The National Endowment for the Arts podcast that goes behind the scenes with some of the nation’s great artists to explore how art works.

<a href="https://www.saheemali.com/" rel="nofollow" target="_blank">Saheem Ali</a> is Associate Artistic Director of <a href="https://publictheater.org/" rel="nofollow" target="_blank">The Public Theater</a> as well as the director of the Pulitzer Prize-winning play “<a href="https://publictheater.org/productions/season/2122/fat-ham/" rel="nofollow" target="_blank">Fat Ham.” </a> In this podcast, Ali talks about working with Fat Ham playwright <a href="https://www.jamesijames.com/" rel="nofollow" target="_blank">James Ijames,</a> his ongoing work with plays that contemporize and expand Shakespeare (like Fat Ham which sets Hamlet in a Black Southern backyard barbeque with a Queer Hamlet figure at its center or <a href="https://www.pbs.org/wnet/gperf/great-performances-merry-wives-about/13604/" rel="nofollow" target="_blank">Merry Wives</a> which sets Shakespeare’s play in Washington Heights in the midst of a community of West African immigrants). Ali also discusses his role as Associate Artistic Director of The Public, the mission of the theater—particularly of its <a href="https://publictheater.org/programs/shakespeare-in-the-park/free-shakespeare-in-the-park/" rel="nofollow" target="_blank">Free Shakespeare in the Park Program</a>--, The Public’s continuing work in interrogating power structures in theater, and its commitment to ensuring diverse voices in leadership, staff, performers, and audience.

Saheem Ali is Associate Artistic Director of The Public Theater as well as the director of the Pulitzer Prize-winning play “Fat Ham.”  In this podcast, Ali talks about working with Fat Ham playwright James Ijames, his ongoing work with plays that contemporize and expand Shakespeare (like Fat Ham which sets Hamlet in a Black Southern backyard barbeque with a Queer Hamlet figure at its center or Merry Wives which sets Shakespeare’s play in Washington Heights in the midst of a community of West African immigrants). Ali also discusses his role as Associate Artistic Director of The Public, the mission of the theater—particularly of its Free Shakespeare in the Park Program--, The Public’s continuing work in interrogating power structures in theater, and its commitment to ensuring diverse voices in leadership, staff, performers, and audience.

Theater director Saheem Ali talks about directing Shakespeare that centers on communities of color. 

Director Saheem Ali centers communities of color in his productions of Shakespeare

President of <a href="https://www.actorsequity.org/" title="https://www.actorsequity.org/" rel="nofollow" target="_blank">Actors' Equit</a>y Kate Shindle and the <a href="https://www.arts.gov/" title="https://www.arts.gov/" rel="nofollow" target="_blank">NEA</a> Director of Theater &amp; Musical Theater<a href="https://www.arts.gov/about/leadership-staff/greg-reiner" title="https://www.arts.gov/about/leadership-staff/greg-reiner" rel="nofollow" target="_blank"> Greg Reiner</a> discuss the current challenges, strategic innovations, and the evolving landscape of American theater.  Kate provides an overview of the history and evolving mission of Actors' Equity in safeguarding actors and stage managers.  While Greg discusses the NEA's strategic funding to support theaters nationwide, highlighting the critical need for sustainability in the sector. Both emphasize the creative resilience and artistic innovation within the theater community while exploring the significant financial and structural challenges faced by the industry during and post-COVID-19. They share optimism over the leadership transitions within the theater community, which focuses on the representation of diverse voices in leadership roles but also see the need to support these leaders who have stepped up in a fraught time.  We also discuss the implications of digital streaming for live theater, considering its potential to enhance accessibility and audience engagement. And Kate, who is stepping down from Equity leadership, reflects on her tenure while both share their aspirations for the future of theater in America.

President of Actors' Equity Kate Shindle and the NEA Director of Theater & Musical Theater Greg Reiner discuss the current challenges, strategic innovations, and the evolving landscape of American theater.  Kate provides an overview of the history and evolving mission of Actors' Equity in safeguarding actors and stage managers.  While Greg discusses the NEA's strategic funding to support theaters nationwide, highlighting the critical need for sustainability in the sector. Both emphasize the creative resilience and artistic innovation within the theater community while exploring the significant financial and structural challenges faced by the industry during and post-COVID-19. They share optimism over the leadership transitions within the theater community, which focuses on the representation of diverse voices in leadership roles but also see the need to support these leaders who have stepped up in a fraught time.  We also discuss the implications of digital streaming for live theater, considering its potential to enhance accessibility and audience engagement. And Kate, who is stepping down from Equity leadership, reflects on her tenure while both share their aspirations for the future of theater in America.

A discussion between the NEA and Actors' Equity about the challenges and opportunities facing theater.

Theater Unmasked: Challenges and Possibilities

Playwright and director <a href="https://gurmanagency.com/selected-clients/psalmayene-24-2/" rel="nofollow" target="_blank">Psalmayene 24</a> discusses his career trajectory from his unique approach to theater, his recent direction of the world premiere of Tempestuous Rising at <a href="https://www.arenastage.org/" rel="nofollow" target="_blank">Arena Stage</a> and his upcoming projects, including his current direction of <a href="https://www.folger.edu/whats-on/metamorphoses/" rel="nofollow" target="_blank">Metamorphosis at the Folger Theatre</a>. We talk about his journey from dance to theater, first as an actor and eventually to playwriting and directing in response to the lack of satisfying roles for young Black men. We discuss the collaborative nature of his directing style, involving actors and creative teams in the development of the production, ensuring that every aspect from costume design to choreography reflects the thematic richness of the play. Psalmayene 24 highlights the challenges and strategies of directing in different theater spaces, especially the round configuration of the Fichandler Stage at Arena Stage and the Elizabethan stage at the Folger Theatre. He also shares his vision for Mary Zimmerman’s adaptation of Metamorphosis focusing on an all-Black cast and the use of movement to convey the universality of human conditions through the lens of Blackness and Black culture and without the iconic pool used in previous productions. And Psalmayene 24 shares his excitement about upcoming projects, including a musical about John Lewis that he is writing. And as well as being smart and thoughtful, Psalmayene 24 has a truly terrific voice!

Playwright and director Psalmayene 24 discusses his career trajectory from his unique approach to theater, his recent direction of the world premiere of Tempestuous Rising at Arena Stage and his upcoming projects, including his current direction of Metamorphosis at the Folger Theatre. We talk about his journey from dance to theater, first as an actor and eventually to playwriting and directing in response to the lack of satisfying roles for young Black men. We discuss the collaborative nature of his directing style, involving actors and creative teams in the development of the production, ensuring that every aspect from costume design to choreography reflects the thematic richness of the play. Psalmayene 24 highlights the challenges and strategies of directing in different theater spaces, especially the round configuration of the Fichandler Stage at Arena Stage and the Elizabethan stage at the Folger Theatre. He also shares his vision for Mary Zimmerman’s adaptation of Metamorphosis focusing on an all-Black cast and the use of movement to convey the universality of human conditions through the lens of Blackness and Black culture and without the iconic pool used in previous productions. And Psalmayene 24 shares his excitement about upcoming projects, including a musical about John Lewis that he is writing. And as well as being smart and thoughtful, Psalmayene 24 has a truly terrific voice!

Staging Stories: Psalmayene 24 on Directing Across Time 

We’re closing out Arab-American Heritage Month with author <a href="http://www.dianaabujaber.com/" rel="nofollow" target="_blank">Diana Abu-Jaber</a> who discusses growing up with an Irish-American mother and a Jordanian father who never felt at home in the US, the lively tensions between cultures, and the centrality of this to her writing.  We discuss her two memoirs, "The Language of Baklava" and "Life Without a Recipe." She describes the impact her father and grandmother had on her life and how their contrasting personalities were reflected in their approaches to food: Diana's father was a passionate and improvisational cook, while her grandmother was a precise baker.  Abu-Jaber discusses the challenges of writing memoirs, the emotional risks involved in sharing personal stories, and how she navigated the difficult topic of her larger-than-life’s father's death.  We turn to a discussion of her latest novel, "Fencing with the King," and Diana reveals that the story was inspired by her father's experience of fencing with King Hussein of Jordan and her family's history of displacement. Diana reflects on the growth of Arab-American literature and the increasing prominence of Arab-American writers in contemporary culture.  We also discuss the similarities between cooking and writing and how food, like literature, can serve as a bridge between cultures

We’re closing out Arab-American Heritage Month with author Diana Abu-Jaber who discusses growing up with an Irish-American mother and a Jordanian father who never felt at home in the US, the lively tensions between cultures, and the centrality of this to her writing.  We discuss her two memoirs, "The Language of Baklava" and "Life Without a Recipe." She describes the impact her father and grandmother had on her life and how their contrasting personalities were reflected in their approaches to food: Diana's father was a passionate and improvisational cook, while her grandmother was a precise baker.  Abu-Jaber discusses the challenges of writing memoirs, the emotional risks involved in sharing personal stories, and how she navigated the difficult topic of her larger-than-life’s father's death.  We turn to a discussion of her latest novel, "Fencing with the King," and Diana reveals that the story was inspired by her father's experience of fencing with King Hussein of Jordan and her family's history of displacement. Diana reflects on the growth of Arab-American literature and the increasing prominence of Arab-American writers in contemporary culture.  We also discuss the similarities between cooking and writing and how food, like literature, can serve as a bridge between cultures

Author Diana Abu-Jaber has thoughts about cultural complexity, memoirs, and fiction

Bridging Cultures: A Conversation with Diana Abu-Jaber

We’re celebrating National Poetry Month with 2021 NEA Literature Fellow, poet <a href="https://www.lesliesainz.com/" rel="nofollow" target="_blank">Leslie Sainz</a> who discusses her debut poetry collection, "Have You Been Long Enough at Table."  Sainz reads from her collection and talks about its major themes including the ambiguity, displacement, and impact of cultural heritage as a daughter of Cuban immigrants. She discusses the variety of poetic forms used in her collection, allowing form to be guided by the emotional and thematic demands of her work. Sainz also talks about the impact of receiving a 2021 NEA Literature Fellowship for Poetry on her career and the validation it provided and offers advice to other poets and writers, especially regarding the NEA fellowship application process. Sainz  also discusses her involvement as a judge in the NEA's <a href="https://www.arts.gov/news/press-releases/2024/high-school-students-across-nation-compete-poetry-out-loud-national-finals" rel="nofollow" target="_blank">Poetry Out Loud</a> competition and  shares her experiences from organizing regional competitions to judging the national semifinals and her appreciation for the performative and memorization components that enhance both the understanding and the emotional experience of poetry.  She also gives us a glimpse into her upcoming project, tentatively titled "I Believe in Evil and Evil Believes in You," exploring new thematic territories and expanding her creative boundaries.  And, on April 17,  the day after our conversation, Leslie Sainz’s collection , "Have You Been Long Enough at Table" was awarded the 2024 <a href="https://publishingtriangle.org/awards/audre-lorde-lesbian-poetry/" rel="nofollow" target="_blank">Audre Lorde Award for Lesbian Poetry</a>

We’re celebrating National Poetry Month with 2021 NEA Literature Fellow, poet Leslie Sainz who discusses her debut poetry collection, "Have You Been Long Enough at Table."  Sainz reads from her collection and talks about its major themes including the ambiguity, displacement, and impact of cultural heritage as a daughter of Cuban immigrants. She discusses the variety of poetic forms used in her collection, allowing form to be guided by the emotional and thematic demands of her work. Sainz also talks about the impact of receiving a 2021 NEA Literature Fellowship for Poetry on her career and the validation it provided and offers advice to other poets and writers, especially regarding the NEA fellowship application process. Sainz  also discusses her involvement as a judge in the NEA's Poetry Out Loud competition and  shares her experiences from organizing regional competitions to judging the national semifinals and her appreciation for the performative and memorization components that enhance both the understanding and the emotional experience of poetry.  She also gives us a glimpse into her upcoming project, tentatively titled "I Believe in Evil and Evil Believes in You," exploring new thematic territories and expanding her creative boundaries.  And, on April 17,  the day after our conversation, Leslie Sainz’s collection , "Have You Been Long Enough at Table" was awarded the 2024 Audre Lorde Award for Lesbian Poetry

 Leslie Sainz: A New Voice in Contemporary Poetry

<a href="https://www.macfound.org/fellows/class-of-2001/suzan-lori-parks#:%7E:text=Suzan%2DLori%20Parks%20is%20a,from%20American%20culture%20and%20history." rel="nofollow" target="_blank">MacArthur Fellow</a> and <a href="https://www.pulitzer.org/winners/suzan-lori-parks" rel="nofollow" target="_blank">2002 Pulitzer-Prize Winner in Drama for “Topdog/Underdog,</a> ” <a href="http://suzanloriparks.com/" rel="nofollow" target="_blank">Suzan-Lori Parks</a> tells us about her current play <a href="https://publictheater.org/productions/season/2324/sally--tom/" rel="nofollow" target="_blank">”Sally and Tom”</a>* now having its NY premier at the <a href="https://publictheater.org/" rel="nofollow" target="_blank">Public Theater</a>. It’s a play within a play about Sally Hemings and Thomas Jefferson and combines Parks’ love of  American history and theater. We discuss the play's exploration of fraught subjects such as enslavement, sexual coercion, Black and white families living under the same roof under very different circumstances, and the paradoxes within Jefferson's life as a figure of enlightenment who owned slaves. Parks discusses how "Sally &amp; Tom" invites audiences to engage in tough yet essential conversations about America's history and its echoes in the present-- reflected in the meta-theatrical structure of "Sally &amp; Tom", which allows for a layered examination of history, storytelling, and the act of creation itself. She shares that her writing is not just as a form of artistic expression but is also a spiritual practice which allows her to engage with historical figures and narratives in a way that transcends traditional storytelling, inviting both creators and audiences into a space of reflection and transformation that fosters both nuanced conversations and broader implications for understanding American history. Parks also discusses her relationship with music and its intersections with her theatrical work and her personal and professional journey, from her upbringing in a military family to her initial reluctance towards theater, and how encouragement from James Baldwin led her to embrace playwriting.  She reflects on the evolution of theater over the past two decades, emphasizing the essential importance of inclusivity and diversity, and the continued need for spaces that offer both entertainment and nourishing content. And she discusses her residency at the Public Theater, her artistic home that supports her experimental and innovative approach to storytelling exemplified with her on-going project <a href="https://publictheater.org/productions/season/2122/watch-me-work/" rel="nofollow" target="_blank">Watch Me Work</a>. Finally,  I also want to say that I have been privileged -- to use, with great sincerity, an overused word-- to speak with the people I do for this podcast—I have been moved, taught, had my heart expanded and my mind stimulated by these interviews. But I have never spoken with anyone as vital or present as Suzan-Lori Parks nor with anyone who made me feel so enlivened by the conversation. It’s a pleasure to share this.

*“Sally and Tom” has been extended and will run at Public Theater through May 5.

MacArthur Fellow and 2002 Pulitzer-Prize Winner in Drama for “Topdog/Underdog, ” Suzan-Lori Parks tells us about her current play ”Sally and Tom”* now having its NY premier at the Public Theater. It’s a play within a play about Sally Hemings and Thomas Jefferson and combines Parks’ love of  American history and theater. We discuss the play's exploration of fraught subjects such as enslavement, sexual coercion, Black and white families living under the same roof under very different circumstances, and the paradoxes within Jefferson's life as a figure of enlightenment who owned slaves. Parks discusses how "Sally & Tom" invites audiences to engage in tough yet essential conversations about America's history and its echoes in the present-- reflected in the meta-theatrical structure of "Sally & Tom", which allows for a layered examination of history, storytelling, and the act of creation itself. She shares that her writing is not just as a form of artistic expression but is also a spiritual practice which allows her to engage with historical figures and narratives in a way that transcends traditional storytelling, inviting both creators and audiences into a space of reflection and transformation that fosters both nuanced conversations and broader implications for understanding American history. Parks also discusses her relationship with music and its intersections with her theatrical work and her personal and professional journey, from her upbringing in a military family to her initial reluctance towards theater, and how encouragement from James Baldwin led her to embrace playwriting.  She reflects on the evolution of theater over the past two decades, emphasizing the essential importance of inclusivity and diversity, and the continued need for spaces that offer both entertainment and nourishing content. And she discusses her residency at the Public Theater, her artistic home that supports her experimental and innovative approach to storytelling exemplified with her on-going project Watch Me Work. Finally,  I also want to say that I have been privileged -- to use, with great sincerity, an overused word-- to speak with the people I do for this podcast—I have been moved, taught, had my heart expanded and my mind stimulated by these interviews. But I have never spoken with anyone as vital or present as Suzan-Lori Parks nor with anyone who made me feel so enlivened by the conversation. It’s a pleasure to share this.
*“Sally and Tom” has been extended and will run at Public Theater through May 5.

Suzan-Lori Parks shows up in everything she does!

Suzan-Lori Parks Shows Up!

As we’re gearing up for the 2024 NEA Jazz Masters’ tribute concert, we are revisiting my conversation with 2017 NEA Jazz Master Bassist Dave Holland. From his roots in the English working class to becoming an admired figure in the jazz world, Holland shares his musical journey, marked by a deep passion for the bass, a transformative stint with Miles Davis, and a dedication to the next generation of jazz musicians. Dave Holland discusses his initial attraction to music through the ukulele and his evolution towards the bass guitar--captivated by its rhythmic and harmonic significance and reveals how exposure to American rock, R&amp;B, and jazz icons like Ray Brown and Leroy Vinnegar steered him towards jazz and led to his lifelong dedication to the upright bass. Holland recounts the serendipitous offer to join Miles Davis's band, a pivotal moment that introduced him to the international jazz stage and talks about his transition from band member to bandleader and composer, focusing on the necessity of dialogue and personal expression within music and the challenges and rewards of solo bass performances. Holland also discusses his educational work, aiming to connect students with jazz's rich heritage and guiding them to find their own voices within the tradition and finally reflects on his career's progression, underscoring the collaborative nature of jazz and its capacity to unify musicians across diverse backgrounds.

  

*The Arts Endowment in collaboration with the Kennedy Center will celebrate the <a href="https://www.arts.gov/honors/jazz" rel="nofollow" target="_blank">2024 NEA Jazz Masters</a>  with a free tribute concert on Saturday, April 13 at 7:30 pm. The concert is free and open to the public. You can get ticket details at <a href="https://www.kennedy-center.org/" rel="nofollow" target="_blank">Kennedy-Center.org.</a> And if you can’t make it to DC, don’t despair, the concert is available through a live webcast at <a href="https://www.arts.gov/" rel="nofollow" target="_blank">arts.gov</a>.

