47:02.018
And we can actually change the world if we want, because we are here together in order to make things good.
00:47:02.278 --> 00:47:14.188
And then into also the other part of this spectrum too, that we are always kind of trying to balance in global water dances, beauty, but also the action.
00:47:14.210 --> 00:47:24.626
I think something that Merle said at some point I'm trying to remember is that it was Merle, I think somebody else said, but you cannot, love.
00:47:25.507 --> 00:47:27.248
You cannot defend something that you don't love.
00:47:27.509 --> 00:47:30.952
So you need to love first that in order to defend it.
00:47:31.452 --> 00:47:35.596
So I think those are the two pilars, I will say, of what we do.
00:47:35.835 --> 00:47:40.860
So one is the love for dance and for water and for being in community.
00:47:41.021 --> 00:47:58.597
And the other thing is also to defend that, to defend dance too, like to give more space and to give more opportunities to dancers and to choreographers to be seen and to to be recognized and to continue, you know, to tell them you are not by yourself.
00:47:58.657 --> 00:48:02.920
You're not, you know, we are all a community and this is a space where you belong.
00:48:03.282 --> 00:48:05.804
So that sense of belonging, right?
00:48:06.005 --> 00:48:09.288
It's so important for a person that's on zero, right?
00:48:10.710 --> 00:48:17.657
And, and then the part of, yes, now that you know that this is important, how to defend and how to continue.
00:48:17.697 --> 00:48:55.818
So that's, that's a little bit where we are going, like trying to maintain those, those two things and find what we call a balance but at the same time how far we can go in this so that's right now our thing right that I was talking also with Liam with other people in our community that are activists like how this can be transformed or can be seen as an impactful something impactful that is not only like oh that's beautiful and we love it into this actually it held pain to get something.
00:48:55.878 --> 00:48:58.561
I will say a couple of more examples that I forgot.
00:48:59.181 --> 00:49:07.050
So we had a dance in Canada and it was the Shubenacadie in Nova Scotia.
00:49:07.090 --> 00:49:52.432
So by the time that we were doing global water dances, the community was, the native Canadians were fighting against a company who were trying to to do a work that will damage the river, the Chubinacate River, and throw in tons of salt there because of the work that this, they actually didn't consult the Mi'kmaq people who are the people who are there and protect the, you know, the world and indigenous people and in the land.
00:49:54.306 --> 00:50:02.753
So there were many actions that were happening already to stop Altum Gas, I think was it, to stop their actions.
00:50:03.114 --> 00:50:13.362
And actually by the time that they were doing Global Water Dances and then that we finished, we knew like it was probably four months later that they were able to stop that action.
00:50:13.382 --> 00:50:14.402
It was a big thing.
00:50:14.583 --> 00:50:21.389
So obviously it was not Global Water Dances, but that was one more thing, one more exposure.
00:50:21.590 --> 00:51:05.735
And people knew about it because people sometimes they don't know about it so that was something that was done in front of the river people would congregate there and they were able to see and how the bodies moved also it was very moving when I watched the video it was really beautiful but at the same time powerful so that's what we are trying to do and then the other action that we had was in Porto Alegre so the area of Rio Grande do Sul last year they had huge water, like they had a lot of water and the infrastructure was not ready for that.
00:51:05.855 --> 00:51:07.436
And they had a lot of damage.
00:51:07.597 --> 00:51:16.585
So, so their work was about, they partnered with an organization there that they have already like maybe six years of partnership so far.
00:51:17.264 --> 00:51:21.449
And they were now telling how it's important.
