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Flamenco’s Past, Present, and Future through a Latinx Lens with Griset Damas-Roche and Amy Schofield
42 Plays28 days ago
Season Two, Episode Six: Our guests for the season finale are Griset Damas-Roche and Amy Schofield.
Born in Havana, Griset Damas Roche studied ballet at Cuba’s Instituto Superior de Arte and the Ballet of Havana. In 1998 she moved to Bogotá, Colombia, teaching flamenco and as a choreographer. In 2014, Griset moved to Columbus, with her family, where she taught for Flamenco del Corazón school. She opened UWillDance, a flamenco studio in Plain City. Griset was invited to join the city’s promotion campaign “Columbus Makes Art”. She has performed with the Columbus Symphony Orchestra, the Chautauqua Symphony Orchestra, and the Symphony Orchestra of Princeton. Griset leads the Flamenco Company of Columbus, which includes renowned and expert musicians from Ohio and Spain. Her newest project is Caña Flamenca, a trio of female flamenco dancers.
Amy Schofield (she/her/ella) holds a Master of Fine Arts in Dance from the University of New Mexico and a Bachelor of Fine Arts in Dance from the University of the Arts in Philadelphia. She has studied flamenco baile and cante at the Fundación de Arte Flamenco de Cristina Heeren in Seville and the Centro de Arte Flamenco y Danza Española Amor de Dios in Madrid, as well as numerous workshops in Spain and the US. Amy is a teaching artist with Flamenco Vivo Carlota Santana and is pursuing a PhD in Dance Studies at The Ohio State University where she researches flamenco dance in the US-American context and dance pedagogy.
OhioDance A State of Dance is a six-part series coming out the fourth Friday of each month through November 2024. This podcast is driven by the OhioDance mission to secure the foothold of dance in Ohio through increasing visibility, firming viability, and elevating the position of dance in Ohio.
In 2016, a five-person team set out on a mission to capture the achievements of persons and institutions who have shaped the intricate diversity of dance history and practice within the state of Ohio and weave them together in an easily accessible digital format. This we call the OhioDance Virtual Dance Collection. As of 2024 we have highlighted 37 individuals and institutions. The team has traveled over 5000 miles and interviewed hundreds of individuals in all five regions of Ohio. vdc.ohiodance.org
If you like what you are listening to and are not a member of OhioDance, you can go to ohiodance.org and click the membership button to join and receive the many benefits that come with your membership. You can also donate through our purple donate button.
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Transcript
Introduction to 'A State of Dance'
00:00:07
Speaker
Welcome to a State of Dance, sponsored by Ohio Dance and hosted by independent choreographer and interdisciplinary artist, Rodney Veal.
00:00:22
Speaker
Welcome to A State of Dance, sponsored by Ohio Dance and hosted by myself, Rodney Veal, an independent choreographer and interdisciplinary artist. The podcast is partially based on the Ohio Dance Virtual Dance Collection, an interactive website that documents and preserves the achievements of individuals and institutions who have shaped the diversity of dance history and practice in Ohio.
Meet the Guests: Grisette and Amy
00:00:47
Speaker
Today, we have two guests, Grisette Damas Rocha and Amy Schofield. Grisette, originally from Havana, Cuba, has performed and taught flamenco dance since 1998. She has her own studio outside of Columbus called You Will Dance and has performed with the Columbus Symphony. Amy has an MFA in dance from the University of New Mexico and a BFA in dance from the University of Arts in Philadelphia.
00:01:16
Speaker
Amy is a flamenco dancer, scholar, educator, and choreographer, and is pursuing a PhD in dance studies at The Ohio State University, where she researches flamenco dance in the U.S. American context and dance pedagogy. Grisette will be interviewed in Spanish, and Amy will translate.
00:01:36
Speaker
So ladies, thank you so much for being on the podcast. This is very exciting to to have a dual language podcast, and I'm really appreciative of that. So good afternoon. Hi, Randy. Thank you for having us. My first question is going to go to Grisette.
Grisette's Flamenco Journey in Madrid
00:01:51
Speaker
You participated in a workshop that happens in Madrid called Verranos Flimencos en Amo de Deus. Can you share something about your experience this summer with that program?