As we’re gearing up for the 2024 NEA Jazz Masters’ tribute concert, we are revisiting my conversation with 2017 NEA Jazz Master Bassist Dave Holland. From his roots in the English working class to becoming an admired figure in the jazz world, Holland shares his musical journey, marked by a deep passion for the bass, a transformative stint with Miles Davis, and a dedication to the next generation of jazz musicians. Dave Holland discusses his initial attraction to music through the ukulele and his evolution towards the bass guitar--captivated by its rhythmic and harmonic significance and reveals how exposure to American rock, R&B, and jazz icons like Ray Brown and Leroy Vinnegar steered him towards jazz and led to his lifelong dedication to the upright bass. Holland recounts the serendipitous offer to join Miles Davis's band, a pivotal moment that introduced him to the international jazz stage and talks about his transition from band member to bandleader and composer, focusing on the necessity of dialogue and personal expression within music and the challenges and rewards of solo bass performances. Holland also discusses his educational work, aiming to connect students with jazz's rich heritage and guiding them to find their own voices within the tradition and finally reflects on his career's progression, underscoring the collaborative nature of jazz and its capacity to unify musicians across diverse backgrounds.
  
*The Arts Endowment in collaboration with the Kennedy Center will celebrate the 2024 NEA Jazz Masters  with a free tribute concert on Saturday, April 13 at 7:30 pm. The concert is free and open to the public. You can get ticket details at Kennedy-Center.org. And if you can’t make it to DC, don’t despair, the concert is available through a live webcast at arts.gov.

Bassist and 2017 NEA Jazz Master Dave Holland talks about his life in jazz

We’re taking a deep dive with Willard Jenkins into his life in jazz. Willard discusses his early exposure to jazz in Pittsburgh and Cleveland, crediting his parents' record collection for his initial fascination with the genre, and the profound impact local jazz scenes and radio had on his musical journey. Willard recounts his transformative college years at Kent State University, detailing how his love for jazz deepened, his early forays into jazz journalism, starting with writing for his college's Black student newspaper, and his progression from journalism including his time at the “Cleveland Plain Dealer. ” We talk about his extensive efforts in promoting jazz, from founding the Northeast Ohio Jazz Society to spearheading jazz programs at Arts Midwest and serving as the artistic director of major jazz festivals, including DC Jazz Fest which strikes a balance between local talent and international musicians while still maintaining a focus on emerging artists. Willard also reflects on his close collaboration with NEA Jazz Master  Randy Weston, including co-writing Weston’s autobiography “African Rhythms.”  We dive into "Ain't But a Few of Us,"  Willard’s book which is a compilation of interviews that share the experiences of the few African-American jazz journalists. We also hear Willard’s reflection on his years of  radio broadcasting, and his contributions to oral history projects, stressing the value of capturing the stories of jazz greats. And finally, Willard reflects on his deep appreciation for receiving an award named for one his heroes: the  A.B. Spellman NEA Jazz Masters Award for Advocacy.

We’re taking a deep dive with Willard Jenkins into his life in jazz. Willard discusses his early exposure to jazz in Pittsburgh and Cleveland, crediting his parents' record collection for his initial fascination with the genre, and the profound impact local jazz scenes and radio had on his musical journey. Willard recounts his transformative college years at Kent State University, detailing how his love for jazz deepened, his early forays into jazz journalism, starting with writing for his college's Black student newspaper, and his progression from journalism including his time at the “Cleveland Plain Dealer. ” We talk about his extensive efforts in promoting jazz, from founding the Northeast Ohio Jazz Society to spearheading jazz programs at Arts Midwest and serving as the artistic director of major jazz festivals, including DC Jazz Fest which strikes a balance between local talent and international musicians while still maintaining a focus on emerging artists. Willard also reflects on his close collaboration with NEA Jazz Master  Randy Weston, including co-writing Weston’s autobiography “African Rhythms.”  We dive into "Ain't But a Few of Us,"  Willard’s book which is a compilation of interviews that share the experiences of the few African-American jazz journalists. We also hear Willard’s reflection on his years of  radio broadcasting, and his contributions to oral history projects, stressing the value of capturing the stories of jazz greats. And finally, Willard reflects on his deep appreciation for receiving an award named for one his heroes: the  A.B. Spellman NEA Jazz Masters Award for Advocacy.

Dive into 'Harmonies of Heritage' with Willard Jenkins, a jazz master shaping the genre's future through advocacy and passion.

Harmonies of Heritage: The Willard Jenkins Odyssey in Jazz Advocacy

In this special edition of Art Works, Chair of the <a href="https://www.arts.gov/" rel="nofollow" target="_blank">National Endowment for the Arts</a> Dr. Maria Rosario Jackson and <a href="https://www.census.gov/" rel="nofollow" target="_blank">U.S. Census Bureau</a> Director Robert Santos have a far-ranging discussion that explores the intersection of arts, culture, and statistical science. Moderated by the NEA’s Director of Research and Analysis Sunil Iyengar, the two agency heads begin their conversation by mapping their journeys to the crossroads of arts and statistical science, both noting that these fields enhance each other. Chair Jackson draws from her extensive background to highlight how robust data, including Census information, serves as a critical tool for fostering meaningful dialogue and shaping community-centric policies, while Director Santos shares his personal journey through photography, emphasizing how an artful life can fuel creativity and propel scientific advancement. They explore the power of incorporating diverse cultural insights into community studies to better understand more diverse and inclusive societal landscapes. They talk about how artists can act as trusted conduits for authentic data collection and community engagement. Director Santos and Chair Jackson champion the idea of embedding artists within federal agencies, illustrating how artistic creativity can invigorate public service and communication strategies. Finally, they discuss the vast potential for their agencies to collaborate further, harnessing the arts to deepen the impact of statistical data on public understanding and policy-making.  

The summit held at the Arts Endowment at the end of January was <a href="https://www.arts.gov/impact/convenings/healing-bridging-thriving-summit" rel="nofollow" target="_blank">“Healing, Bridging, Thriving: Arts and Culture in Our Communities,”.</a>

In this special edition of Art Works, Chair of the National Endowment for the Arts Dr. Maria Rosario Jackson and U.S. Census Bureau Director Robert Santos have a far-ranging discussion that explores the intersection of arts, culture, and statistical science. Moderated by the NEA’s Director of Research and Analysis Sunil Iyengar, the two agency heads begin their conversation by mapping their journeys to the crossroads of arts and statistical science, both noting that these fields enhance each other. Chair Jackson draws from her extensive background to highlight how robust data, including Census information, serves as a critical tool for fostering meaningful dialogue and shaping community-centric policies, while Director Santos shares his personal journey through photography, emphasizing how an artful life can fuel creativity and propel scientific advancement. They explore the power of incorporating diverse cultural insights into community studies to better understand more diverse and inclusive societal landscapes. They talk about how artists can act as trusted conduits for authentic data collection and community engagement. Director Santos and Chair Jackson champion the idea of embedding artists within federal agencies, illustrating how artistic creativity can invigorate public service and communication strategies. Finally, they discuss the vast potential for their agencies to collaborate further, harnessing the arts to deepen the impact of statistical data on public understanding and policy-making.  
The summit held at the Arts Endowment at the end of January was “Healing, Bridging, Thriving: Arts and Culture in Our Communities,”.

A Special Edition of Art Works: Talking across disciplines with the Chair of the NEA and the Director of the Census Bureau

In this podcast, <a href="https://www.arts.gov/honors/jazz/amina-claudine-myers" rel="nofollow" target="_blank">Amina Claudine Myers</a> discusses her journey from the gospel choirs of Arkansas to becoming a <a href="https://www.arts.gov/honors/jazz" rel="nofollow" target="_blank">2024 NEA Jazz Master</a>, highlighting her significant contributions to jazz, gospel, and blues. We discuss her early life in Blackwell, Arkansas, and Dallas, Texas, sharing stories of how family and church planted the seeds of her future in music and her transition from gospel music to discovering jazz and blues in college, detailing her growth as a musician and composer. She reflects on her time in Chicago and her involvement with the Association for the Advancement of Creative Musicians (<a href="https://www.aacmchicago.org/" rel="nofollow" target="_blank">AACM</a>), emphasizing the impact this had on her musical direction and compositions. Myers describes her move to New York, the challenges she there, and how she found her footing through innovative performances and compositions. She discusses how she integrates jazz, gospel, and blues into her music, creating a unique sound that speaks to her diverse influences and experiences and her efforts to preserve the legacy of gospel music with Generation 4. And finally Myers shares her thoughts  on being named an NEA Jazz Master.*

*The Arts Endowment in collaboration with the Kennedy Center will celebrate the <a href="https://www.arts.gov/honors/jazz" rel="nofollow" target="_blank">2024 NEA Jazz Masters</a>  with a free tribute concert on Saturday, April 13 at 7:30 pm. The concert is free and open to the public. You can get ticket details at <a href="https://www.kennedy-center.org/" rel="nofollow" target="_blank">Kennedy-Center.org.</a> And if you can’t make it to DC, don’t despair, the concert is available through a live webcast and radio broadcast at <a href="https://www.arts.gov/" rel="nofollow" target="_blank">arts.gov</a>.

In this podcast, Amina Claudine Myers discusses her journey from the gospel choirs of Arkansas to becoming a 2024 NEA Jazz Master, highlighting her significant contributions to jazz, gospel, and blues. We discuss her early life in Blackwell, Arkansas, and Dallas, Texas, sharing stories of how family and church planted the seeds of her future in music and her transition from gospel music to discovering jazz and blues in college, detailing her growth as a musician and composer. She reflects on her time in Chicago and her involvement with the Association for the Advancement of Creative Musicians (AACM), emphasizing the impact this had on her musical direction and compositions. Myers describes her move to New York, the challenges she there, and how she found her footing through innovative performances and compositions. She discusses how she integrates jazz, gospel, and blues into her music, creating a unique sound that speaks to her diverse influences and experiences and her efforts to preserve the legacy of gospel music with Generation 4. And finally Myers shares her thoughts  on being named an NEA Jazz Master.*
*The Arts Endowment in collaboration with the Kennedy Center will celebrate the 2024 NEA Jazz Masters  with a free tribute concert on Saturday, April 13 at 7:30 pm. The concert is free and open to the public. You can get ticket details at Kennedy-Center.org. And if you can’t make it to DC, don’t despair, the concert is available through a live webcast and radio broadcast at arts.gov.

Amina Claudine Myers: From gospel to jazz 

The Harmonic Convergence of Amina Claudine Myers

Co-founder Kirsten Cappy introduces us to <a href="https://imyourneighborbooks.org/" title="https://imyourneighborbooks.org/" rel="nofollow" target="_blank">I'm Your Neighbor Books</a>—which aims to build communities where immigrants are welcomed and feel a sense of belonging by sharing diverse immigration stories in children’s literature—and explains the collaborative roots of the organization among leaders from immigrant communities, authors, illustrators, educators, and librarians.  She discusses <a href="https://imyourneighborbooks.org/welcoming-library/" title="https://imyourneighborbooks.org/welcoming-library/" rel="nofollow" target="_blank">the Welcoming Library</a> project and how this traveling collection of children's books serves to introduce readers to the vast diversity of immigrant experiences and fosters dialogue within communities. She describes the careful curation process for the books included in the Welcoming Library and shares how they work with authors, illustrators, and community members to create engaging reading materials and discussion questions that accompany the books. And we talk about the expansion of I'm Your Neighbor Books from its origins in Portland, Maine, to states across the country. Cappy also reflects on the universal importance of storytelling in building communities and the unique ability of children's literature to serve as a bridge between cultures and generations, inspiring empathy and understanding in our communities.

We’d love to know your thoughts—email us at <a href="mailto:artworkspod@arts.gov" title="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>. And <a href="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" title="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" rel="nofollow" target="_blank">follow us on Apple Podcasts</a>!

BOOKS MENTIONED:

Dreamers by Yuyi Morales

<a href="https://imyourneighborbooks.org/book/dreamers/" title="https://imyourneighborbooks.org/book/dreamers/" rel="nofollow" target="_blank">https://imyourneighborbooks.org/book/dreamers/</a>

In My Mosque by M.O. Yuksel and illustrated by Hatem Aly

<a href="https://imyourneighborbooks.org/book/in-my-mosque/" title="https://imyourneighborbooks.org/book/in-my-mosque/" rel="nofollow" target="_blank">https://imyourneighborbooks.org/book/in-my-mosque/</a>

I'm an American by Darshana Khiani, and illustrated by Laura Freeman.

<a href="https://imyourneighborbooks.org/book/im-an-american/" title="https://imyourneighborbooks.org/book/im-an-american/" rel="nofollow" target="_blank">https://imyourneighborbooks.org/book/im-an-american/</a>

Wherever I Go  by Mary Wagley Copp, and illustrated by Munir D. Mohammed

<a href="https://imyourneighborbooks.org/book/wherever-i-go/" title="https://imyourneighborbooks.org/book/wherever-i-go/" rel="nofollow" target="_blank">https://imyourneighborbooks.org/book/wherever-i-go/</a>

Green Card Voices Bilingual Graphic Novel Flip Books

<a href="https://imyourneighborbooks.org/book/voice-for-refuge-2/" title="https://imyourneighborbooks.org/book/voice-for-refuge-2/" rel="nofollow" target="_blank">https://imyourneighborbooks.org/book/voice-for-refuge-2/</a>

Co-founder Kirsten Cappy introduces us to I'm Your Neighbor Books—which aims to build communities where immigrants are welcomed and feel a sense of belonging by sharing diverse immigration stories in children’s literature—and explains the collaborative roots of the organization among leaders from immigrant communities, authors, illustrators, educators, and librarians.  She discusses the Welcoming Library project and how this traveling collection of children's books serves to introduce readers to the vast diversity of immigrant experiences and fosters dialogue within communities. She describes the careful curation process for the books included in the Welcoming Library and shares how they work with authors, illustrators, and community members to create engaging reading materials and discussion questions that accompany the books. And we talk about the expansion of I'm Your Neighbor Books from its origins in Portland, Maine, to states across the country. Cappy also reflects on the universal importance of storytelling in building communities and the unique ability of children's literature to serve as a bridge between cultures and generations, inspiring empathy and understanding in our communities.
We’d love to know your thoughts—email us at artworkspod@arts.gov. And follow us on Apple Podcasts!
BOOKS MENTIONED:
Dreamers by Yuyi Morales
https://imyourneighborbooks.org/book/dreamers/
In My Mosque by M.O. Yuksel and illustrated by Hatem Aly
https://imyourneighborbooks.org/book/in-my-mosque/
I'm an American by Darshana Khiani, and illustrated by Laura Freeman.
https://imyourneighborbooks.org/book/im-an-american/
Wherever I Go  by Mary Wagley Copp, and illustrated by Munir D. Mohammed
https://imyourneighborbooks.org/book/wherever-i-go/
Green Card Voices Bilingual Graphic Novel Flip Books
https://imyourneighborbooks.org/book/voice-for-refuge-2/

Kirsten Cappy co-founder of I'm Your Neighbor Books builds bridges through children's literature

Building Bridges Through Children's Literature

2020 NEA Literature Fellow <a href="https://daniellevevans.com/" rel="nofollow" target="_blank">Danielle Evans</a> is author of two collections of stories  Before You Suffocate Your Own Fool Self and The Office of Historical Corrections, published ten years apart and to great acclaim. Today, we’re revisiting my 2021 interview with Danielle. In this podcast, we explore her intricate narratives that weave through the themes of history, race, and grief. Danielle shares her approach to writing, the importance of allowing stories to develop organically, and her commitment to fostering depth and cohesion in her collections. She discusses the recurring motifs in her work, including the impact of history and memory on identity, the complexities of grief, and the nuances of racial and societal dynamics. We discuss *The Office of Historical Corrections *and the titular novella which introduces an imaginative agency dedicated to correcting historical inaccuracies. Evans explains the genesis of this idea and its reflection on our contemporary struggles with truth and reconciliation. She reflects on the shifts in the publishing industry regarding diversity and representation, acknowledging progress while also pointing to the ongoing challenges in creating equitable spaces for diverse voices. And finally, Danielle shares how the NEA Literature Fellowship has supported her creative process, allowing her to research and develop her forthcoming work.

2020 NEA Literature Fellow Danielle Evans is author of two collections of stories  Before You Suffocate Your Own Fool Self and The Office of Historical Corrections, published ten years apart and to great acclaim. Today, we’re revisiting my 2021 interview with Danielle. In this podcast, we explore her intricate narratives that weave through the themes of history, race, and grief. Danielle shares her approach to writing, the importance of allowing stories to develop organically, and her commitment to fostering depth and cohesion in her collections. She discusses the recurring motifs in her work, including the impact of history and memory on identity, the complexities of grief, and the nuances of racial and societal dynamics. We discuss *The Office of Historical Corrections *and the titular novella which introduces an imaginative agency dedicated to correcting historical inaccuracies. Evans explains the genesis of this idea and its reflection on our contemporary struggles with truth and reconciliation. She reflects on the shifts in the publishing industry regarding diversity and representation, acknowledging progress while also pointing to the ongoing challenges in creating equitable spaces for diverse voices. And finally, Danielle shares how the NEA Literature Fellowship has supported her creative process, allowing her to research and develop her forthcoming work.

A conversation with author and 2020 NEA Literature Fellow Danielle Evans

It's complicated: a conversation with author and 2020 NEA Literature Fellow Danielle Evans

We’re revisiting my conversation with the 2021 National Heritage Fellow, <a href="https://www.arts.gov/honors/heritage/reginald-reggio-hoofer-mclaughlin" rel="nofollow" target="_blank">Reginald “Reggio The Hoofer” McLaughlin,</a> a master tap dancer whose feet tell stories of tradition, perseverance, and cultural heritage. In this podcast, Reggio  discusses his childhood love for tap dancing sparked at community centers in Chicago, his transition from a successful career as an R&amp;B bassist to a full-time tap dancer (and how this musical foundation influenced his tap dancing career) and his experiences busking in Chicago’s subways.  He highlights the invaluable lessons and traditions passed down by his mentors, <a href="https://memory.loc.gov/diglib/ihas/loc.music.tdabio.148/" rel="nofollow" target="_blank">Jimmy Payne</a> and <a href="https://memory.loc.gov/diglib/ihas/loc.music.tdabio.31/" rel="nofollow" target="_blank">Ernest “Brownie” Brown</a>, and their influence on his style and teaching.  Reggio shares his passion for teaching at the <a href="https://www.oldtownschool.org/" rel="nofollow" target="_blank">Old Town School of Folk Music</a>, emphasizing the importance of connecting students with the history and joy of tap. He also recounts performing on stages around the world as part of Old Town’s international program and audience’s embrace of this American art form.  He gives an inside look into the creation of "The Nut Tapper," showcasing how he blends tap with diverse cultural dance forms to celebrate the universality of dance. And reflecting on his <a href="https://www.arts.gov/honors/heritage" rel="nofollow" target="_blank">National Heritage Fellow award</a>, Reggio discusses the importance of recognition for artists dedicated to preserving cultural traditions.

We’re revisiting my conversation with the 2021 National Heritage Fellow, Reginald “Reggio The Hoofer” McLaughlin, a master tap dancer whose feet tell stories of tradition, perseverance, and cultural heritage. In this podcast, Reggio  discusses his childhood love for tap dancing sparked at community centers in Chicago, his transition from a successful career as an R&B bassist to a full-time tap dancer (and how this musical foundation influenced his tap dancing career) and his experiences busking in Chicago’s subways.  He highlights the invaluable lessons and traditions passed down by his mentors, Jimmy Payne and Ernest “Brownie” Brown, and their influence on his style and teaching.  Reggio shares his passion for teaching at the Old Town School of Folk Music, emphasizing the importance of connecting students with the history and joy of tap. He also recounts performing on stages around the world as part of Old Town’s international program and audience’s embrace of this American art form.  He gives an inside look into the creation of "The Nut Tapper," showcasing how he blends tap with diverse cultural dance forms to celebrate the universality of dance. And reflecting on his National Heritage Fellow award, Reggio discusses the importance of recognition for artists dedicated to preserving cultural traditions.