00:51:21.829 --> 00:52:35.085
So to talk about, yeah, both resilience, but also action like you know how to and then making a goal to the authorities too because they didn't know but now all that water that came started also to come with some chemicals and that is actually damaging now after a year that they are discovering this and so they hold they held many meetings to prior to the actual day of the water dances and connecting people connecting because she's also connected with at the university and so students professionals in dance and also professionals in environmental science came together so that's a little bit more about you know how what we would like to also be this movement go to and once we don't have to do so much of that that means that we're work and we can go back to the beauty
00:52:35.106 --> 00:53:13.710
yeah but it's it really sounds like a force behind right even even if the goal is simply visibility there's still a collective energy that is behind these communities that is showing support that is you use the word resilience which is one of our main focuses for the podcast this season and this idea it's it seems as if that collective energy that is behind these communities is giving them The push, the urge, the empowerment to keep forward motion, to keep moving forward.
00:53:13.750 --> 00:53:20.778
And even if it is just shining a light on the work that they're doing, it's broadcasting it.
00:53:20.818 --> 00:53:22.280
It's broadcasting it.
00:53:22.501 --> 00:53:25.144
And sometimes these things are really difficult to see.
00:53:25.184 --> 00:53:27.268
They're really difficult to digest.
00:53:27.347 --> 00:53:40.210
And so when you show the beauty side of it, this powerful beauty through movement and through the arts, I think it makes their missions more accessible.
00:53:40.231 --> 00:53:42.394
It
00:53:42.454 --> 00:53:48.606
speaks to the humanness, to the humanity, to the empathy of all of us.
00:53:48.826 --> 00:53:52.112
And the word I just keep thinking is just empowering.
00:53:52.211 --> 00:53:58.563
It's just empowering these communities to keep moving forward in such a beautiful way.
00:53:58.603 --> 00:54:00.286
Yeah.
00:54:00.449 --> 00:54:01.130
Mm-hmm.
00:54:02.592 --> 00:54:02.992
Yeah.
00:54:04.052 --> 00:54:05.273
Yes, definitely.
00:54:05.313 --> 00:54:07.436
Yeah, all that you say.
00:54:08.396 --> 00:54:27.393
I feel like when I started, it was around 2015 as their district director, I didn't realize all the ramifications or how powerful this project would be.
00:54:28.173 --> 00:54:34.340
And now we are listening to all the communities that they are joining us and it's like, oh wow.
00:54:34.440 --> 00:54:36.461
So each one of them is a gem.
00:54:36.503 --> 00:54:50.657
Like they are, you know, doing a great work and we're very proud of them and very also, yeah, like thankful for what they are doing because that, you know, enhances the work of others too.
00:54:50.737 --> 00:55:17.766
And that's what we found out in this Zoom sessions that we have and having this video conferences where they come together and they work in small groups sharing about their experiences their successes their some things that maybe are not working and how you can do it oh I did it like this and you know what do you need so just learning from each other I feel yeah it is so beautiful
00:55:17.806 --> 00:55:48.594
so Vanya thank you so much for bringing your mission and vision to our audience this has been such an eye-opening and incredible conversation to have but it is time for us to wrap up our conversation together and we will conclude with our rapid round so if i could have you complete these two sentences as fast as you can but no rush so sentence number one resilience is
00:55:52.514 --> 00:55:59.382
I think it's the capacity of overcome difficulties by being more adaptable or tough sometimes.
00:55:59.884 --> 00:56:00.204
Yeah.
00:56:00.724 --> 00:56:03.289
Sometimes flexible and sometimes, yeah.
00:56:04.871 --> 00:56:05.791
Yeah, tough.
00:56:05.891 --> 00:56:08.556
So it's, yeah, the whole.
00:56:11.079 --> 00:56:12.862
That too is a balancing act, right?
00:56:12.922 --> 00:56:15.405
Going back to what you were saying, we're trying to balance these things.
00:56:15.545 --> 00:56:16.967
That too is a balancing act.
00:56:17.947 --> 00:56:20.592
And sentence number two, dance has taught me.
00:56:22.498 --> 00:56:28.083
Yeah, I think dance has taught me to be resilient, too.
00:56:28.202 --> 00:56:36.190
I mean, both self-discipline and to be resilient, because sometimes you wake up and your body is not where you would like it to be.