00:02:03
Speaker
keerro commentsar thisia in doquestan ferent theodos bedalira fannaica del flamino don this to the art is noittra foin temovaio and spirit I want to begin by saying that you're in front of two real flamenco fanatics to whom to study is our source of motivation and inspiration.
00:02:23
Speaker
there's a kayacolubus soimirre poavviliaun etearte e tacia yesri Since I arrived in Columbus, I knew my responsibility with this art forum in this city and I took on the challenge.
00:02:36
Speaker
koluu makes armyiapoaportset i know but i to the ah butrea podido i fetua de buqueque in new mexico yesrano implement thequisium comembia utilityer dinro para para means a studio so anda mordeos and mad Columbus Makes Art has supported me for seven years and I've been able to do this festival in Albuquerque, in New Mexico. And this summer I just wanted to change. And so I use the funds to pay for my studies in Amor de Dios in Madrid.
00:03:06
Speaker
ta mean keia at grassiata tatosis so saloonnuqueremi e ca uppo ya tatokeremi lo coras Also, thank you to all my students who believe in me so much and who support me even with my craziness.
00:03:21
Speaker
Leus verannos flamenco a mordedios es una combocatoria criada de dirigida por los grande maestro y Uncal y alfonso losa. A class es conferencias y tableau. Verranos flamencos de el mordedios is an intensive created and directed by these great maestros or masters and dancers Maria Uncal and alfonso losa. There are classes, conferences, and a tableau.
00:03:47
Speaker
but i mean phone up but said i take and likeno solo me renowe tabi and b via planetuna with muscleel flaing For me, it was a didactic experience in which I not only renewed myself, but also I lived for a time of fullness again with Flamenco.
00:04:04
Speaker
Me gusta enseñar, pero amo estar de lotrolal, de la com mucha
00:04:26
Speaker
I like to teach, but I love to be on the other side, the side of the student. This year, I can say I inspired myself, I recharged, I opened myself up to new possibilities of teaching, and in the end, I came home with excitement and hope and wanted to continue to teach everyone in Columbus who wants to learn this art form.
00:04:52
Speaker
cuerpo
00:05:00
Speaker
There are four hours of classes every day. They're very intense, but it's very dynamic. There's time for technique of the body, the feet, and choreography. Each year, different teachers are invited, all who have a really high level.
00:05:16
Speaker
and yetta liiola mare for um concha harreno la lupi rafaretavi marco flores and teno pallara pararali rique tomar class comesus isrea del flumin This year, the invited teachers were Concha Harenho, La Lupi, Rafael Estevez, and Marco Flores. I don't have the words to describe what it's like to take classes with these flamenco stars.
00:05:38
Speaker
uracoa supera bonita catomi grouppa ram by laineerto parte de mon emma and ti yang on a familia on is up mimo proposeit andaming Another really beautiful thing is that my whole group of dancers were from different parts of the world, and I felt as if I was in a family that was united by one purpose, flamenco.
00:05:56
Speaker
Le que más me gusto fue, no eces del studio cuatro. Una canta guitare, y amor por el flamenco.
00:06:15
Speaker
What I liked well nu the del Studio Cuatro, which is a big party where the most advanced students are teachers and other dance artists ah dance. It's a real kind of ah explosion of art, singing, guitar, dance, and a love of flamenco.
00:06:35
Speaker
So what are the benefits of studying through a program like this one? more laoisaion vi verion la div verida lacriti autotocritirua yeah for support super compares classes koaloonoss masssa an sallo ee a forcear There's many, the socialization, the fun, the diversity, the corrections and constructive self-correction and the effort to better yourself and share time in classes with more advanced students and can push yourself.
00:07:10
Speaker
Pienso que la no i have a I think it's the best way to confirm that you're on the correct path. You get these experiences, new practices, new emotions. You receive new ways of seeing dance and transmitting it, and of course, new ways of teaching. Do programs like this influence your own choreography? You sound like you're really you're so excited about having been there, so I'm kind of curious how that affects. Si. Muchos.
00:07:50
Speaker
I'm not a professor, I'm an artist. I the cause of creating a song is. But But
00:08:22
Speaker
Yes, a lot. I think this year, the level of the teachers and the artists was very high. I trusted them, and the things they created were inspirations. I love to choreograph, but taking classes from others strengthens me to create a lot. To to do or or make or repeat a step or 20 times, it gives you practice and technique, but I hope I can take what they wanted to teach me, um which was sensations and new experiences. So yes, definitely.