Get into the soul of tap dancing with Reggio the Hoofer!

Meet Tap Dancer and National Heritage Fellow Reginald "Reggio the Hoofer" McLaughlin

In this tuneful podcast, 2024 NEA Jazz Master Saxophonist <a href="https://www.arts.gov/honors/jazz/gary-bartz" rel="nofollow" target="_blank">Gary Bartz</a> talks about his life and career, touching on his roots, influences, collaborations, and the philosophical underpinnings that have guided his artistic journey.

Born in Baltimore in 1940, Gary's musical journey began in a segregated America, where he found music to be a universal language that could transcend societal barriers. He discusses his early encounters with music which were deeply influenced by his family's musical gatherings and his exposure to the records of Charlie Parker, which ignited his passion for the saxophone at the age of six. He talks about moving to New York City in 1958, immersing himself in the city's vibrant jazz scene, his time at Juilliard and the thrill of playing alongside legends like <a href="https://www.arts.gov/honors/jazz/max-roach" rel="nofollow" target="_blank">Max Roach</a> (NEA Jazz Master, 1984),  <a href="https://www.arts.gov/honors/jazz/sue-mingus" rel="nofollow" target="_blank">Charles Mingus,</a>  <a href="https://www.arts.gov/honors/jazz/art-blakey" rel="nofollow" target="_blank">Art Blakey</a> (NEA Jazz Master, 1988),  <a href="https://www.arts.gov/honors/jazz/miles-davis" rel="nofollow" target="_blank">Miles Davis </a>(NEA Jazz Master, 1984)  and <a href="https://www.arts.gov/honors/jazz/mccoy-tyner" rel="nofollow" target="_blank">McCoy Tyner</a> (NEA Jazz Master, 2002), highlighting the impact of these experiences on his musical direction. He details his approach to music, emphasizing the importance of listening and creativity and expressing his disdain for the term "jazz," preferring to see music as a boundless form of expression.

Gary also discusses his work with younger musicians and bands like his collaborations with Ali Shaheed Muhammad and Adrian Younge for their <a href="https://www.jazzisdead.com/" rel="nofollow" target="_blank">Jazz Is Dead</a> label and the spiritual jazz band <a href="https://www.nightdreamer.co.uk/gary-bartz-maisha" rel="nofollow" target="_blank">Maisha</a>, emphasizing the importance of intergenerational dialogue in music. With over two decades of teaching at <a href="https://www.oberlin.edu/conservatory" rel="nofollow" target="_blank">Oberlin</a>, Gary talks about his approach to education which focuses first on the importance of listening—a skill he deems crucial for any musician. He shares his feelings on being named an <a href="https://www.arts.gov/honors/jazz" rel="nofollow" target="_blank">NEA Jazz Master</a>, acknowledging it as a significant honor that places him among the heroes who shaped his musical path.

Note: On Saturday, April 13, 2024, the National Endowment for the Arts, in collaboration with the <a href="https://www.kennedy-center.org/" rel="nofollow" target="_blank">John F. Kennedy Center for the Performing Arts</a>, will celebrate the 2024 honorees with a tribute concert. Keep checking [arts.gov](arts.gov) for details.

In this tuneful podcast, 2024 NEA Jazz Master Saxophonist Gary Bartz talks about his life and career, touching on his roots, influences, collaborations, and the philosophical underpinnings that have guided his artistic journey.
Born in Baltimore in 1940, Gary's musical journey began in a segregated America, where he found music to be a universal language that could transcend societal barriers. He discusses his early encounters with music which were deeply influenced by his family's musical gatherings and his exposure to the records of Charlie Parker, which ignited his passion for the saxophone at the age of six. He talks about moving to New York City in 1958, immersing himself in the city's vibrant jazz scene, his time at Juilliard and the thrill of playing alongside legends like Max Roach (NEA Jazz Master, 1984),  Charles Mingus,  Art Blakey (NEA Jazz Master, 1988),  Miles Davis (NEA Jazz Master, 1984)  and McCoy Tyner (NEA Jazz Master, 2002), highlighting the impact of these experiences on his musical direction. He details his approach to music, emphasizing the importance of listening and creativity and expressing his disdain for the term "jazz," preferring to see music as a boundless form of expression.
Gary also discusses his work with younger musicians and bands like his collaborations with Ali Shaheed Muhammad and Adrian Younge for their Jazz Is Dead label and the spiritual jazz band Maisha, emphasizing the importance of intergenerational dialogue in music. With over two decades of teaching at Oberlin, Gary talks about his approach to education which focuses first on the importance of listening—a skill he deems crucial for any musician. He shares his feelings on being named an NEA Jazz Master, acknowledging it as a significant honor that places him among the heroes who shaped his musical path.
Note: On Saturday, April 13, 2024, the National Endowment for the Arts, in collaboration with the John F. Kennedy Center for the Performing Arts, will celebrate the 2024 honorees with a tribute concert. Keep checking [arts.gov](arts.gov) for details.

"Listening is more important than playing": so says saxophonist Gary BartzIn this tuneful podcast, 2024 NEA Jazz Master Saxophonist Gary Bartz talks about his life and career, touching on his roots, influences, collaborations, and the philosophical underpinnings that have guided his artistic journey. Born in Baltimore in 1940, Gary's musical journey began in a segregated America, where he found music to be a universal language that could transcend societal barriers. He discusses his early encounters with music which were deeply influenced by his family's musical gatherings and his exposure to the records of Charlie Parker, which ignited his passion for the saxophone at the age of six. He talks about moving to New York City in 1958, immersing himself in the city's vibrant jazz scene, his time at Juilliard and the thrill of playing alongside legends like Max Roach (NEA Jazz Master, 1984),  Charles Mingus,  Art Blakey (NEA Jazz Master, 1988),  Miles Davis (NEA Jazz Master, 1984)  and McCoy Tyner (NEA Jazz Master, 2002), highlighting the impact of these experiences on his musical direction. He details his approach to music, emphasizing the importance of listening and creativity and expressing his disdain for the term "jazz," preferring to see music as a boundless form of expression. Gary also discusses his work with younger musicians and bands like his collaborations with Ali Shaheed Muhammad and Adrian Younge for their Jazz Is Dead label and the spiritual jazz band Maisha, emphasizing the importance of intergenerational dialogue in music. With over two decades of teaching at Oberlin, Gary talks about his approach to education which focuses first on the importance of listening—a skill he deems crucial for any musician. He shares his feelings on being named an NEA Jazz Master, acknowledging it as a significant honor that places him among the heroes who shaped his musical path.  Note: On Saturday, April 13, 2024, the National Endowment for the Arts, in collaboration with the John F. Kennedy Center for the Performing Arts, will celebrate the 2024 honorees with a tribute concert. Keep checking arts.gov for details.

Meet Saxophonist and NEA Jazz Master Gary Bartz

In honor of Black History month, we’re revisiting this 2011 conversation with author and <a href="https://www.neh.gov/about/awards/national-humanities-medals/isabel-wilkerson" rel="nofollow" target="_blank">2015 National Humanities Medalist</a> <a href="https://www.isabelwilkerson.com/" rel="nofollow" target="_blank">Isabel Wilkerson  </a>In this tuneful podcast, Wilkerson discusses her acclaimed book <a href="http://warmth.isabelwilkerson.com/" rel="nofollow" target="_blank">"The Warmth of Other Suns,"  </a>exploring the profound impact of the Great Migration on American culture. This migration saw six million African Americans relocate from the rural South to the urban North from post-WWI through the 1960s, drastically transforming the country’s demographic landscape and cultural output. Wilkerson describes it as a defection from the oppressive Jim Crow laws of the South to the more welcoming, yet challenging environments of the North. This movement was not merely a migration but a quest for political asylum; people were seeking opportunities and freedoms that were systematically denied in the South.  As Wilkerson discusses, one result of the Migration was  a profound merging of cultures, impacting every form of American art - literature, music, theater, and visual arts. Figures like Toni Morrison, Richard Wright, and artists like Romare Bearden and Jacob Lawrence were deeply influenced by their migration experiences, fundamentally altering American culture. She points out that the Great Migration had a monumental impact on music, bringing Southern blues, jazz, gospel, and later, Motown sounds to a national audience. Icons like BB King, Muddy Waters, Louis Armstrong, and companies like Motown Records owe their success and influence to this movement, which also facilitated a cross-cultural exchange that reverberated globally. She argues that music at times served as a bridge, bringing together segregated communities, Black and white, urban and rural, and introducing diverse audiences to the rich and varied cultural expressions of African Americans. Wilkerson also shares her personal connection to the Great Migration, being the daughter of migrants herself. She reflects on how this history shaped her identity, the broader narrative of African Americans in the 20th century, and the nation's art, music, and societal structures.

In honor of Black History month, we’re revisiting this 2011 conversation with author and 2015 National Humanities Medalist Isabel Wilkerson  In this tuneful podcast, Wilkerson discusses her acclaimed book "The Warmth of Other Suns,"  exploring the profound impact of the Great Migration on American culture. This migration saw six million African Americans relocate from the rural South to the urban North from post-WWI through the 1960s, drastically transforming the country’s demographic landscape and cultural output. Wilkerson describes it as a defection from the oppressive Jim Crow laws of the South to the more welcoming, yet challenging environments of the North. This movement was not merely a migration but a quest for political asylum; people were seeking opportunities and freedoms that were systematically denied in the South.  As Wilkerson discusses, one result of the Migration was  a profound merging of cultures, impacting every form of American art - literature, music, theater, and visual arts. Figures like Toni Morrison, Richard Wright, and artists like Romare Bearden and Jacob Lawrence were deeply influenced by their migration experiences, fundamentally altering American culture. She points out that the Great Migration had a monumental impact on music, bringing Southern blues, jazz, gospel, and later, Motown sounds to a national audience. Icons like BB King, Muddy Waters, Louis Armstrong, and companies like Motown Records owe their success and influence to this movement, which also facilitated a cross-cultural exchange that reverberated globally. She argues that music at times served as a bridge, bringing together segregated communities, Black and white, urban and rural, and introducing diverse audiences to the rich and varied cultural expressions of African Americans. Wilkerson also shares her personal connection to the Great Migration, being the daughter of migrants herself. She reflects on how this history shaped her identity, the broader narrative of African Americans in the 20th century, and the nation's art, music, and societal structures.

Celebrate Black History Month: Isabel Wilkerson discusses the Great Migration and American Culure

Screenwriter and Director Cord Jefferson discusses his critically acclaimed film, “American Fiction” which is a satirical exploration of popular culture’s often narrow and limiting representation of Black people.

 We catch up with director/writer <a href="https://en.wikipedia.org/wiki/Cord_Jefferson" rel="nofollow" target="_blank">Cord Jefferson</a> whose film ”<a href="https://www.mgm.com/movies/american-fiction" rel="nofollow" target="_blank">American Fiction”</a>   has been nominated for five academy awards (Best Picture, Best adapted screenplay  (Jefferson), best actor (Jeffrey Wright), best supporting actor (Sterling K. Brown and best score (Laura Karpman). Not bad for the first-time director—albeit one with a rich resume as a Emmy Award winning television writer (think: “The Good Place” and “Watchmen.”*) Jefferson talks about adapting <a href="https://en.wikipedia.org/wiki/Percival_Everett" rel="nofollow" target="_blank">Percival Everett’s</a> novel <a href="https://www.graywolfpress.org/books/erasure" rel="nofollow" target="_blank">“Erasure,”</a>  reflecting on the novel's exploration of stereotypes and limitations placed on Black artists, his own personal experiences  which drew him to the project and influenced the adaptation. Jefferson opens up about the difficulty of finding backing for the film, particularly as a first-time director, and the joy of putting together an extraordinary ensemble cast led by <a href="https://en.wikipedia.org/wiki/Jeffrey_Wright" rel="nofollow" target="_blank">Jeffrey Wright</a>-- a task made easier by the depth and richness of the characters they were called upon to play. Jefferson discusses his aim to create a film that balances satire without veering into farce, ensuring the story remained grounded and the importance of family themes within the film is highlighted, with Jefferson discussing his decision to keep these elements against suggestions to cut them as a way to enrich the narrative and ground the satire. Jefferson reflects on the success of "American Fiction," the brilliance of the cast,  and his interest in continuing to make films, appreciating the collaborative and creative process of film production. Through Jefferson's insights, listeners gain an understanding of the complexities involved in adapting a novel to film, the importance of nuanced storytelling, and the power of representation in film.

Screenwriter and Director Cord Jefferson discusses his critically acclaimed film, “American Fiction” which is a satirical exploration of popular culture’s often narrow and limiting representation of Black people.
 We catch up with director/writer Cord Jefferson whose film ”American Fiction”   has been nominated for five academy awards (Best Picture, Best adapted screenplay  (Jefferson), best actor (Jeffrey Wright), best supporting actor (Sterling K. Brown and best score (Laura Karpman). Not bad for the first-time director—albeit one with a rich resume as a Emmy Award winning television writer (think: “The Good Place” and “Watchmen.”*) Jefferson talks about adapting Percival Everett’s novel “Erasure,”  reflecting on the novel's exploration of stereotypes and limitations placed on Black artists, his own personal experiences  which drew him to the project and influenced the adaptation. Jefferson opens up about the difficulty of finding backing for the film, particularly as a first-time director, and the joy of putting together an extraordinary ensemble cast led by Jeffrey Wright-- a task made easier by the depth and richness of the characters they were called upon to play. Jefferson discusses his aim to create a film that balances satire without veering into farce, ensuring the story remained grounded and the importance of family themes within the film is highlighted, with Jefferson discussing his decision to keep these elements against suggestions to cut them as a way to enrich the narrative and ground the satire. Jefferson reflects on the success of "American Fiction," the brilliance of the cast,  and his interest in continuing to make films, appreciating the collaborative and creative process of film production. Through Jefferson's insights, listeners gain an understanding of the complexities involved in adapting a novel to film, the importance of nuanced storytelling, and the power of representation in film.

"American Fiction" might be director Cord Jefferson's first film--but it's nominated for five Academy Awards.

Director/writer Cord Jefferson talks about "American Fiction"

Steve Zeitlin, founder and executive director of <a href="https://citylore.org/" rel="nofollow" target="_blank">City Lore</a>, and Phyllis Zimmer, founder and president of the<a href="https://www.nphealthcarefoundation.org/education/heritage-health/" rel="nofollow" target="_blank"> Nurse Practitioner Healthcare Foundation</a>, discuss their joint project <a href="https://citylore.org/special-projects/from-heritage-to-health-toolkit/" rel="nofollow" target="_blank">"From Heritage to Health"</a> (H2H).  Funded partly by the National Endowment for the Arts, this initiative aims to integrate storytelling and the arts into healthcare, particularly for a culturally diverse population.  Zeitlin and Zimmer talk about the various components of the program: learner-needs assessments, eLearning courses, public and professional presentations, and toolkits focusing on culturally-attuned health care and ways to harness the arts for end-of-life care. They discuss creating the accredited eLearning courses and public toolkits featuring the perspective of artists from many cultures and disciplines on healthcare, wellness, death, and dying. Both Zeitlin and Zimmer emphasize the importance of cultural sensitivity in healthcare, pointing out how stories and arts from various cultures can help healthcare providers understand and treat patients more effectively. They also discuss the development of H2H and their extensive collaboration with artists and healthcare professionals, the reach of the program, and the strong response from healthcare providers. And we conclude with discussions on potential future expansions of the H2H initiative, including exploring cultural practices and rituals around birth and dementia. Overall, Zeitlin and Zimmer underscore the essential role of the arts in both enhancing healthcare practices through cultural awareness and fostering deeper connections between healthcare providers and patients.

Steve Zeitlin, founder and executive director of City Lore, and Phyllis Zimmer, founder and president of the Nurse Practitioner Healthcare Foundation, discuss their joint project "From Heritage to Health" (H2H).  Funded partly by the National Endowment for the Arts, this initiative aims to integrate storytelling and the arts into healthcare, particularly for a culturally diverse population.  Zeitlin and Zimmer talk about the various components of the program: learner-needs assessments, eLearning courses, public and professional presentations, and toolkits focusing on culturally-attuned health care and ways to harness the arts for end-of-life care. They discuss creating the accredited eLearning courses and public toolkits featuring the perspective of artists from many cultures and disciplines on healthcare, wellness, death, and dying. Both Zeitlin and Zimmer emphasize the importance of cultural sensitivity in healthcare, pointing out how stories and arts from various cultures can help healthcare providers understand and treat patients more effectively. They also discuss the development of H2H and their extensive collaboration with artists and healthcare professionals, the reach of the program, and the strong response from healthcare providers. And we conclude with discussions on potential future expansions of the H2H initiative, including exploring cultural practices and rituals around birth and dementia. Overall, Zeitlin and Zimmer underscore the essential role of the arts in both enhancing healthcare practices through cultural awareness and fostering deeper connections between healthcare providers and patients.

Art Might be the Prescription!  “From Heritage to Health” brings the diverse cultures of everyday life to medical care.

 “From Heritage to Health:” Bringing the diverse cultures of everyday life to medical care.

In this podcast, folklife presenter, educator, host and producer of “American Routes,, and <a href="https://www.arts.gov/honors/heritage" rel="nofollow" target="_blank">2023 National Heritage Fellow</a> Nick Spitzer discusses his multifaceted career, his upbringing, and his understanding of cultural innovation in America. We talk about his life-long passion for radio and his discovery and embrace of American vernacular culture, his career as folklorist in academia, government, and media, including his <a href="https://www.npr.org/" rel="nofollow" target="_blank">NPR</a> and <a href="https://festival.si.edu/" rel="nofollow" target="_blank">Smithsonian</a> collaborations and <a href="http://americanroutes.wwno.org/" rel="nofollow" target="_blank">“American Routes”</a>, Spitzer’s renowned radio program which blends music  from many different traditions with cultural storytelling. Spitzer discusses his fieldwork in Louisiana and experiences with Afro-French Creole music, his understanding of cultural dynamism, and his journey through different American regions, absorbing and understanding not just the diversity but the dynamic and innovative interactions among American cultures. He also reflected upon the significance of receiving the Bess Lomax Hawes National Heritage Fellowship, the privilege and responsibility of working in American vernacular culture, and the future of “American Routes” and Spitzer’s commitment to its continued contributions to cultural understanding.