00:56:37.690 --> 00:56:44.476
And to work with that, you know, it's a gift and an opportunity for growth.
00:56:44.697 --> 00:56:47.360
Yeah, I mean, it has taught me so many things.
00:56:48.260 --> 00:56:52.463
But I think basically that, and it's the same also, you know, about the flexibility.
00:56:52.463 --> 00:56:55.027
about to be strong.
00:56:55.347 --> 00:56:58.791
So we need both, right?
00:56:58.891 --> 00:57:10.182
We need both in this world for both to stay sane and also to be able to be living in a community, right?
00:57:10.242 --> 00:57:14.086
And so sometimes we need to be strong in what we believe.
00:57:14.648 --> 00:57:19.253
And sometimes also we need to be more flexible and adaptable and being like water.
00:57:19.432 --> 00:57:22.416
And sometimes, yeah, yes.
00:57:22.416 --> 00:57:25.059
So I feel dance has taught me that.
00:57:25.300 --> 00:57:40.324
And also that I can always go back to my body as a resource, as a history, as the path when maybe I feel anxious or I feel stressed or I feel like the world doesn't make sense.
00:57:40.744 --> 00:57:43.768
If I go back to my body, I know that the truth is there.
00:57:44.210 --> 00:57:46.293
Yeah.
00:57:47.266 --> 00:57:55.755
yeah whatever truth means but you know it's like it is what i have It's a body of knowledge.
00:57:56.677 --> 00:57:57.217
Exactly.
00:57:57.416 --> 00:58:02.041
I feel like if everybody will connect to their bodies a little bit more, what a gift.
00:58:02.201 --> 00:58:11.690
I think that the world problems will be easier to solve if we actually go back to our bodies and connect.
00:58:11.989 --> 00:58:18.876
I think that's why we do this participatory dance to give an opportunity for people to discover their own movement.
00:58:22.398 --> 00:58:24.661
I think global water dance is a mostly that.
00:58:24.760 --> 00:58:32.989
I think I never say that before, but the global dance is not a dance that is like stated.
00:58:33.010 --> 00:58:48.286
It's also kind of an invitation to do movements that look like this, like a specific water thing, but it's not like you do a plie and then a tendu and then a jeté, right?
00:58:48.346 --> 00:58:51.309
Talking in ballet terms.
00:58:52.090 --> 00:59:10.384
So it's an invitation for people to move so that's what I love about this project because it's for everyone for people who are highly trained or for people who maybe haven't moved like you say like maybe they say that they have two feet but everybody can move and we know it
00:59:12.166 --> 00:59:18.458
yes we do yes Anya, thank you again so much for joining us.
00:59:18.838 --> 00:59:33.219
And we'll be sure to put all of the global water dances links in our show notes so that our audience can find access to these videos and learn more about the different areas, the organizations and the work that you guys are doing.
00:59:33.300 --> 00:59:35.664
So again, just thank you so much for being with us today.
00:59:37.442 --> 00:59:38.422
Thank you, Amy.
00:59:38.903 --> 00:59:48.559
Thank you, Vanya and guests for joining me in this global conversation on the power of dance to shift our community and recovery, advocacy and creative leadership.
00:59:49.740 --> 00:59:52.405
How does dance encourage forward motion in your life?
00:59:52.905 --> 00:59:55.309
We would love to know and connect with you in the comments.
00:59:56.210 --> 00:59:59.434
Be sure to click the subscribe button and share with a friend or colleague.
01:00:00.257 --> 01:00:05.204
Leave us a review on Spotify and your name will be entered into a drawing for Dance Unscripted merch.
01:00:06.914 --> 01:00:12.023
We know you could have chosen any other platform, but you chose us and you chose dance.
01:00:12.563 --> 01:00:13.985
And for that, we thank you.
01:00:14.005 --> 01:00:20.217
A special thank you to the Lamar University Center for Resiliency for making season one possible.
01:00:20.958 --> 01:00:23.402
Dance Unscripted is presented by AIM Dance.