00:08:52
Speaker
So this question is for you, Amy.
Amy's Archiving Fellowship Experience
00:08:54
Speaker
You received the Dance USA Summer Archiving and Preservation Fellowship. Congratulations. You traveled to albert Albuquerque, New Mexico to archive the work of the National Institute of Flamenco. Can you share something about this experience? That's really cool.
00:09:09
Speaker
Thanks, Rodney. Yes. So the Dance USA Fellowship is a really wonderful program that pairs mostly students of archival studies or library sciences, information sciences, and related fields with dance organizations to build the archive of those organizations. So this summer, I worked at the National Institute of Flamenco in Albuquerque, New Mexico, which was founded in 1982 by Eva Encinas.
00:09:36
Speaker
And it's an organization that has several overlapping branches of programming that provides flamenco music and dance education and local performances to children and adults.
00:09:47
Speaker
Eva's daughter, her name is Marisol Encínez. She is the current executive director of NIF. And Eva's son Joaquin Encínez is the artistic director of Ijastros, the American Flamenco Repertory Company. And this is a professional dance company associated with the Institute, which was founded, the dance company was founded in 2002.
00:10:08
Speaker
And members of the company also perform weekly at local tableaus, which are ah sort of venues designed for flamenco performance. And they interact regularly with the nearby University of New Mexico's Department of Theatre and Dance. And, like I said, several overlapping branches. Indeed. Wow. very That's a lot. Oh my goodness. yeah I love it. So lastly, the the annual Flamenco Festival that NIF hosts and organizes is actually the largest and most celebrated Flamenco Festival outside of Spain. And it draws in thousands of Flamenco professionals, ah hobbyists, and students, teachers to the area every year for 10 days.
00:10:51
Speaker
of performances, workshops, and they also have youth programming. So, yeah. I'm exhausted for you. That is amazing. It's pretty intense, and it's happening here in the United States, and I think that's really important so to understand. whichs This is a global art form. Describe the archival work for that you did for them. I mean, go into detail. I mean, talk about, because it's it's got to be a different process of archiving a dance form like flamenco versus modern or ballet or some other genre.
00:11:21
Speaker
ah Yeah, I mean, so so this summer, I worked to develop mostly systems for preserving and organizing um a lot of the materials that they have accumulated over the years. And what I think is really interesting about dance organizations versus you know other kinds of organizations, other businesses, is that they have so many different kinds of materials, so many different types. So they have photographs and videos and newspaper clippings and programs from performances and posters of various sizes.
00:11:50
Speaker
And that so they have VHS tapes and DVDs and Betamax tapes and reel to reels and they have vinyl records and cassette tapes and you know it's so many different kinds of things and costumes right. um And so I was really excited to get to work with all of these different kinds of materials and learn more of how to preserve them, you know, with sort of best practices or.
00:12:13
Speaker
um And we also were doing an oral history project in which we're interviewing flamenco artists who have had a long lasting presence in the Albuquerque flamenco community. And so I was really excited to do this project as a flamenco artist. um And a lot of the videos that they have are you know we're labeled in this way night and I thought um I wonder what's really on this tape and I would look at it and be able to identify the artists that were on it many times which was really exciting um when I was making giant spreadsheets full of metadata about
00:12:46
Speaker
ah the materials. And so I think for me as a flamenco artist, to be able to work at a flamenco organization as an archivist ah was a really incredible experience because it had so much to do with my research, my interests, my, you know, my skill set, my knowledge. It's a really incredible experience.
00:13:04
Speaker
I love it. So how can the public view the work that's been done?
Public Access to Flamenco Archives
00:13:09
Speaker
I mean, I think people would be very curious and interested. To process an archival collection is a really tedious and time consuming effort. So there is still a lot of unprocessed material. But I'm hoping to go back to Albuquerque and process the backlog at some point. um But right now, and the archive is technically open to researchers who can make an appointment with NIF through their websites and then an email ah to conduct archival research on site. at the National Institute of Flamenco, but we're also brainstorming ideas of how to incorporate these archival materials and the history of the organization more into the community. So we're going to be talking about this archival work at the upcoming Biennial Flamenco History and Research Symposium, which is happening in early October. We're thinking about how to incorporate these things into the festival that happens so that people can see
00:13:58
Speaker
these kind of artifacts. um And so for me, the project was really special because I did my MFA at the University of New Mexico and Eva and Marisol were my professors. And I lived in Albuquerque for three years and I was welcomed into this flamenco community. And so it feels really important to me to give back to the community in this way and preserve the legacy of the Encina's family and the role that they played in the development of flamenco in New Mexico, but I mean, in the United States as well.