In this podcast, folklife presenter, educator, host and producer of “American Routes,, and 2023 National Heritage Fellow Nick Spitzer discusses his multifaceted career, his upbringing, and his understanding of cultural innovation in America. We talk about his life-long passion for radio and his discovery and embrace of American vernacular culture, his career as folklorist in academia, government, and media, including his NPR and Smithsonian collaborations and “American Routes”, Spitzer’s renowned radio program which blends music  from many different traditions with cultural storytelling. Spitzer discusses his fieldwork in Louisiana and experiences with Afro-French Creole music, his understanding of cultural dynamism, and his journey through different American regions, absorbing and understanding not just the diversity but the dynamic and innovative interactions among American cultures. He also reflected upon the significance of receiving the Bess Lomax Hawes National Heritage Fellowship, the privilege and responsibility of working in American vernacular culture, and the future of “American Routes” and Spitzer’s commitment to its continued contributions to cultural understanding.

Meet American Routes creator and host Nick Spitzer

In today’s podcast, filmmakers <a href="https://www.arts.gov/stories/podcast/sam-pollard" rel="nofollow" target="_blank">Sam Pollard</a> and Ben Shapiro discuss their film “<a href="https://www.maxroachfilm.com/" rel="nofollow" target="_blank">Max Roach: The Drum Also Waltzes</a>.”   In our conversation, they place <a href="https://www.arts.gov/honors/jazz/max-roach" rel="nofollow" target="_blank">Max Roach</a> within the context of American culture, emphasizing his legendary status as a drummer, a composer, and a significant figure in Black consciousness and activism.  Sam Pollard shares his 40 year journey in  making this documentary, while Ben Shapiro talks about his own connection to Roach reaching back to a radio documentary.

They discuss their coming together and collaboration in making the film, highlighting their complementary skills.  We talk about Roach's musical evolution from a seminal drummer in the bebop era to a soloist and a leader in exploring new dimensions in percussion, the profound impact of Roach's collaboration with Clifford Brown, especially in terms of musical innovation, the toll Brown’s early tragic death had on Max, the film's focus on Roach's "Freedom Now Suite"  and its significance in both the music world and social movements, including its impact on the civil rights movement in the USA and anti-apartheid struggles in South Africa. We discuss Max's marriage to Abbey Lincoln, noting her influence on his life and music, and her own significant artistic contributions, how Roach's political activism impacted his music career and his transition into teaching, where he continued to influence younger musicians, emphasizing his continuous evolution as an artist. We also discuss <a href="https://newarkmuseumart.org/event/newark-black-film-festival-presents-max-roach-the-drum-also-waltzes/?date=202401181900" rel="nofollow" target="_blank">upcoming screenings of the film</a> and upcoming <a href="https://www.njpac.org/event/freedom-now-suite-celebrating-max-roachs-centennial/" rel="nofollow" target="_blank">events</a> at <a href="https://www.njpac.org/" rel="nofollow" target="_blank">NJPAC</a> celebrating Max Roach’s centenary. Overall, the interview paints a comprehensive picture of Max Roach's life, his immense contributions to music and social activism, and the journey of creating a documentary that captures his multifaceted legacy.

In today’s podcast, filmmakers Sam Pollard and Ben Shapiro discuss their film “Max Roach: The Drum Also Waltzes.”   In our conversation, they place Max Roach within the context of American culture, emphasizing his legendary status as a drummer, a composer, and a significant figure in Black consciousness and activism.  Sam Pollard shares his 40 year journey in  making this documentary, while Ben Shapiro talks about his own connection to Roach reaching back to a radio documentary.
They discuss their coming together and collaboration in making the film, highlighting their complementary skills.  We talk about Roach's musical evolution from a seminal drummer in the bebop era to a soloist and a leader in exploring new dimensions in percussion, the profound impact of Roach's collaboration with Clifford Brown, especially in terms of musical innovation, the toll Brown’s early tragic death had on Max, the film's focus on Roach's "Freedom Now Suite"  and its significance in both the music world and social movements, including its impact on the civil rights movement in the USA and anti-apartheid struggles in South Africa. We discuss Max's marriage to Abbey Lincoln, noting her influence on his life and music, and her own significant artistic contributions, how Roach's political activism impacted his music career and his transition into teaching, where he continued to influence younger musicians, emphasizing his continuous evolution as an artist. We also discuss upcoming screenings of the film and upcoming events at NJPAC celebrating Max Roach’s centenary. Overall, the interview paints a comprehensive picture of Max Roach's life, his immense contributions to music and social activism, and the journey of creating a documentary that captures his multifaceted legacy.

Celebrating 1984 NEA Jazz Master Max Roach’s centenary with a conversation about the documentary “Max Roach: The Drum Also Waltzes” with co-directors Sam Pollard and Ben Shapiro.  

Celebrating 1984 NEA Jazz Master Max Roach’s Centenary

A conversation with Director of Presented Programming at the McCarter Theatre Center Paula Abreu halfway through her first season on the job!  Abreu took over from her predecessor Bill Lockwood who ran the program for 60 (yes, 60) years. We discuss the balance between honoring his legacy and introducing her own vision, some history about the <a href="https://www.mccarter.org/" rel="nofollow" target="_blank">McCarter Theatre Center</a>, its connection to <a href="https://www.princeton.edu/" rel="nofollow" target="_blank">Princeton University</a>, and its unique role as a cultural powerhouse. (The McCarter Theater Center is known not just as one of the country’s leading regional theaters but also as a performing arts center presenting music, dance, spoken word and more)  We talk about the process behind planning a season of presented programming, ensuring diversity in art forms, and the representation of different communities, how the two strands of programming at the McCarter coordinate to create a cohesive season, and the importance of partnerships on and off campus in enhancing cultural experiences and creating deeper connections. We also discuss Abreu’s journey from Brazil, experience as an industrial engineer, years of traveling and living around the world, on her masters’ degree in performing arts administration,  subsequent work at NYC’s Summer Stage and the Charlie Parker Jazz Festival and how all these diverse experiences inform her approach to programming. She also shares her approach to taking calculated risks in selecting shows and artists and the challenge of planning for both the immediate and future seasons.

A conversation with Director of Presented Programming at the McCarter Theatre Center Paula Abreu halfway through her first season on the job!  Abreu took over from her predecessor Bill Lockwood who ran the program for 60 (yes, 60) years. We discuss the balance between honoring his legacy and introducing her own vision, some history about the McCarter Theatre Center, its connection to Princeton University, and its unique role as a cultural powerhouse. (The McCarter Theater Center is known not just as one of the country’s leading regional theaters but also as a performing arts center presenting music, dance, spoken word and more)  We talk about the process behind planning a season of presented programming, ensuring diversity in art forms, and the representation of different communities, how the two strands of programming at the McCarter coordinate to create a cohesive season, and the importance of partnerships on and off campus in enhancing cultural experiences and creating deeper connections. We also discuss Abreu’s journey from Brazil, experience as an industrial engineer, years of traveling and living around the world, on her masters’ degree in performing arts administration,  subsequent work at NYC’s Summer Stage and the Charlie Parker Jazz Festival and how all these diverse experiences inform her approach to programming. She also shares her approach to taking calculated risks in selecting shows and artists and the challenge of planning for both the immediate and future seasons.

A conversation with Director of Presented Programming at the McCarter Theatre Center Paula Abreu halfway through her first season on the job!  

Paula Abreu discusses her comprehensive approach to cultural curation at the McCarter Theatre Center

<a href="https://www.folger.edu/about-us/staff-directory/" rel="nofollow" target="_blank">Karen Ann Daniels</a> explores her dual roles at the <a href="https://www.folger.edu/" rel="nofollow" target="_blank">Folger Shakespeare Library</a> as the Director of Programming and Artistic Director at the <a href="https://www.folger.edu/whats-on/events/theater/" rel="nofollow" target="_blank">Folger Theatre</a>, and her innovative approach to programming and audience engagement in the evolving landscape of theater post-pandemic.

Daniels discusses her arrival at the Folger during a period of significant change, including the pandemic, racial reckoning, and major renovations, and how these challenges presented unique opportunities for outreach and community engagement. We talk about her experiences with New York City's <a href="https://publictheater.org/" rel="nofollow" target="_blank">Public Theatre</a> and her initiatives with San Diego’s <a href="https://www.theoldglobe.org/" rel="nofollow" target="_blank">The Old Globe</a>, her philosophy of reaching out to diverse communities and bringing theater to them  and her creation of innovative programming at the Folger like <a href="https://www.folger.edu/whats-on/the-reading-room-new-play-festival-2024/" rel="nofollow" target="_blank">The Reading Room Festival</a> and Works in Progress, focusing on community participation and engaging audiences with Shakespeare's work in contemporary contexts.  We discuss the recent production of  “The Winter’s Tale” and how it aligns with the Folger's vision of transformation and accessibility, how Shakespeare's works can be adapted to reflect diverse cultures and generations, and the importance of expanding perspectives on Shakespeare. And Daniels shares her vision for the future of the Folger, including continued programming diversification, virtual engagements, and community-focused events.

Karen Ann Daniels explores her dual roles at the Folger Shakespeare Library as the Director of Programming and Artistic Director at the Folger Theatre, and her innovative approach to programming and audience engagement in the evolving landscape of theater post-pandemic.
Daniels discusses her arrival at the Folger during a period of significant change, including the pandemic, racial reckoning, and major renovations, and how these challenges presented unique opportunities for outreach and community engagement. We talk about her experiences with New York City's Public Theatre and her initiatives with San Diego’s The Old Globe, her philosophy of reaching out to diverse communities and bringing theater to them  and her creation of innovative programming at the Folger like The Reading Room Festival and Works in Progress, focusing on community participation and engaging audiences with Shakespeare's work in contemporary contexts.  We discuss the recent production of  “The Winter’s Tale” and how it aligns with the Folger's vision of transformation and accessibility, how Shakespeare's works can be adapted to reflect diverse cultures and generations, and the importance of expanding perspectives on Shakespeare. And Daniels shares her vision for the future of the Folger, including continued programming diversification, virtual engagements, and community-focused events.

Artistic Director of the Folger Karen Ann Daniels says theater starts in the neighborhood

Exploring the New Horizons of the Folger Shakespeare Theatre with Karen Ann Daniels

A conversation with singer, actor, and producer <a href="https://www.brandonvictordixon.com/" rel="nofollow" target="_blank">Brandon Victor Dixon</a>. We talk about his role in <a href="https://aliciakeys.netlify.app/" rel="nofollow" target="_blank">Alicia Keys’s</a> play “<a href="https://publictheater.org/productions/season/2324/hells-kitchen/" rel="nofollow" target="_blank">Hell’s Kitchen</a>”  currently at the <a href="https://publictheater.org/" rel="nofollow" target="_blank">Public Theater</a>, collaborating with Keys and the other performers in the play, what goes into creating a role in theater, his stepping into the role of Burr in “Hamilton” and the challenges that brought, and playing Judas in “Jesus Christ Superstar” in a live television performance. We also discuss his upcoming benefit concert for <a href="https://www.cthnyc.org/" rel="nofollow" target="_blank">the Classical Theater of Harlem</a> called “Here for the Holidays,  his first major role as Simba in the national tour of “The Lion King”—which he calls the biggest challenge of his career, his role as a producer for the Tony-Award winning production of “Hedwig and the Angry Inch,” the importance of arts education to his career, and his work as an advocate with the organization he co-founded the <a href="https://weare.org/" rel="nofollow" target="_blank">WeAre Foundation</a>.

A conversation with singer, actor, and producer Brandon Victor Dixon. We talk about his role in Alicia Keys’s play “Hell’s Kitchen”  currently at the Public Theater, collaborating with Keys and the other performers in the play, what goes into creating a role in theater, his stepping into the role of Burr in “Hamilton” and the challenges that brought, and playing Judas in “Jesus Christ Superstar” in a live television performance. We also discuss his upcoming benefit concert for the Classical Theater of Harlem called “Here for the Holidays,  his first major role as Simba in the national tour of “The Lion King”—which he calls the biggest challenge of his career, his role as a producer for the Tony-Award winning production of “Hedwig and the Angry Inch,” the importance of arts education to his career, and his work as an advocate with the organization he co-founded the WeAre Foundation.

Brandon Victor Dixon--talks about Alicia Keys and "Hells Kitchen"--and "Hamilton" too!

Brandon Victor Dixon--talks about performing in  Alicia Keys's "Hells Kitchen"

In this  2019 podcast, filmmaker <a href="https://vermilionpictures.com/" rel="nofollow" target="_blank">Irene Taylor Brodsky</a> discusses her project "Moonlight Sonata: Deafness in Three Movements," and her commitment to making films accessible to differently-abled audiences.  We talk about her first feature documentary, "Hear and Now," which won the Audience Award at Sundance in 2007 and explored her deaf parents’ experiences when they were 65 with cochlear implants and its relationship to her film “Moonlight Sonata," which was partly inspired by her deaf son, Jonas, who was driven to learn to play Beethoven's “Moonlight Sonata”. We discuss the emotional and historical significance of Beethoven’s work, particularly how his deafness influenced his compositions. Irene also recounts the unexpected twists during filming, including her father's development of dementia. And she discusses the <a href="https://reelabilities.org/" rel="nofollow" target="_blank">Reel Abilities Film Festival</a> where her film premiered, her commitment to making her film, as well as others, accessible to the deaf, blind, and differently-abled communities, and her not-for-profit <a href="https://www.thetreehouseproject.org/" rel="nofollow" target="_blank">The Treehouse Project</a> and its <a href="https://www.thetreehouseproject.org/initiatives" rel="nofollow" target="_blank">Accessibility Lab</a> which works to elevate deaf and blind audiences’ access to and participation in theatrical independent film.

In this  2019 podcast, filmmaker Irene Taylor Brodsky discusses her project "Moonlight Sonata: Deafness in Three Movements," and her commitment to making films accessible to differently-abled audiences.  We talk about her first feature documentary, "Hear and Now," which won the Audience Award at Sundance in 2007 and explored her deaf parents’ experiences when they were 65 with cochlear implants and its relationship to her film “Moonlight Sonata," which was partly inspired by her deaf son, Jonas, who was driven to learn to play Beethoven's “Moonlight Sonata”. We discuss the emotional and historical significance of Beethoven’s work, particularly how his deafness influenced his compositions. Irene also recounts the unexpected twists during filming, including her father's development of dementia. And she discusses the Reel Abilities Film Festival where her film premiered, her commitment to making her film, as well as others, accessible to the deaf, blind, and differently-abled communities, and her not-for-profit The Treehouse Project and its Accessibility Lab which works to elevate deaf and blind audiences’ access to and participation in theatrical independent film.

Filmmaker Irene Taylor Brodsky discusses her own family’s journey through deafness and music.

 Filmmaker Irene Taylor Brodsky--Deafness in Three Movements

We’re marking the end of Indigenous Peoples Month by revisiting my 2018 interview with <a href="https://randyreinholz.com/" rel="nofollow" target="_blank">Randy Reinholz</a> (Choctaw),  the producing artistic director and Founder of Native Voices at the Autry a Los Angeles theater company that produces new work by Indigenous playwrights.  For almost 30 years, <a href="https://theautry.org/explore/native-voices" rel="nofollow" target="_blank">Native Voices at the Autry</a> has been providing opportunities and support to Native American playwrights…and by extension Native actors, designers, musicians and other theater artists. It is the country’s only Equity theatre company dedicated exclusively to producing new works by Native American, Alaska Native, and First Nations playwrights. Deeply committed to developing as well as producing new work, Native Voices also provides a venue for new plays with festivals and public staged readings as well as retreats and workshops for emerging and established Native playwrights. In this podcast, Randy talks about the unique and changing points of view Native artists bring to the table, the issues facing Indian Country, and the place theater has in telling Native stories.

We’re marking the end of Indigenous Peoples Month by revisiting my 2018 interview with Randy Reinholz (Choctaw),  the producing artistic director and Founder of Native Voices at the Autry a Los Angeles theater company that produces new work by Indigenous playwrights.  For almost 30 years, Native Voices at the Autry has been providing opportunities and support to Native American playwrights…and by extension Native actors, designers, musicians and other theater artists. It is the country’s only Equity theatre company dedicated exclusively to producing new works by Native American, Alaska Native, and First Nations playwrights. Deeply committed to developing as well as producing new work, Native Voices also provides a venue for new plays with festivals and public staged readings as well as retreats and workshops for emerging and established Native playwrights. In this podcast, Randy talks about the unique and changing points of view Native artists bring to the table, the issues facing Indian Country, and the place theater has in telling Native stories.

We’re marking the  Indigenous Peoples Month by Revisiting Director and Playwright Randy Reinholz (Choctaw)--

Revisiting Director and Playwright Randy Reinholz(Choctaw)--

<a href="https://www.linkedin.com/in/zella-palmer-45370971/" rel="nofollow" target="_blank">Dr. Zella Palmer</a> is a professor, food historian, author and filmmaker and serves as the Chair and Director of the <a href="https://www.dillard.edu/partner-with-us/research-centers/ray-charles-program-in-african-american-material-culture/" rel="nofollow" target="_blank">Dillard University Ray Charles Program in African American Material Culture</a> in New Orleans, Louisiana. In this podcast, she discusses the Ray Charles program, the importance of material culture, especially to African Americans and other historically marginalized groups,  her commitment to preserving the legacy of African-American and Native American culinary history in New Orleans and the South, and her creation of a multi-disciplinary food studies minor at Dillard. We also discuss the film she directed <a href="https://www.youtube.com/watch?v=GpvP4-Sgajg" rel="nofollow" target="_blank">The Story of New Orleans Creole Cooking: The Black Hand in the Pot</a> which underscores the centrality of African Americans to New Orleans’ famed Creole cuisine and her 2019 cookbook, <a href="https://ulpress.org/products/recipes-and-remembrances-of-fair-dillard-1869-2019" rel="nofollow" target="_blank">Recipes and Remembrances of Fair Dillard: 1869-2019</a> which details not only recipes, but a culinary history of New Orleans and Dillard’s place in that history, her podcast “<a href="https://heritageradionetwork.org/series/culture-flavor" rel="nofollow" target="_blank">Culture and Flavor</a>,” and the significance of food studies for students across a wide range of disciplines from history to global politics.

Dr. Zella Palmer is a professor, food historian, author and filmmaker and serves as the Chair and Director of the Dillard University Ray Charles Program in African American Material Culture in New Orleans, Louisiana. In this podcast, she discusses the Ray Charles program, the importance of material culture, especially to African Americans and other historically marginalized groups,  her commitment to preserving the legacy of African-American and Native American culinary history in New Orleans and the South, and her creation of a multi-disciplinary food studies minor at Dillard. We also discuss the film she directed The Story of New Orleans Creole Cooking: The Black Hand in the Pot which underscores the centrality of African Americans to New Orleans’ famed Creole cuisine and her 2019 cookbook, Recipes and Remembrances of Fair Dillard: 1869-2019 which details not only recipes, but a culinary history of New Orleans and Dillard’s place in that history, her podcast “Culture and Flavor,” and the significance of food studies for students across a wide range of disciplines from history to global politics.

“Where there’s flavor, there’s history:”  A Look at New Orleans Food Culture with Zella Palmer

“Where there’s flavor, there’s history:”  A Look at New Orleans food Culture with Zella Palmer

Today, we are celebrating Indigenous Peoples Month with an interview with author <a href="https://cynthialeitichsmith.com/" rel="nofollow" target="_blank">Cynthia Leitich Smith</a>.  A member of the Muscogee (Creek) nation, Smith is a bestselling, award-winning children’s-YA writer and the author-curator of the Native-centered <a href="https://issuu.com/harpercollinschildrensbooks/docs/heartdrumbrochure_final" rel="nofollow" target="_blank">Heartdrum imprint</a>  at HarperCollins Children’s Books. She also is the <a href="https://www.usm.edu/childrens-book-festival/index.php" rel="nofollow" target="_blank">2024 Southern Mississippi Medallion</a> Winner and the <a href="https://www.worldliteraturetoday.org/blog/news-and-events/cynthia-leitich-smith-named-winner-2021-nsk-neustadt-prize-childrens-literature" rel="nofollow" target="_blank">2021 NSK Neustadt Laureate</a> and is widely recognized for her fiction for young readers that centers on contemporary  Native American characters.  In this podcast, we discuss her recent YA novel [Harvest House](<a href="https://www.candlewick.com/cat.asp?browse=subject&amp;mode=book&amp;isbn=1536227285&amp;bkview=p&amp;pix=n%20()" rel="nofollow" target="_blank">https://www.candlewick.com/cat.asp?browse=subject&amp;mode=book&amp;isbn=1536227285&amp;bkview=p&amp;pix=n%20()</a> an "indigenous ghost mystery" that grapples with serious themes of missing Native women and girls while emphasizing the empowerment of young Native voices. She also discusses the importance of including themes such as first love, strong family bonds, and vibrant community ties in her writing to underscore the joy that can be found in the daily lives of Indigenous kids.  The conversation takes us through the interconnectedness of characters in Cynthia's Native-centered stories, returning to the beloved Wolf family, first introduced in her 2000 picture book <a href="https://cynthialeitichsmith.com/kidbooks/kids_index/jingle/" rel="nofollow" target="_blank">Jingle Dancer</a>.  Cynthia reflects upon the inspiration behind her award-winning book  <a href="https://www.candlewick.com/cat.asp?browse=subject&amp;mode=book&amp;isbn=1536202002&amp;bkview=vqlyccwx&amp;pix=y" rel="nofollow" target="_blank">Hearts Unbroken</a>, exploring the tensions between artists and their art, speech in its many forms, and the importance of navigating apologies and amends.  We discuss her sense of responsibility as a writer for young readers, aiming to provide stories that do no harm and offer empowerment, while still tackling difficult issues. Cynthia shares her journey through the publishing industry's challenges, her strategic pivot to fantasy and gothic genres, and eventual return to contemporary Native American stories.  She discusses her role as curator of Heartdrum, a Native imprint at HarperCollins, its goals and continued growth, and finally  her vision for the expansion of Native literature across genres and representations.

Today, we are celebrating Indigenous Peoples Month with an interview with author Cynthia Leitich Smith.  A member of the Muscogee (Creek) nation, Smith is a bestselling, award-winning children’s-YA writer and the author-curator of the Native-centered Heartdrum imprint  at HarperCollins Children’s Books. She also is the 2024 Southern Mississippi Medallion Winner and the 2021 NSK Neustadt Laureate and is widely recognized for her fiction for young readers that centers on contemporary  Native American characters.  In this podcast, we discuss her recent YA novel [Harvest House](https://www.candlewick.com/cat.asp?browse=subject&mode=book&isbn=1536227285&bkview=p&pix=n%20() an "indigenous ghost mystery" that grapples with serious themes of missing Native women and girls while emphasizing the empowerment of young Native voices. She also discusses the importance of including themes such as first love, strong family bonds, and vibrant community ties in her writing to underscore the joy that can be found in the daily lives of Indigenous kids.  The conversation takes us through the interconnectedness of characters in Cynthia's Native-centered stories, returning to the beloved Wolf family, first introduced in her 2000 picture book Jingle Dancer.  Cynthia reflects upon the inspiration behind her award-winning book  Hearts Unbroken, exploring the tensions between artists and their art, speech in its many forms, and the importance of navigating apologies and amends.  We discuss her sense of responsibility as a writer for young readers, aiming to provide stories that do no harm and offer empowerment, while still tackling difficult issues. Cynthia shares her journey through the publishing industry's challenges, her strategic pivot to fantasy and gothic genres, and eventual return to contemporary Native American stories.  She discusses her role as curator of Heartdrum, a Native imprint at HarperCollins, its goals and continued growth, and finally  her vision for the expansion of Native literature across genres and representations.

Author Cynthia Leitich Smith (Muscogee) makes it real for young readers.

Author Cynthia Leitich Smith (Muscogee) champions Native Voices

To mark Veteran’s Day, we’re revisiting our2017 interview with author <a href="https://www.sebastianjunger.com/" title="https://www.sebastianjunger.com/" rel="nofollow" target="_blank">Sebastian Junger</a> a journalist deeply engaged with war and the people who fight in them. As a contributing editor for Vanity Fair, he’s covered international stories including the war in Afghanistan, a region and subject he’s returned to over the course of his career. In this podcast, Sebastian Junger discusses his book <a href="https://www.sebastianjunger.com/tribe-by-sebastian-junger" title="https://www.sebastianjunger.com/tribe-by-sebastian-junger" rel="nofollow" target="_blank">Tribe: On Homecoming and Belonging</a><a href="https://www.sebastianjunger.com/tribe-by-sebastian-junger" title="https://www.sebastianjunger.com/tribe-by-sebastian-junger" rel="nofollow" target="_blank"> </a> which explores the complexities soldiers can find when they return from war.  We talk about his research in anthropology, psychology and history as well as his own observations and experiences in his effort to understand why there are such high numbers of veterans suffering from PTSD. Junger argues there are primal human needs-- for loyalty, a sense of belonging, and a connection to something bigger than ourselves and he discusses how service members often find this connection when they are deployed,  and therefore returning home can leave some 21st-century combat veterans with a profound sense of loss. Added to that loss is a society disengaged from the war in which these veterans fought which Junger argues may account for the high-percentage of service members suffering from PTSD. He also discusses ways to address these concerns, the significance of the arts for Veterans and their families in confronting these challenging situations, and the importance of  the work being done for veterans and service members through the NEA initiative <a href="https://www.arts.gov/initiatives/creative-forces" title="https://www.arts.gov/initiatives/creative-forces" rel="nofollow" target="_blank">Creative Forces</a>.

To mark Veteran’s Day, we’re revisiting our2017 interview with author Sebastian Junger a journalist deeply engaged with war and the people who fight in them. As a contributing editor for Vanity Fair, he’s covered international stories including the war in Afghanistan, a region and subject he’s returned to over the course of his career. In this podcast, Sebastian Junger discusses his book Tribe: On Homecoming and Belonging  which explores the complexities soldiers can find when they return from war.  We talk about his research in anthropology, psychology and history as well as his own observations and experiences in his effort to understand why there are such high numbers of veterans suffering from PTSD. Junger argues there are primal human needs-- for loyalty, a sense of belonging, and a connection to something bigger than ourselves and he discusses how service members often find this connection when they are deployed,  and therefore returning home can leave some 21st-century combat veterans with a profound sense of loss. Added to that loss is a society disengaged from the war in which these veterans fought which Junger argues may account for the high-percentage of service members suffering from PTSD. He also discusses ways to address these concerns, the significance of the arts for Veterans and their families in confronting these challenging situations, and the importance of  the work being done for veterans and service members through the NEA initiative Creative Forces.

Sebastian Junger wonders if a fragmented society doesn't contribute to PTSD in Veterans.

Marking Veterans Day: Revisiting  Sebastian Junger

We're marking Halloween and Dia De Los Muertos with a conversation with Mexican American author <a href="https://www.isabelcanas.com/" rel="nofollow" target="_blank">Isabel Cañas</a>. She employs gothic frameworks and tropes with historical detail in her novels—a combination as terrifying as it is informative. In this podcast, we discuss her books The Hacienda which is frightening haunted house mystery set in Mexico soon after its War of Independence and Vampires of El Norte set in northern Mexico (now south Texas) during the Mexican American war. Cañas discusses the racial and ethnic disparities, the rigid class structures, and the gender dynamics at work in both of these eras and how  gothic tropes are fertile ground for these explorations. We also discuss the growth of Mexican gothic fiction more generally and the balancing act required to portray actual historical events and authentic experiences in genres that are deeply imaginative. Cañas also talks about her extensive research into the historical periods in which she sets her novels, the family histories she also drew upon, her own academic background in Medieval Islamic history, and what it was like to write two novels and a dissertation simultaneously.

We're marking Halloween and Dia De Los Muertos with a conversation with Mexican American author Isabel Cañas. She employs gothic frameworks and tropes with historical detail in her novels—a combination as terrifying as it is informative. In this podcast, we discuss her books The Hacienda which is frightening haunted house mystery set in Mexico soon after its War of Independence and Vampires of El Norte set in northern Mexico (now south Texas) during the Mexican American war. Cañas discusses the racial and ethnic disparities, the rigid class structures, and the gender dynamics at work in both of these eras and how  gothic tropes are fertile ground for these explorations. We also discuss the growth of Mexican gothic fiction more generally and the balancing act required to portray actual historical events and authentic experiences in genres that are deeply imaginative. Cañas also talks about her extensive research into the historical periods in which she sets her novels, the family histories she also drew upon, her own academic background in Medieval Islamic history, and what it was like to write two novels and a dissertation simultaneously.

Novelist Isabel Cañas merges gothic terror with actual history

Novelist Isabel Cañas delivers gothic horror with a twist

We’re marking National Disability Employment Awareness Month with a conversation with <a href="https://www.arts.gov/impact/accessibility/careers-in-the-arts-toolkit/artist-profiles/james-jim-lebrecht" rel="nofollow" target="_blank">James LeBrecht</a> and <a href="https://www.dayalmohamed.com/" rel="nofollow" target="_blank">Day Al-Mohamed</a>—two founding members of <a href="https://www.fwd-doc.org/" rel="nofollow" target="_blank">FWD-Doc</a>-- a global, intersectional community of disabled creators and allies working in media to build a more inclusive, accessible, and equitable entertainment industry that cultivates and champions disabled media-makers, and elevates stories by, for, and about people with disabilities.   James LeBrecht is a film and theater sound designer and mixer, author, disability rights activist, and filmmaker who with Nicole Newnham produced and directed  <a href="https://cripcamp.com/" rel="nofollow" target="_blank">Crip Camp</a>-the story of Camp Jened which ignited a community of people with disabilities to fight for their rights. Day Al-Mohamed  is an author, filmmaker, disability policy strategist, and a member of the Coast Guard Auxiliary.  <a href="https://www.dayalmohamed.com/invalid-corps" rel="nofollow" target="_blank">The Invalid Corps</a>, a documentary about disabled veterans' contributions during the Civil War, was her first documentary as a blind filmmaker.

In this podcast, Jim and Day detail the mission of FWD-Doc and the issues that it is addressing: the lack of access and opportunity for people with disabilities in filmmaking, and the dearth of stories by and for people with disabilities. They discuss the many resources they offer on their website including their robust “Toolkit for Inclusion &amp; Accessibility: Changing the Narrative of Disability in Documentary Film,” and their partnership with the International Documentary Association to establish the Nonfiction Access Initiative (NAI),  a fund for nonfiction storytellers and media makers from the disability community. Al-Mohamed and LeBrecht also talk about their career trajectories, the difference between compliance and best practices,  and the need for access to be recognized as essential to diversity.

We’re marking National Disability Employment Awareness Month with a conversation with James LeBrecht and Day Al-Mohamed—two founding members of FWD-Doc-- a global, intersectional community of disabled creators and allies working in media to build a more inclusive, accessible, and equitable entertainment industry that cultivates and champions disabled media-makers, and elevates stories by, for, and about people with disabilities.   James LeBrecht is a film and theater sound designer and mixer, author, disability rights activist, and filmmaker who with Nicole Newnham produced and directed  Crip Camp-the story of Camp Jened which ignited a community of people with disabilities to fight for their rights. Day Al-Mohamed  is an author, filmmaker, disability policy strategist, and a member of the Coast Guard Auxiliary.  The Invalid Corps, a documentary about disabled veterans' contributions during the Civil War, was her first documentary as a blind filmmaker.
In this podcast, Jim and Day detail the mission of FWD-Doc and the issues that it is addressing: the lack of access and opportunity for people with disabilities in filmmaking, and the dearth of stories by and for people with disabilities. They discuss the many resources they offer on their website including their robust “Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film,” and their partnership with the International Documentary Association to establish the Nonfiction Access Initiative (NAI),  a fund for nonfiction storytellers and media makers from the disability community. Al-Mohamed and LeBrecht also talk about their career trajectories, the difference between compliance and best practices,  and the need for access to be recognized as essential to diversity.

We’re marking National Disability Employment Awareness Month with a conversation with filmmakers and disability rights advocates  James LeBrecht and Day Al-Mohamed

James LeBrecht and Day Al-Mohamed work to create a space in media for stories by, for and about people with disabilities.

In this podcast, actors <a href="https://www.sylviakwan.com/" rel="nofollow" target="_blank">Sylvia Kwan</a> and <a href="https://jacob-yeh.com/" rel="nofollow" target="_blank">Jacob Yeh</a> discuss their many roles in <a href="https://laurenyee.com/" rel="nofollow" target="_blank">Lauren Yee's</a> play The King of the Yees--a semi-autobiographical comedy about community, culture and the connection between fathers and daughters—now playing at Arlington, Virginia’s <a href="https://www.sigtheatre.org/" rel="nofollow" target="_blank">Signature Theatre</a>. It is funny and wildly imaginative— with Act II centered on a fabulous quest through San Fransisco's Chinatown. Kwan and Yeh discuss the challenges and fun in playing multiple characters in the play, the intricacies of comedic timing, and physical comedy while ensuring authentic portrayals of the characters as well as the meta aspects of the play and continual breaking of the fourth wall. The actors talk about working in a play that puts Asian-American stories front and center with a creative team that was largely Asian-American.  They discuss the play's physical demands: rapid pacing, choreography, puppetry, and quick changes and their strategies to maintain their stamina as well as their individual journeys to acting.  We’d love to know your thoughts--email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

In this podcast, actors Sylvia Kwan and Jacob Yeh discuss their many roles in Lauren Yee's play The King of the Yees--a semi-autobiographical comedy about community, culture and the connection between fathers and daughters—now playing at Arlington, Virginia’s Signature Theatre. It is funny and wildly imaginative— with Act II centered on a fabulous quest through San Fransisco's Chinatown. Kwan and Yeh discuss the challenges and fun in playing multiple characters in the play, the intricacies of comedic timing, and physical comedy while ensuring authentic portrayals of the characters as well as the meta aspects of the play and continual breaking of the fourth wall. The actors talk about working in a play that puts Asian-American stories front and center with a creative team that was largely Asian-American.  They discuss the play's physical demands: rapid pacing, choreography, puppetry, and quick changes and their strategies to maintain their stamina as well as their individual journeys to acting.  We’d love to know your thoughts--email us at artworkspod@arts.gov.

When the Stage Becomes a Hall of Mirrors

Behind the Scenes with Actors Sylvia Kwan and Jacob Yeh

We close out Hispanic Heritage Month with Manuel Delgado—a luthier who carries on a multi-generational family legacy of hand-crafting string instruments—a history that goes back to 1928. In this podcast,  Delgado talks about his family’s tradition of instrument-making and working closely as a boy with his father and grandfather in their shop in East LA. He discusses the craftsmanship that goes into the making the instruments in the Delgado Style with an emphasis on "old-world luthier" techniques, a marriage of art and science. Delgado also talks about his move to Nashville after his father’s passing and opening his own shop <a href="https://delgadoguitars.com/" rel="nofollow" target="_blank">Delgado Guitars</a>—bringing the same fine craftsmanship and personal touch to Nashville.  He also discusses his advocacy for arts education--especially his support for music educators, stressing the scientific evidence of music's impact on the brain and its benefits in other academic areas. He talks about his involvement in Music Makes Us where he created a mariachi program for kids at risk, the Music City Mariachi Festival that he was instrumental in creating, and Music Makers Stage—a venue he created for the community and for artists. Finally, he talks about passing the tradition down to his daughters and the emotional connection he still feels for his father and grandfather as he crafts an instrument. We’d love to know your thoughts--email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

We close out Hispanic Heritage Month with Manuel Delgado—a luthier who carries on a multi-generational family legacy of hand-crafting string instruments—a history that goes back to 1928. In this podcast,  Delgado talks about his family’s tradition of instrument-making and working closely as a boy with his father and grandfather in their shop in East LA. He discusses the craftsmanship that goes into the making the instruments in the Delgado Style with an emphasis on "old-world luthier" techniques, a marriage of art and science. Delgado also talks about his move to Nashville after his father’s passing and opening his own shop Delgado Guitars—bringing the same fine craftsmanship and personal touch to Nashville.  He also discusses his advocacy for arts education--especially his support for music educators, stressing the scientific evidence of music's impact on the brain and its benefits in other academic areas. He talks about his involvement in Music Makes Us where he created a mariachi program for kids at risk, the Music City Mariachi Festival that he was instrumental in creating, and Music Makers Stage—a venue he created for the community and for artists. Finally, he talks about passing the tradition down to his daughters and the emotional connection he still feels for his father and grandfather as he crafts an instrument. We’d love to know your thoughts--email us at artworkspod@arts.gov.

Manuel Delgado continues his family’s tradition of hand-building stringed instruments and adds a healthy dose of  arts advocacy

Celebrate Hispanic Heritage Month with Luthier Manuel Delgado

Flamenco Artist and 2022 National Heritage Fellow <a href="https://www.arts.gov/honors/heritage/eva-encinias" rel="nofollow" target="_blank">Eva Enciñias</a> has transformed and broadened the performance and study of flamenco in the United States generally and in her hometown of Albuquerque, N.M. particularly.In this podcast, Eva Enciñias talks about the artistry and history of flamenco and her family’s roots in this art form;  her dual loves: flamenco and teaching,  her 43 year-long career as a teacher in the dance department at the University of New Mexico where she created a concentration in flamenco in the undergraduate and graduate levels— the only accredited dance program of its kind internationally. We also discuss the institute she founded <a href="https://www.nifnm.org/f" rel="nofollow" target="_blank">The National Institute of Flamenco</a> which houses many programs and events including the <a href="https://www.nifnm.org/festival-flamenco-1" rel="nofollow" target="_blank">Flamenco Festival Alburquerque</a> (they went back to the original spelling) which has just celebrated its 35th anniversary and is one of the premier flamenco festivals in the world, and her on-going work weaving flamenco in the fabric of her community.

Flamenco Artist and 2022 National Heritage Fellow Eva Enciñias has transformed and broadened the performance and study of flamenco in the United States generally and in her hometown of Albuquerque, N.M. particularly.In this podcast, Eva Enciñias talks about the artistry and history of flamenco and her family’s roots in this art form;  her dual loves: flamenco and teaching,  her 43 year-long career as a teacher in the dance department at the University of New Mexico where she created a concentration in flamenco in the undergraduate and graduate levels— the only accredited dance program of its kind internationally. We also discuss the institute she founded The National Institute of Flamenco which houses many programs and events including the Flamenco Festival Alburquerque (they went back to the original spelling) which has just celebrated its 35th anniversary and is one of the premier flamenco festivals in the world, and her on-going work weaving flamenco in the fabric of her community.

Celebrate Hispanic Heritage Month with Flamenco Artist and Teacher Eva Enciñias

In this podcast, 2023 National Heritage Fellow “Little Joe” Hernández describes his musical journey, explaining how his culture, family, and personal experiences shaped his legendary style. Coming from a musical family, he took the traditional Mexican songs he grew up hearing and blended them with jazz, country, rock 'n roll, and blues to create a distinctive voice in Tejano music. He discusses his transition from a shy boy to the front Hispanic Hisman of Little Joe and the Latinaires—later Little Joe and La Familia—as well as his time in California and the explosion of Latin jazz, the great significance of the Chicano Movement on his music, his concerts for the United Farm Workers Union, and his return to Temple, Texas, to raise his family. He sheds light on the band's compositions and collaborations, indicating how they honed their distinctive sound over time.

Hernández also discusses the profound emotional connection music can forge, allowing artists and audiences to bond over shared feelings and experiences, his collaborations with Willie Nelson for Farm Aid, his five Grammy Awards, his longevity in the music business, and the way the music preserves, expands, and celebrates Chicano culture.

In this podcast, 2023 National Heritage Fellow “Little Joe” Hernández describes his musical journey, explaining how his culture, family, and personal experiences shaped his legendary style. Coming from a musical family, he took the traditional Mexican songs he grew up hearing and blended them with jazz, country, rock 'n roll, and blues to create a distinctive voice in Tejano music. He discusses his transition from a shy boy to the front Hispanic Hisman of Little Joe and the Latinaires—later Little Joe and La Familia—as well as his time in California and the explosion of Latin jazz, the great significance of the Chicano Movement on his music, his concerts for the United Farm Workers Union, and his return to Temple, Texas, to raise his family. He sheds light on the band's compositions and collaborations, indicating how they honed their distinctive sound over time.
Hernández also discusses the profound emotional connection music can forge, allowing artists and audiences to bond over shared feelings and experiences, his collaborations with Willie Nelson for Farm Aid, his five Grammy Awards, his longevity in the music business, and the way the music preserves, expands, and celebrates Chicano culture.

Meet "Little Joe" Hernandez one of the most prominent musicians in Tejano

Celebrate Hispanic Heritage Month with Tejano Musician "Little Joe" Hernandez and La Familia 

Sculptor and 2023 National Heritage Fellow <a href="https://www.arts.gov/honors/heritage/luis-tapia" rel="nofollow" target="_blank">Luis Tapia</a> has helped to revitalize and transform the art of the santero (a person who makes religious imagery), a Hispanic tradition practiced in New Mexico and southern Colorado that goes back over 400 years. In this podcast, Tapia discusses his artistic journey. He began by reproducing traditional Santos (carved and painted statues of saints). But the Chicano movement, which revolved around farm workers' rights, was significant in his artistic development. He became curious about his cultural and historical identity and the result of that curiosity became apparent in his art.  He began incorporating bright colors and modern figures into his work, which continued the forms and styles of traditional religious iconography while reflecting contemporary issues. He placed his “saints” among us-- as immigrants crossing a border, a man in jail, a grandmother protecting her grandchild. His blending of tradition with the contemporary, the sacred with the quotidian, was, at the time, controversial but now has been adopted by other santeros. Tapia also talks about his approach to sculpting which ensures his pieces are viewed from all angles, allowing them to reveal complex stories from multiple perspectives. He describes his process as a dialogue between himself and the wood, starting with a concept and asking questions as he carves until the piece evolves. He also discusses the diverse range of art he creates: from religious icons to vibrant pieces inspired by pop culture, like his sculptures inspired by lowriders which have great cultural significance in New Mexico. Tapia finally emphasizes the paramount importance of cultural memory, observation, and storytelling that resonate through every piece he creates. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Sculptor and 2023 National Heritage Fellow Luis Tapia has helped to revitalize and transform the art of the santero (a person who makes religious imagery), a Hispanic tradition practiced in New Mexico and southern Colorado that goes back over 400 years. In this podcast, Tapia discusses his artistic journey. He began by reproducing traditional Santos (carved and painted statues of saints). But the Chicano movement, which revolved around farm workers' rights, was significant in his artistic development. He became curious about his cultural and historical identity and the result of that curiosity became apparent in his art.  He began incorporating bright colors and modern figures into his work, which continued the forms and styles of traditional religious iconography while reflecting contemporary issues. He placed his “saints” among us-- as immigrants crossing a border, a man in jail, a grandmother protecting her grandchild. His blending of tradition with the contemporary, the sacred with the quotidian, was, at the time, controversial but now has been adopted by other santeros. Tapia also talks about his approach to sculpting which ensures his pieces are viewed from all angles, allowing them to reveal complex stories from multiple perspectives. He describes his process as a dialogue between himself and the wood, starting with a concept and asking questions as he carves until the piece evolves. He also discusses the diverse range of art he creates: from religious icons to vibrant pieces inspired by pop culture, like his sculptures inspired by lowriders which have great cultural significance in New Mexico. Tapia finally emphasizes the paramount importance of cultural memory, observation, and storytelling that resonate through every piece he creates. Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Luis Tapia carves his own artistic path

 Conversations with Wood: The Art of Luis Tapia

It’s a two-part podcast looking at one topic: exploring ways arts are being encouraged in communities.  First up, philanthropist <a href="https://www.arshtcenter.org/about-us/benefactor/" rel="nofollow" target="_blank">Adrienne Arsht. </a> Arsht discusses her long-term support for the arts-- at <a href="https://www.kennedy-center.org/digitalstage/adrienne-arsht-presents/" rel="nofollow" target="_blank">The Kennedy Center</a>, at <a href="https://www.lincolncenter.org/venue/alice-tully-hall" rel="nofollow" target="_blank">Lincoln Center,</a> at the <a href="https://www.metmuseum.org/about-the-met/internships/undergraduate-and-graduate-students/fall-and-spring" rel="nofollow" target="_blank">Metropolitan Museum of Art</a>, and reflecting upon her decision to make a sizable donation to sustain the performing arts center in Miami ---now the <a href="https://www.arshtcenter.org/" rel="nofollow" target="_blank">Adrienne Arsht Center for the Performing Arts in Miami-Dade County</a> which had been about close. Arsht also discusses  the importance of having a performing arts center in every great city and highlights how Miami's diverse community was reflected in the center's programming from the beginning. Arsht also discusses her commitment to arts education through the flagship program "Learning Through the Arts" at the Adrian Arsht Center and her ground-breaking funding of paid internships at both the Metropolitan Museum of Art and the Adrienne Arsht Center, emphasizing the importance of breaking down barriers that prevent talented individuals from pursuing internships and the positive impact of these programs.

 Then we hear from Debbie Shapiro the artistic director of the <a href="https://cpa.rowan.edu/boxoffice/marie-rader-presenting-series/" rel="nofollow" target="_blank">Marie Rader Presenting Series at Rowan University</a>. The series brings award-winning and emerging artists to South Jersey, emphasizing transformative engagement that goes beyond performances which includes direct interactions between world-class artists and students, as well as partnerships with community organizations in the region.  Shapiro discusses the series and its curation which is unique in that it's integrated within the College of Performing Arts at Rowan University, allowing for close collaboration with faculty and a focus on aligning the artist selections with the educational offerings of the university. The programming  reflects the diversity of the audience which comprises community members, Rowan students, university employees, faculty from various area colleges, and families of the students.

It’s a two-part podcast looking at one topic: exploring ways arts are being encouraged in communities.  First up, philanthropist Adrienne Arsht.  Arsht discusses her long-term support for the arts-- at The Kennedy Center, at Lincoln Center, at the Metropolitan Museum of Art, and reflecting upon her decision to make a sizable donation to sustain the performing arts center in Miami ---now the Adrienne Arsht Center for the Performing Arts in Miami-Dade County which had been about close. Arsht also discusses  the importance of having a performing arts center in every great city and highlights how Miami's diverse community was reflected in the center's programming from the beginning. Arsht also discusses her commitment to arts education through the flagship program "Learning Through the Arts" at the Adrian Arsht Center and her ground-breaking funding of paid internships at both the Metropolitan Museum of Art and the Adrienne Arsht Center, emphasizing the importance of breaking down barriers that prevent talented individuals from pursuing internships and the positive impact of these programs.
 Then we hear from Debbie Shapiro the artistic director of the Marie Rader Presenting Series at Rowan University. The series brings award-winning and emerging artists to South Jersey, emphasizing transformative engagement that goes beyond performances which includes direct interactions between world-class artists and students, as well as partnerships with community organizations in the region.  Shapiro discusses the series and its curation which is unique in that it's integrated within the College of Performing Arts at Rowan University, allowing for close collaboration with faculty and a focus on aligning the artist selections with the educational offerings of the university. The programming  reflects the diversity of the audience which comprises community members, Rowan students, university employees, faculty from various area colleges, and families of the students.

What Inspires a philanthropist and an arts presenter?

Meet Two People Who Make Performing Art Happen

A conversation with Dr. David Fakunle who uses the art of storytelling to promote public health by listening, understanding, and addressing the personal, social, and structural factors that contribute to health disparities. He powerfully combines science with art and is transforming discussions about the role of storytelling in healing.  Dr. Fakunle shares his personal story of growing up in a family deeply rooted in the arts, especially music and storytelling. His childhood was marked by significant cultural influences, such as his experiences at the <a href="https://www.greatblacksinwax.org/" rel="nofollow" target="_blank">Great Blacks in Wax Museum in Baltimore</a> and his memorable encounter with renowned griot, <a href="https://msa.maryland.gov/msa/educ/exhibits/womenshallfame/html/smith.html" rel="nofollow" target="_blank">Mary Carter Smith</a> who with 2019 National Heritage Fellow <a href="https://www.arts.gov/stories/podcast/linda-goss" rel="nofollow" target="_blank">Linda Goss</a> co-founded the <a href="https://www.nabsinc.org/" rel="nofollow" target="_blank">Association of  Black Storytellers</a>.  Dr. Fakunle took these influences to the <a href="https://publichealth.jhu.edu/" rel="nofollow" target="_blank">Johns Hopkins Bloomberg School of Public Health</a> where he realized the deeper implications about the potential of storytelling in the realm of public health. Fakunle's innovative ideas were supported by the faculty, and upon graduation, he began teaching storytelling in the Mental Health Department at Hopkins,  emphasizing the importance of effectively communicating scientific research through engaging narratives. Fakunle argues that the profound benefits of storytelling in health communication come from its ability to resonate with audiences but more importantly,  authentic narratives and voices need to be central in discussions about health challenges

Dr. Fakunle also discusses his many years of work at <a href="https://www.wombwork.com/home" rel="nofollow" target="_blank">WombWork Productions</a> (where he is now executive director). WombWork is a social change performing arts company. Under his leadership, the company shifted its focus from implicit to explicit public health impact, tackling a range of serious topics such as HIV, gang violence, and child sexual abuse through art. Dr. Fakunle’s passionate belief  that the creative process serves as a crucial part of the healing process is the thread that moves through all his work.

A conversation with Dr. David Fakunle who uses the art of storytelling to promote public health by listening, understanding, and addressing the personal, social, and structural factors that contribute to health disparities. He powerfully combines science with art and is transforming discussions about the role of storytelling in healing.  Dr. Fakunle shares his personal story of growing up in a family deeply rooted in the arts, especially music and storytelling. His childhood was marked by significant cultural influences, such as his experiences at the Great Blacks in Wax Museum in Baltimore and his memorable encounter with renowned griot, Mary Carter Smith who with 2019 National Heritage Fellow Linda Goss co-founded the Association of  Black Storytellers.  Dr. Fakunle took these influences to the Johns Hopkins Bloomberg School of Public Health where he realized the deeper implications about the potential of storytelling in the realm of public health. Fakunle's innovative ideas were supported by the faculty, and upon graduation, he began teaching storytelling in the Mental Health Department at Hopkins,  emphasizing the importance of effectively communicating scientific research through engaging narratives. Fakunle argues that the profound benefits of storytelling in health communication come from its ability to resonate with audiences but more importantly,  authentic narratives and voices need to be central in discussions about health challenges
Dr. Fakunle also discusses his many years of work at WombWork Productions (where he is now executive director). WombWork is a social change performing arts company. Under his leadership, the company shifted its focus from implicit to explicit public health impact, tackling a range of serious topics such as HIV, gang violence, and child sexual abuse through art. Dr. Fakunle’s passionate belief  that the creative process serves as a crucial part of the healing process is the thread that moves through all his work.

Dr. David Fakunle creates better public health one story at a time

Is Storytelling a key to better public Health?

We are revisiting one of my favorite interviews—a 2013 conversation with Kati Texas about the <a href="https://kineticgrandchampionship.com/" rel="nofollow" target="_blank">Kinetic Sculpture Race.</a>

The Kinetic Grand Champion Race is a one-of-a-kind, multi-day event that combines engineering, art, athleticism, and a strong sense of fun. It involves teams competing with human-powered, artistically-themed contraptions that are engineered to race over land, mud, sand, and water terrains. Originating in 1969, this quirky competition has grown to become a significant and anticipated event in Humboldt County, California, where the Kinetic Grand Championship is held each year.

As you will hear, one of the standout features of this event is its joyful and humorous atmosphere. Spectators line the streets to cheer on their favorite racers, and participants often dress in elaborate costumes, aligning with the theme of their sculpture. Furthermore, the race is characterized by unique and whimsical award categories, such as the "Golden Flipper" for sculptures that tip over or the "Poor, Pitiful Me" award for the racer perceived to whine or complain the most. And Kati herself is a Rutabaga Queen (a highly coveted title!)

It's hard to imagine a better guide for a behind-the-scenes look at this human-powered art race than Katie Texas.  Aside from being a veteran racer herself, Katie has served the Kinetic Universe as president of its board of directors.  The Kinetic Sculpture Race is not only a celebration of art and engineering but also of community spirit and the joy of taking on challenges with creativity and a smile.  As you’ll hear in this podcast, participants and spectators alike are united in their love for this eccentric, innovative, and delightful event.

We are revisiting one of my favorite interviews—a 2013 conversation with Kati Texas about the Kinetic Sculpture Race.
The Kinetic Grand Champion Race is a one-of-a-kind, multi-day event that combines engineering, art, athleticism, and a strong sense of fun. It involves teams competing with human-powered, artistically-themed contraptions that are engineered to race over land, mud, sand, and water terrains. Originating in 1969, this quirky competition has grown to become a significant and anticipated event in Humboldt County, California, where the Kinetic Grand Championship is held each year.
As you will hear, one of the standout features of this event is its joyful and humorous atmosphere. Spectators line the streets to cheer on their favorite racers, and participants often dress in elaborate costumes, aligning with the theme of their sculpture. Furthermore, the race is characterized by unique and whimsical award categories, such as the "Golden Flipper" for sculptures that tip over or the "Poor, Pitiful Me" award for the racer perceived to whine or complain the most. And Kati herself is a Rutabaga Queen (a highly coveted title!)
It's hard to imagine a better guide for a behind-the-scenes look at this human-powered art race than Katie Texas.  Aside from being a veteran racer herself, Katie has served the Kinetic Universe as president of its board of directors.  The Kinetic Sculpture Race is not only a celebration of art and engineering but also of community spirit and the joy of taking on challenges with creativity and a smile.  As you’ll hear in this podcast, participants and spectators alike are united in their love for this eccentric, innovative, and delightful event.

Rutabaga Queen and Ace Pilot Kati Texas takes us behind the scenes of the Kinetic Sculpture Race, Grand Championship, where art and science go to play.

The Kinetic Sculpture Race: Art in Motion

In this visit to our archives, we dive deep into the mind of the legendary late Stan Lee, the maestro behind Marvel Comics' most iconic characters. From the origins of Spider-Man's creation, inspired by a simple insect on a wall, to the inception of the Fantastic Four, Stan Lee recounts his journey of transforming the world of comics. He delves into the realism he injected into his characters, from Peter Parker's New York residence to the X-Men's mutant origins. While discussing his desire for characters to be relatable, Lee highlights the importance of infusing everyday, human elements into the grandeur of superhero tales. Whether you're a Marvel aficionado or just a casual fan, this episode offers a unique glimpse into the creative process of one of the most influential figures in the comic book industry.

The origin stories of our favorite characters are more grounded than one might think. The iconic Spider-Man, for instance, was born from Lee's observation of a mere spider scaling a wall. It made him wonder: what if a human had the abilities of a spider? Such simple, yet profound musings led to the birth of Peter Parker, a character whose human struggles resonated as much as his superhuman feats.

But the revelations don't stop there. The Fantastic Four, Marvel's first superhero team, weren't just an assemblage of abilities but a reflection of family dynamics, friendship, and human resilience. Lee's brilliance lay not just in creating superheroes but in giving them depth, layers, and a touch of realism. He shares his thought process behind anchoring his characters in real-world cities, like Peter Parker's residence in New York, a tangible place that readers could identify with.

In this episode, the late Stan Lee underscores a philosophy that became the hallmark of Marvel Comics: the marriage of the ordinary and the extraordinary. It wasn't just about capes, superpowers, or intergalactic wars. It was about heart, emotion, and the very human journey of self-discovery.

In this visit to our archives, we dive deep into the mind of the legendary late Stan Lee, the maestro behind Marvel Comics' most iconic characters. From the origins of Spider-Man's creation, inspired by a simple insect on a wall, to the inception of the Fantastic Four, Stan Lee recounts his journey of transforming the world of comics. He delves into the realism he injected into his characters, from Peter Parker's New York residence to the X-Men's mutant origins. While discussing his desire for characters to be relatable, Lee highlights the importance of infusing everyday, human elements into the grandeur of superhero tales. Whether you're a Marvel aficionado or just a casual fan, this episode offers a unique glimpse into the creative process of one of the most influential figures in the comic book industry.
The origin stories of our favorite characters are more grounded than one might think. The iconic Spider-Man, for instance, was born from Lee's observation of a mere spider scaling a wall. It made him wonder: what if a human had the abilities of a spider? Such simple, yet profound musings led to the birth of Peter Parker, a character whose human struggles resonated as much as his superhuman feats.
But the revelations don't stop there. The Fantastic Four, Marvel's first superhero team, weren't just an assemblage of abilities but a reflection of family dynamics, friendship, and human resilience. Lee's brilliance lay not just in creating superheroes but in giving them depth, layers, and a touch of realism. He shares his thought process behind anchoring his characters in real-world cities, like Peter Parker's residence in New York, a tangible place that readers could identify with.
In this  episode, the late Stan Lee underscores a philosophy that became the hallmark of Marvel Comics: the marriage of the ordinary and the extraordinary. It wasn't just about capes, superpowers, or intergalactic wars. It was about heart, emotion, and the very human journey of self-discovery.

Spider-Man, Fantastic Four, the X-Men, Iron Man, the Hulk, Doctor Strange: the late Stan Lee was there at the creation.

In the Beginning: the Late Stan Lee Gave Us the Marvel Superheroes 

<a href="https://www.cultureall.org/ambassadors/emmett-phillips" rel="nofollow" target="_blank">Emmett Phillips</a> is a hip-hop artist,  actor, poet, and teaching artist based in Des Moines, Iowa. In this podcast, Emmett shares his journey from his early days in hip-hop through his time in the military to becoming a teaching artist who empowers youth through the arts, specifically hip-hop. Emmett discusses hip-hop as a cultural movement that uplifts people, amplifies the voices of the oppressed, and expresses ideas and values with creativity and style. He talks about his personal growth through hip-hop and how it inspired him to become a teaching artist, helping students find their voices and build confidence.  Emmett describes his work at <a href="https://oakridgeneighborhood.org/" rel="nofollow" target="_blank">Oakridge Neighborhood</a>, a multi-faceted community organization where he has infused hip-hop into the art program. He shares stories of students who have transformed from shy and hesitant to confident performers through hip-hop. He details the creation of the music video made by the Children of Oakridge Neighborhood <a href="https://www.youtube.com/watch?v=UNfjTo6wnLE" rel="nofollow" target="_blank">“Success is my Protest,”</a> describing the collaborative process by which it was made and how the project empowered the young people. Emmett talks about his work in arts education creating curriculum for public schools, community organizations, and universities, and the role of arts education in empowering youth, building confidence, and fostering positive change within communities. Overall, Emmett Phillips's work highlights the demonstrable power of <a href="https://www.arts.gov/impact/arts-education" rel="nofollow" target="_blank">arts education</a>, the creative exuberance of hip-hop and how the two can come together to create dynamic classrooms.

Emmett Phillips is a hip-hop artist,  actor, poet, and teaching artist based in Des Moines, Iowa. In this podcast, Emmett shares his journey from his early days in hip-hop through his time in the military to becoming a teaching artist who empowers youth through the arts, specifically hip-hop. Emmett discusses hip-hop as a cultural movement that uplifts people, amplifies the voices of the oppressed, and expresses ideas and values with creativity and style. He talks about his personal growth through hip-hop and how it inspired him to become a teaching artist, helping students find their voices and build confidence.  Emmett describes his work at Oakridge Neighborhood, a multi-faceted community organization where he has infused hip-hop into the art program. He shares stories of students who have transformed from shy and hesitant to confident performers through hip-hop. He details the creation of the music video made by the Children of Oakridge Neighborhood “Success is my Protest,” describing the collaborative process by which it was made and how the project empowered the young people. Emmett talks about his work in arts education creating curriculum for public schools, community organizations, and universities, and the role of arts education in empowering youth, building confidence, and fostering positive change within communities. Overall, Emmett Phillips's work highlights the demonstrable power of arts education, the creative exuberance of hip-hop and how the two can come together to create dynamic classrooms.

Back to School: Teaching artist Emmett Phillips creates dynamic arts education programming through hip-hop.

As we’re gearing up for “back to school”, it seemed like a good time to revisit my interview with Dr. Lisa Donovan about her work at the Massachusetts College of Liberal Arts (MCLA) to increase access to arts education equitably in Berkshire County, Massachusetts.  The college collaborates with numerous arts organizations, educators, business leaders, and social workers through a network funded by four collective impact grants from the National Endowment for the Arts. Dr. Donovan discusses collective impact as a cross-sector approach to addressing complex problems such as increasing for equitable access to arts education for students across all 13 districts in the Berkshire region as well as the significance of school-based access to arts and cultural experiences for both students and the community.  She also talks about the C4 initiative (Creative Compact for Collaborative Collective Impact), which encompasses career readiness, her commitment to arts integration (which she defines as learning in, through, and with the arts in collaboration with other content areas),  and the power of networks and the potential for collective impact to open and sustain artistic and cultural opportunities in rural regions like Berkshire County. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>. And <a href="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" rel="nofollow" target="_blank">follow us on Apple Podcasts</a>

 

Programs discussed in the podcast:

<a href="https://www.mcla.edu/mcla-in-the-community/bcrc/collaborations/mcla-iah.php" title="https://www.mcla.edu/mcla-in-the-community/bcrc/collaborations/mcla-iah.php" rel="nofollow" target="_blank">MCLA Institute for the Arts and Humanities</a>

<a href="http://Brainworks.mcla.edu" title="Brainworks.mcla.edu" rel="nofollow" target="_blank">Berkshire Regional Arts Integration Network</a>

<a href="https://www.amazon.com/Integrating-Across-Curriculum-Strategies-Integrate/dp/0743970365/ref=sr_1_1?crid=37Y2Q0ISYYHGL&amp;keywords=ISBN+978-0-7439-7036-5+Integrating+the+Arts+Across+the+Curriculum&amp;qid=1644022571&amp;sprefix=isbn+978-0-7439-7036-5+integrating+the+arts+across+the+curriculum%2Caps%2C402&amp;sr=8-1" rel="nofollow" target="_blank">Integrating the Arts Across the Curriculum</a>

<a href="https://www.brainworks.mcla.edu/c4" rel="nofollow" target="_blank">The C4 Initiative</a>

<a href="https://www.arts.gov/grants/grants-for-arts-projects/arts-education/collective-impact-grants" rel="nofollow" target="_blank">Collective Impact</a>

As we’re gearing up for “back to school”, it seemed like a good time to revisit my interview with Dr. Lisa Donovan about her work at the Massachusetts College of Liberal Arts (MCLA) to increase access to arts education equitably in Berkshire County, Massachusetts.  The college collaborates with numerous arts organizations, educators, business leaders, and social workers through a network funded by four collective impact grants from the National Endowment for the Arts. Dr. Donovan discusses collective impact as a cross-sector approach to addressing complex problems such as increasing for equitable access to arts education for students across all 13 districts in the Berkshire region as well as the significance of school-based access to arts and cultural experiences for both students and the community.  She also talks about the C4 initiative (Creative Compact for Collaborative Collective Impact), which encompasses career readiness, her commitment to arts integration (which she defines as learning in, through, and with the arts in collaboration with other content areas),  and the power of networks and the potential for collective impact to open and sustain artistic and cultural opportunities in rural regions like Berkshire County. Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts
 

Programs discussed in the podcast:
MCLA Institute for the Arts and Humanities
Berkshire Regional Arts Integration Network
Integrating the Arts Across the Curriculum
The C4 Initiative
Collective Impact

Here's what one rural county is doing to provide equitable arts education for all its districts

It's Back to School--Let's talk about Arts Education

<a href="https://www.arts.gov/honors/heritage/elizabeth-james-perry-wampanoag-tribe-gay-head-aquinnah" rel="nofollow" target="_blank">Wampum &amp; Fiber Artist</a> and 2023 National Heritage Fellow <a href="https://elizabethjamesperry.com/" rel="nofollow" target="_blank">Elizabeth James-Perry</a> (Wampanoag Tribe of Gay Head, Aquinnah) is a brilliant artist, marine biologist, and advocate for cultural preservation, Native lifeways, and environmental stewardship. In this podcast, Elizabeth talks about the intersection of art and science and explains how these two passions inform her work.  She discusses the vital role of the Atlantic Ocean in the Northeast and its significance to tribal communities, the long history of fiber arts in tribal communities and her efforts to recover and preserve these traditional practices, the importance of sourcing natural materials sustainably, her experiences in reviving natural dyes for her artistic projects, and the connection between traditional arts and ecological knowledge.  We also discuss the significance of Elizabeth’s project, “<a href="https://www.mfa.org/article/2021/garden-for-boston" rel="nofollow" target="_blank">Raven Reshapes Boston</a>”, a Native Corn Garden at the Museum of Fine Arts, which aimed to reclaim Native American culture and environmental values as well as  her passion for teaching and mentoring. She also reflects on the significance of her receiving the <a href="https://www.arts.gov/honors/heritage" rel="nofollow" target="_blank">National Heritage Award</a> for Indigenous arts in the Northeast, raising their visibility and sustainability. . Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Wampum & Fiber Artist and 2023 National Heritage Fellow Elizabeth James-Perry (Wampanoag Tribe of Gay Head, Aquinnah) is a brilliant artist, marine biologist, and advocate for cultural preservation, Native lifeways, and environmental stewardship. In this podcast, Elizabeth talks about the intersection of art and science and explains how these two passions inform her work.  She discusses the vital role of the Atlantic Ocean in the Northeast and its significance to tribal communities, the long history of fiber arts in tribal communities and her efforts to recover and preserve these traditional practices, the importance of sourcing natural materials sustainably, her experiences in reviving natural dyes for her artistic projects, and the connection between traditional arts and ecological knowledge.  We also discuss the significance of Elizabeth’s project, “Raven Reshapes Boston”, a Native Corn Garden at the Museum of Fine Arts, which aimed to reclaim Native American culture and environmental values as well as  her passion for teaching and mentoring. She also reflects on the significance of her receiving the National Heritage Award for Indigenous arts in the Northeast, raising their visibility and sustainability. . Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Elizabeth James-Perry (Wampanoag, Aquinnah) combines tribal knowledge, science, and history to make dazzling art

 Meet Artist Elizabeth James-Perry (Wampanoag, Aquinnah) 

This week, we’re revisiting 2017 <a href="https://www.arts.gov/honors/heritage" rel="nofollow" target="_blank">National Heritage Fellow</a> <a href="https://www.arts.gov/honors/heritage/phil-wiggins" rel="nofollow" target="_blank">Phil Wiggins</a>, a true master of the blues harmonica. In this music-filled podcast, Phil discusses the significance of Piedmont blues, the art of blues harmonica, and his own commitment to preserving and passing down the blues heritage to future generations.  He recounts how his passion for the instrument grew, meeting legendary guitarist and 1989 National Heritage Fellow <a href="https://www.arts.gov/honors/heritage/john-cephas" rel="nofollow" target="_blank">John Cephas</a> and partnering with him to become the iconic duo "Cephas &amp; Wiggins." Throughout the podcast, Phil talks about (and demonstrates) the art of blues harmonica, sharing insights about mastering various techniques, the importance of improvisation in blues music, mentoring aspiring musicians, and playing out with The Phil Wiggins Blues House Party featuring dancer <a href="https://www.arts.gov/stories/podcast/junious-brickhouse" rel="nofollow" target="_blank">Junious Brickhouse</a>. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>. And <a href="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" rel="nofollow" target="_blank">follow us on Apple Podcasts</a>

This week, we’re revisiting 2017 National Heritage Fellow Phil Wiggins, a true master of the blues harmonica. In this music-filled podcast, Phil discusses the significance of Piedmont blues, the art of blues harmonica, and his own commitment to preserving and passing down the blues heritage to future generations.  He recounts how his passion for the instrument grew, meeting legendary guitarist and 1989 National Heritage Fellow John Cephas and partnering with him to become the iconic duo "Cephas & Wiggins." Throughout the podcast, Phil talks about (and demonstrates) the art of blues harmonica, sharing insights about mastering various techniques, the importance of improvisation in blues music, mentoring aspiring musicians, and playing out with The Phil Wiggins Blues House Party featuring dancer Junious Brickhouse. Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts

Harmonica player Phil Wiggins talks and demonstrates playing the blues

Phil Wiggins--a Life Playing the Blues

To mark <a href="https://www.pbs.org/articles/disability-pride-month-and-the-disability-rights-movement/" rel="nofollow" target="_blank">Disability Pride month</a>, we’re revisiting one of my favorite interviews: a 2020 conversation with <a href="https://rebekahtaussig.com/" rel="nofollow" target="_blank">Rebekah Taussig</a> who discusses her memoir in essays (and current <a href="https://www.arts.gov/initiatives/nea-big-read" rel="nofollow" target="_blank">NEA Big Read</a> title) <a href="https://www.arts.gov/initiatives/nea-big-read/sitting-pretty-view-my-ordinary-resilient-disabled-body" rel="nofollow" target="_blank">Sitting Pretty: The View from My Ordinary Resilient Disabled Body</a>. Rebekah, who has a Ph.D in Disability Studies and Creative Nonfiction, shares personal experiences that inform her book and shed light on the intersection of disability and identity,  the daily obstacles and societal misconceptions individuals with disabilities encounter, and the physical and emotional challenges she can face as a wheelchair user.  She discusses the need for inclusivity and accessibility in all aspects of life, emphasizes the power of personal narratives in reshaping societal perspectives on disability, and explains how storytelling can be a tool for empowerment, education, and fostering empathy. She  talks about growing up as a paralyzed girl in the 1990s and 2000s and searching to find a story—any story—that reflected her own. She didn’t, and so she wrote it into existence. We talk about the steps society needs to take to become more inclusive and accessible, the importance of education and representation in dismantling ableism, and strategies for fostering empathy, understanding, and inclusion.  In reading her book and interviewing Rebekah for the podcast, I felt as though I was listening to a very funny, very smart, and very thoughtful friend who was imagining big things for all of us. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

To mark Disability Pride month, we’re revisiting one of my favorite interviews: a 2020 conversation with Rebekah Taussig who discusses her memoir in essays (and current NEA Big Read title) Sitting Pretty: The View from My Ordinary Resilient Disabled Body. Rebekah, who has a Ph.D in Disability Studies and Creative Nonfiction, shares personal experiences that inform her book and shed light on the intersection of disability and identity,  the daily obstacles and societal misconceptions individuals with disabilities encounter, and the physical and emotional challenges she can face as a wheelchair user.  She discusses the need for inclusivity and accessibility in all aspects of life, emphasizes the power of personal narratives in reshaping societal perspectives on disability, and explains how storytelling can be a tool for empowerment, education, and fostering empathy. She  talks about growing up as a paralyzed girl in the 1990s and 2000s and searching to find a story—any story—that reflected her own. She didn’t, and so she wrote it into existence. We talk about the steps society needs to take to become more inclusive and accessible, the importance of education and representation in dismantling ableism, and strategies for fostering empathy, understanding, and inclusion.  In reading her book and interviewing Rebekah for the podcast, I felt as though I was listening to a very funny, very smart, and very thoughtful friend who was imagining big things for all of us. Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Author and Disability Advocate Rebekah Taussig's Memoir "Sitting Pretty" is like talking to a very smart and very funny friend.

Author and Disability Advocate Rebekah Taussig Discusses Her Memoir "Sitting Pretty."

<a href="https://www.gilroseconductor.com/" rel="nofollow" target="_blank">Gil Rose</a> is a conductor and  the founder and artistic director of the performing and recording ensemble the <a href="https://www.bmop.org/" rel="nofollow" target="_blank">Boston Modern Orchestra Project (BMOP</a>), which is dedicated exclusively to commissioning, performing, and recording music of the twentieth and twenty-first centuries, and <a href="https://odysseyopera.org/" rel="nofollow" target="_blank">Odyssey Opera</a> which is dedicated to performing lesser-known older operas as well as contemporary new works. Rose is also the founder of <a href="https://www.bmop.org/audio-recordings" rel="nofollow" target="_blank">BMOP/Sound,</a> BMOP’s independent record label, which was created in 2008 to provide a platform for BMOP’s (and then Odyssey’s) extensive archive of music.

In this podcast, Gil Rose shares his motivation behind starting BMOP( which is celebrating its 25th anniversary) and his desire  to create a musically interesting and worthwhile project focused on contemporary music and focused on the dynamic between composers, performers, and the audience. Rose discusses his emphasis on flexibility and collaboration with other arts organizations and creating a great orchestra with exceptional free-lance musicians—a decision that allows BMOP to perform a wide range of repertoire, from 90-player orchestra pieces to smaller ensembles. Rose also talks about the critical aspect of fundraising and the challenges of sustaining BMOP and Odyssey, and the importance of grants, particularly those received from the National Endowment for the Arts which have provided integral support for a variety of projects, and whose endorsement acts as a seal of approval and often helps in raising money from other sources. Gil Rose also discusses the "As Told By" initiative, a five-year project commissioning, premiering, and recording opera works by black composers about black historical subjects. (The first opera premiered was "X:The Life and Times of Malcolm X" by Anthony Davis; the second scheduled for 2024 will be “Harriet Tubman” by Nkeiru Okoye—both received grants from the Arts Endowment.) And finally, Rose reflects on BMOP's 25th anniversary, their many collaborations and partnerships, their debut at Carnegie Hall, which received glowing reviews from The New York Times and what’s on the road ahead. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Gil Rose is a conductor and  the founder and artistic director of the performing and recording ensemble the Boston Modern Orchestra Project (BMOP), which is dedicated exclusively to commissioning, performing, and recording music of the twentieth and twenty-first centuries, and Odyssey Opera which is dedicated to performing lesser-known older operas as well as contemporary new works. Rose is also the founder of BMOP/Sound, BMOP’s independent record label, which was created in 2008 to provide a platform for BMOP’s (and then Odyssey’s) extensive archive of music.
In this podcast, Gil Rose shares his motivation behind starting BMOP( which is celebrating its 25th anniversary) and his desire  to create a musically interesting and worthwhile project focused on contemporary music and focused on the dynamic between composers, performers, and the audience. Rose discusses his emphasis on flexibility and collaboration with other arts organizations and creating a great orchestra with exceptional free-lance musicians—a decision that allows BMOP to perform a wide range of repertoire, from 90-player orchestra pieces to smaller ensembles. Rose also talks about the critical aspect of fundraising and the challenges of sustaining BMOP and Odyssey, and the importance of grants, particularly those received from the National Endowment for the Arts which have provided integral support for a variety of projects, and whose endorsement acts as a seal of approval and often helps in raising money from other sources. Gil Rose also discusses the "As Told By" initiative, a five-year project commissioning, premiering, and recording opera works by black composers about black historical subjects. (The first opera premiered was "X:The Life and Times of Malcolm X" by Anthony Davis; the second scheduled for 2024 will be “Harriet Tubman” by Nkeiru Okoye—both received grants from the Arts Endowment.) And finally, Rose reflects on BMOP's 25th anniversary, their many collaborations and partnerships, their debut at Carnegie Hall, which received glowing reviews from The New York Times and what’s on the road ahead. Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Gil Rose--a force in contemporary music

Meet a force in Contemporary Music: Gil Rose

We’re celebrating July 4 by revisiting our 2015 podcast with former <a href="https://www.music.af.mil/USAFBand/Ensembles/Singing-Sergeants/" rel="nofollow" target="_blank">Singing Sergeant</a> and current Director of Music and Opera at the National Endowment for the Arts Ann Meier Baker. In this podcast, Meier Baker talks about the professional bands and ensembles associated with each branch of the military and her decision to audition for and then join the Singing Sergeants—which meant going through boot camp. That was the hard part. She then relates her experiences over the four years she spent traveling nationally and internationally with this elite and diverse chorus.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>. And <a href="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" rel="nofollow" target="_blank">follow us on Apple Podcasts</a>!

We’re celebrating July 4 by revisiting our 2015 podcast with former Singing Sergeant and current Director of Music and Opera at the National Endowment for the Arts Ann Meier Baker. In this podcast, Meier Baker talks about the professional bands and ensembles associated with each branch of the military and her decision to audition for and then join the Singing Sergeants—which meant going through boot camp. That was the hard part. She then relates her experiences over the four years she spent traveling nationally and internationally with this elite and diverse chorus.  Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts!

Ann Meier Baker went to boot camp so she could sing professionally!

A Conversation about the Singing Sergeants

023 NEA <a href="https://www.arts.gov/honors/jazz" rel="nofollow" target="_blank">Jazz Master</a> <a href="https://www.arts.gov/honors/jazz/kenny-garrett" rel="nofollow" target="_blank">Kenny Garrett</a> is a saxophonist, composer, and bandleader. He sees himself as a “preacher” on his saxophone—searching for that “one note that would touch people.” In this music-filled podcast, Garrett talks about his musical beginnings in Detroit, move to NYC, and time with the Duke Ellington Band, <a href="https://www.arts.gov/honors/jazz/art-blakey" rel="nofollow" target="_blank">Art Blakey</a> and the Jazz Messengers, and <a href="https://www.arts.gov/honors/jazz/miles-davis" rel="nofollow" target="_blank">Miles Davis</a>, and the different lessons he learned from all of them. He discusses finding his musical voice,  his role as a band leader, the spiritual aspects of his music, the lasting influence of John Coltrane, and his collaborations with <a href="https://www.arts.gov/honors/jazz/pharoah-sanders" rel="nofollow" target="_blank">Pharoah Sanders</a> and <a href="https://www.arts.gov/honors/jazz/chick-corea" rel="nofollow" target="_blank">Chick Corea</a>.  Kenny also talks about his process for composing, teaching his music to band members, the energy created by live performance, playing as part of the Grammy-Award winning Five Peace Band, his ability to incorporate many different genres in his music, his commitment to both contemporary music and music from the ancestors, and his deep belief in music’s healing power.  He also plays John Coltrane’s soprano saxophone live during an emotional moment in the podcast.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>. And <a href="https://podcasts.apple.com/us/podcast/art-works-podcast/id1058911829" rel="nofollow" target="_blank">follow us on Apple Podcasts</a>!

 

Keywords: Kenny Garrett, NEA Jazz Master, Jazz, Miles Davis, Art Blakey, Five Peace Band, Sounds from the Ancestors

023 NEA Jazz Master Kenny Garrett is a saxophonist, composer, and bandleader. He sees himself as a “preacher” on his saxophone—searching for that “one note that would touch people.” In this music-filled podcast, Garrett talks about his musical beginnings in Detroit, move to NYC, and time with the Duke Ellington Band, Art Blakey and the Jazz Messengers, and Miles Davis, and the different lessons he learned from all of them. He discusses finding his musical voice,  his role as a band leader, the spiritual aspects of his music, the lasting influence of John Coltrane, and his collaborations with Pharoah Sanders and Chick Corea.  Kenny also talks about his process for composing, teaching his music to band members, the energy created by live performance, playing as part of the Grammy-Award winning Five Peace Band, his ability to incorporate many different genres in his music, his commitment to both contemporary music and music from the ancestors, and his deep belief in music’s healing power.  He also plays John Coltrane’s soprano saxophone live during an emotional moment in the podcast.  Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts!
 

Keywords: Kenny Garrett, NEA Jazz Master, Jazz, Miles Davis, Art Blakey, Five Peace Band, Sounds from the Ancestors

Celebrate Black Music Month! It 'sa conversation with 2023 NEA Jazz Master Saxophonist Kenny Garrett

A Conversation with 2023 NEA Jazz Master Saxophonist Kenny Garrett

<a href="https://tiyamiles.com/" rel="nofollow" target="_blank">Tiya Miles</a> is best known as a historian and the author of the <a href="https://www.nationalbook.org/" rel="nofollow" target="_blank">National Book Award</a> winner <a href="https://tiyamiles.com/books/all-that-she-carried/" rel="nofollow" target="_blank">All That She Carried: The Journey of Ashley’s Sack, A Black Family Keepsake.</a> But Tiya had preceded All That She Carried with a novel <a href="https://tiyamiles.com/books/the-cherokee-rose/" rel="nofollow" target="_blank">The Cherokee Rose</a>, published in 2015, which she has revised and has just been reissued with a new introduction.  The novel moves from contemporary Georgia to the early 1800s and back again, as it explores the intertwined and sometime painful histories of indigenous peoples and enslaved Black communities and those repercussions still felt in the 21st century. Drawn from Miles’s imagination but based in her scholarly research,  The Cherokee Rose foregrounds the voices and experiences of women: Black, indigenous, multi-racial, and white while it shines a light on a little-known history.  In this podcast, Tiya Miles talks about the challenges for her as an historian in writing a novel, what fiction allows her to explore, how writing the novel helped her think creatively when she conceptualized and wrote All That She Carried We also discuss her winning the MacArthur Fellowship and the freedom it gave her, her reasons for revising The Cherokee Rose, and how she draws hope from the creative determination of the women that she has spent her life studying.

Tiya Miles is best known as a historian and the author of the National Book Award winner All That She Carried: The Journey of Ashley’s Sack, A Black Family Keepsake. But Tiya had preceded All That She Carried with a novel The Cherokee Rose, published in 2015, which she has revised and has just been reissued with a new introduction.  The novel moves from contemporary Georgia to the early 1800s and back again, as it explores the intertwined and sometime painful histories of indigenous peoples and enslaved Black communities and those repercussions still felt in the 21st century. Drawn from Miles’s imagination but based in her scholarly research,  The Cherokee Rose foregrounds the voices and experiences of women: Black, indigenous, multi-racial, and white while it shines a light on a little-known history.  In this podcast, Tiya Miles talks about the challenges for her as an historian in writing a novel, what fiction allows her to explore, how writing the novel helped her think creatively when she conceptualized and wrote All That She Carried We also discuss her winning the MacArthur Fellowship and the freedom it gave her, her reasons for revising The Cherokee Rose, and how she draws hope from the creative determination of the women that she has spent her life studying.

Historian and National Book Award-winner Tiya Miles talks about the challenges of writing fiction

Historian and National Book Award-winner Tiya Miles Meets the Moment

Today, we’re celebrating Pride month by revisiting my 2021 conversation with poet, 2011 NEA Literature Fellow, and 2020 Pulitzer Prize-winner <a href="https://www.jerichobrown.com/" rel="nofollow" target="_blank">Jericho Brown</a>. In this poetry-filled podcast, Brown walks us through his writing of his prize-winning collection <a href="https://www.coppercanyonpress.org/" rel="nofollow" target="_blank">The Tradition</a> in particular and poetry in general.  He reads a number of poems and discusses his creative process, his exploration of the themes of love, race, sexuality, violence, and spirituality in his work, explains the new poetic form he invented called “the duplex” (and gives us poetic examples of it,) and talks about the significance of Black queer poetry and its capacity to expand our concept of love. We also discuss the poets and writers who have influenced and shaped Brown's own artistic journey, his reflections on winning the Pulitzer Prize in poetry for “The Tradition,” his thoughts on the importance of diverse voices in literature and the role of poetry in fostering empathy and understanding in a divided world.

Today, we’re celebrating Pride month by revisiting my 2021 conversation with poet, 2011 NEA Literature Fellow, and 2020 Pulitzer Prize-winner Jericho Brown. In this poetry-filled podcast, Brown walks us through his writing of his prize-winning collection The Tradition in particular and poetry in general.  He reads a number of poems and discusses his creative process, his exploration of the themes of love, race, sexuality, violence, and spirituality in his work, explains the new poetic form he invented called “the duplex” (and gives us poetic examples of it,) and talks about the significance of Black queer poetry and its capacity to expand our concept of love. We also discuss the poets and writers who have influenced and shaped Brown's own artistic journey, his reflections on winning the Pulitzer Prize in poetry for “The Tradition,” his thoughts on the importance of diverse voices in literature and the role of poetry in fostering empathy and understanding in a divided world.

In "The Tradition"  Pulitzer Prize winning poet Jericho Brown explores the Black queer body at risk and resilent 

Poet Jericho Brown Discusses his 2020 Pulitzer Prize-winner "The Tradition"

<a href="https://nicolechung.net/" rel="nofollow" target="_blank">Nicole Chung</a> has written two memoirs in five years—both about loss and family.  The first is the highly acclaimed All You Can Ever Know which was a finalist for <a href="https://www.bookcritics.org/awards/" rel="nofollow" target="_blank">National Book Critics Circle Award</a>. It explores the circumstances of her adoption as a Korean American by a white family who were advised take a colorblind approach to parenting, the implications of that decision for Chung, her successful search as an adult to find her birth family, and the loving support of her adoptive parents.  Her recently released second memoir A Living Remedy deals with the deaths of her adoptive parents within a two year period, how the healthcare system failed her father, and Chung’s struggle to balance the duties of a mother with that of a daughter as her terminally-ill mother who lived across the country went into hospice as the country shut down due to the pandemic.  A Living Remedy deftly navigates personal loss with a hard look at broader societal issues and Chung discusses balancing between the two, the extraordinary difficulty in writing this memoir that has at its center the abiding love she shares with her parents, most particularly her mother, and finding grace as she learned to live with grief.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Nicole Chung has written two memoirs in five years—both about loss and family.  The first is the highly acclaimed All You Can Ever Know which was a finalist for National Book Critics Circle Award. It explores the circumstances of her adoption as a Korean American by a white family who were advised take a colorblind approach to parenting, the implications of that decision for Chung, her successful search as an adult to find her birth family, and the loving support of her adoptive parents.  Her recently released second memoir A Living Remedy deals with the deaths of her adoptive parents within a two year period, how the healthcare system failed her father, and Chung’s struggle to balance the duties of a mother with that of a daughter as her terminally-ill mother who lived across the country went into hospice as the country shut down due to the pandemic.  A Living Remedy deftly navigates personal loss with a hard look at broader societal issues and Chung discusses balancing between the two, the extraordinary difficulty in writing this memoir that has at its center the abiding love she shares with her parents, most particularly her mother, and finding grace as she learned to live with grief.  Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Memoirist Nicole Chung explores family and loss with a focus on broader societal failures.

Nicole Chung writes of family and loss with a focus on broader societal failures.

Today we’re closing our celebration of Asian American, Native Hawaiian, and Pacific Islander Heritage Month by re-visiting our 2017 conversation with the acclaimed Washington DC-based dancer and choreographer Dana Tai Soon Burgess.  Burgess and I spoke as his dance company was marking its 25th anniversary; so, the podcast is a retrospective of his philosophy and vision as a pioneering Asian American choreographer as well as a look at his first quarter century creating and leading the <a href="https://dtsbdc.org/" rel="nofollow" target="_blank">Dana Tai Soon Burgess Dance Company</a>-- a company the Washington Post has called “a national dance treasure.”  In this podcast, we discuss his background: growing up in New Mexico as the child of Korean immigrants, his exposure to diverse cultures, and the development of his passion for dance, his education at renowned institutions like Juilliard and the London Contemporary Dance School, and how these experiences shaped his artistic voice. Burgess talks about the fusion of multicultural influences in his dance and choreography, blurring the boundaries between contemporary dance, ballet, and traditional Korean movement. We gain insight into his creative process: how he develops ideas, collaborates with dancers, and brings his artistic vision to life. And we explore Burgess's perspective on the role of arts and culture in our daily lives and their ability to foster understanding and empathy.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Today we’re closing our celebration of Asian American, Native Hawaiian, and Pacific Islander Heritage Month by re-visiting our 2017 conversation with the acclaimed Washington DC-based dancer and choreographer Dana Tai Soon Burgess.  Burgess and I spoke as his dance company was marking its 25th anniversary; so, the podcast is a retrospective of his philosophy and vision as a pioneering Asian American choreographer as well as a look at his first quarter century creating and leading the Dana Tai Soon Burgess Dance Company-- a company the Washington Post has called “a national dance treasure.”  In this podcast, we discuss his background: growing up in New Mexico as the child of Korean immigrants, his exposure to diverse cultures, and the development of his passion for dance, his education at renowned institutions like Juilliard and the London Contemporary Dance School, and how these experiences shaped his artistic voice. Burgess talks about the fusion of multicultural influences in his dance and choreography, blurring the boundaries between contemporary dance, ballet, and traditional Korean movement. We gain insight into his creative process: how he develops ideas, collaborates with dancers, and brings his artistic vision to life. And we explore Burgess's perspective on the role of arts and culture in our daily lives and their ability to foster understanding and empathy.  Let us know what you think about Art Works—email us at artworkspod@arts.gov.

We're closing our celebration of AAPI Month with the great choreographer Dana Tai Soon Burgess

Meet Asian American Choreographer Dana Tai Soon Burgess

This is a two-part podcast: we begin with Christine Bial, the Director of Arts and Humanities Grants at <a href="https://www.maaa.org/" rel="nofollow" target="_blank">Mid-America Arts Alliance</a> which is a partner with <a href="https://www.arts.gov/" rel="nofollow" target="_blank">National Endowment for the Arts</a> in the <a href="https://www.creativeforcesnrc.arts.gov/community-engagement-grant-program" rel="nofollow" target="_blank">Creative Forces Community Engagement Grant Program</a>. She gives an overview of the program, its goals, scope, and examples of some of the programming. She also shares what was learned in the program’s first year. Then we hear from a grantee: Stephanie Shine is the supervisor and Lauren Gunn is the teaching artist for Feast of Crispian-South an outreach program of the <a href="https://tnshakespeare.org/" rel="nofollow" target="_blank">Tennessee Shakespeare Company</a>. <a href="https://tnshakespeare.org/focs/" rel="nofollow" target="_blank">Feast of Crispian-South</a> partners with the Memphis VA Medical Center facilitating sessions in which veterans use the language of Shakespeare to express their own thoughts and feelings. Shine and Gunn give an overview of Feast of Crispian-South, how it got its start, its six years of work with veterans, and the power of Shakespeare’s language for veterans. They also discuss the <a href="https://www.arts.gov/initiatives/creative-forces" rel="nofollow" target="_blank">Creative Forces</a> Community Engagement Grant, what it allowed them to do, what they learned through the community engagement initiative, and how they hope to expand the program. Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

This is a two-part podcast: we begin with Christine Bial, the Director of Arts and Humanities Grants at Mid-America Arts Alliance which is a partner with National Endowment for the Arts in the Creative Forces Community Engagement Grant Program. She gives an overview of the program, its goals, scope, and examples of some of the programming. She also shares what was learned in the program’s first year. Then we hear from a grantee: Stephanie Shine is the supervisor and Lauren Gunn is the teaching artist for Feast of Crispian-South an outreach program of the Tennessee Shakespeare Company. Feast of Crispian-South partners with the Memphis VA Medical Center facilitating sessions in which veterans use the language of Shakespeare to express their own thoughts and feelings. Shine and Gunn give an overview of Feast of Crispian-South, how it got its start, its six years of work with veterans, and the power of Shakespeare’s language for veterans. They also discuss the Creative Forces Community Engagement Grant, what it allowed them to do, what they learned through the community engagement initiative, and how they hope to expand the program. Let us know what you think about Art Works—email us at artworkspod@arts.gov.

A look at new art programs for veterans and service members

Veterans and the Arts

Jason Rhee is an emerging documentary filmmaker who is editing his first film: <a href="https://www.ejleedocumentary.com/" title="https://www.ejleedocumentary.com/" rel="nofollow" target="_blank">EJ Lee: All-American</a> . Eun Jung Lee, known as EJ, was a college basketball star in the 1980s, nicknamed "the Korean Magic Johnson of NCAA women's basketball."  She went on to work at her alma mater, University of Louisiana Monroe (ULM) as an assistant coach and recruiter for over twenty years. In 2022, at the age of sixty, after years of rejections, she finally was named head coach of a college basketball team in Texas.  Jason Rhee had been a comedy writer but was so taken with EJ's journey that he became a documentary filmmaker to be able to tell her story. In the podcast, we talk about EJ, how her story moved him so deeply, the connections he saw between EJ and his recently deceased mother-- an undocumented immigrant from Korea who had endured a great deal of hardship--and how EJ's story also speaks to the larger Asian-American experience in the United States. He also talks about the importance of basketball in his own life and the sisterhood he sees in the team EJ is now coaching. We discuss his pivot to doc filmmaking, his fellowships at <a href="https://kartemquin.org/" title="https://kartemquin.org/" rel="nofollow" target="_blank">Kartemquin</a> and the <a href="https://caamedia.org/" title="https://caamedia.org/" rel="nofollow" target="_blank">Center for Asian-American Media</a>, and the challenges and joys of documentary film.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

Jason Rhee is an emerging documentary filmmaker who is editing his first film: EJ Lee: All-American . Eun Jung Lee, known as EJ, was a college basketball star in the 1980s, nicknamed "the Korean Magic Johnson of NCAA women's basketball."  She went on to work at her alma mater, University of Louisiana Monroe (ULM) as an assistant coach and recruiter for over twenty years. In 2022, at the age of sixty, after years of rejections, she finally was named head coach of a college basketball team in Texas.  Jason Rhee had been a comedy writer but was so taken with EJ's journey that he became a documentary filmmaker to be able to tell her story. In the podcast, we talk about EJ, how her story moved him so deeply, the connections he saw between EJ and his recently deceased mother-- an undocumented immigrant from Korea who had endured a great deal of hardship--and how EJ's story also speaks to the larger Asian-American experience in the United States. He also talks about the importance of basketball in his own life and the sisterhood he sees in the team EJ is now coaching. We discuss his pivot to doc filmmaking, his fellowships at Kartemquin and the Center for Asian-American Media, and the challenges and joys of documentary film.  Let us know what you think about Art Works—email us at artworkspod@arts.gov.

Filmmaker Jason Rhee creates a documentary about EJ Lee "the Korean Magic Johnson of NCAA women's basketball."

In light of Amy Tan’s recent National Humanities Medal, Asian American, Native Hawaiian, and Pacific Islander Heritage Month, and Mother’s Day fast approaching, it seems like a fitting time to re-air my 2010 conversation with the author. In this podcast, Amy Tan explores her life and work, particularly her novel and early NEA Big Read selection  "The Joy Luck Club." Tan discusses her upbringing, her relationship with her mother, growing up in a Chinese-American household and the cultural disconnect she faced and how these experiences have influenced her writing. Tan discusses her writing process, the themes of family and identity that are present in her writing, shares her thoughts on the importance of writing and the creative process and reflects on the impact of her novel "The Joy Luck Club" and its influences on other writers and readers. She also talks the significance of the NEA Big Read initiative and its ability to enlarge our imaginations and stimulate conversation.  Let us know what you think about Art Works—email us at <a href="mailto:artworkspod@arts.gov" rel="nofollow" target="_blank">artworkspod@arts.gov</a>.

In light of Amy Tan’s recent National Humanities Medal, Asian American, Native Hawaiian, and Pacific Islander Heritage Month, and Mother’s Day fast approaching, it seems like a fitting time to re-air my 2010 conversation with the author. In this podcast, Amy Tan explores her life and work, particularly her novel and early NEA Big Read selection  "The Joy Luck Club." Tan discusses her upbringing, her relationship with her mother, growing up in a Chinese-American household and the cultural disconnect she faced and how these experiences have influenced her writing. Tan discusses her writing process, the themes of family and identity that are present in her writing, shares her thoughts on the importance of writing and the creative process and reflects on the impact of her novel "The Joy Luck Club" and its influences on other writers and readers. She also talks the significance of the NEA Big Read initiative and its ability to enlarge our imaginations and stimulate conversation.  Let us know what you think about Art Works—email us at artworkspod@arts.gov.