00:14:26
Speaker
um So, yeah, we're still working on it, ah but we're definitely brainstorming how to get these materials into the community in a real way. That is amazing. So that's really great information. Before we go into a deep dive of Lomenko history with Grazette, we're going to take a little bit of a break and a pause. We'll be back.
00:14:51
Speaker
We want to remind you that if you like what you're listening to and are not a member of OhioDance, you can go to OhioDance dot.org and click the membership button to join and receive the many benefits that come with your membership. You can also donate through our purple donate button.
00:15:16
Speaker
And we're back with Amy and Grisette.
Cultural Richness and Influence of Flamenco
00:15:19
Speaker
I'm going to ask this big question of both of you. And that question is, can you give us a background about flamenco dance, its history and traditions?
00:15:27
Speaker
and um e flaminco and so soon as presang hertitiicaqueumbia dance ah cante it toque <unk>
00:15:42
Speaker
and is originally written by Lucia. I think flamenco is an artistic expression that combines dance, singing, and toque, which is musical accompaniment, the guitar. It's representative of Spanish culture and its roots contain the traditions of Arabic music, but it's strongly influenced by the Spanish Roma who settled in Andalusia.
00:16:09
Speaker
Eflamencos esperesado de manera privado pu in ceremonia and spectacular yeah o en
00:16:38
Speaker
Flamenco is distinguished by its passion, energy, and its capacity to reflect the history and identity of a town. Also, it's characterized by its rich lyrical traditions that combines emotion and poetry.
00:16:52
Speaker
and flamemencoiara minora vdulo traau flameno you know in kulo faminia either in a The the the
00:17:17
Speaker
Flamenco is transmitted through these flamenco tableaus, through familial links and dynasties of artists. At the end of the 19th century, the dance was internationalized by artists like La Macarona, La Gentina, La Gentinita, and Antonio Gades. Nowadays, there's flamenco academies all over the world, from France to Japan and in Columbus.
00:17:49
Speaker
el fandango es un bailí, la solia es un consuelo, y la vulería es una diversión. la pala fundamentales son, la tona, la solia, el fandango, and la segrilla, que pertenes en a la categoria del
00:18:15
Speaker
Flamenco has different styles, they're called palos, that are distinguished by their emotional intention. So for example, el fandango is a dance. The solia is a sort of consolation or source of comfort. And the buleria is a source of fun. The foundational palos are the tona, the solia, el fandango, and the sigdia, which belong to a category called cantejondo, which means it's a deep song.
00:18:44
Speaker
And the these form the rhythmic base of the majority of the other palos. And then you said your favorites are alegrias and wajiras. Because I'm from Cuba. Because she's from Cuba. You said that in English. Sorry.
00:19:01
Speaker
For me, and art, of music, of socante, toque and And this is not just for my view, this expression of the moment.
00:19:22
Speaker
For Amy and I, Flamenco's air, its breath, its comfort, its concentration, its craziness, it's our senses, our emotions, new emotions. It's an expression of our own feelings, to make art, to make music, to sing, to play instruments, to dance. It's our way of life, our expression of each moment.
00:19:46
Speaker
I wanted to add the the people that have the largest role in the creation of Flamenco were marginalized folks in the south the southern part of Spain. And this is why I think Flamenco looks and sounds the way that it does.
00:20:01
Speaker
so it's kind of an assertion of dignity of existence. And so the dancers, they stand tall, they make direct eye contact with the audiences, with each other, with the musicians. The singing is often loud and kind of unrestrained. And the guitar playing uses techniques that facilitate speed and volume from a time before electrical amplification.
00:20:26
Speaker
And so it's really a way to celebrate life and it contains this whole range of human emotions from like the deepest sorrow to the most profound feelings of love to silliness and playfulness. And it's an opportunity to kind of claim space in a world where one feel small or silenced. um And Grisad mentioned the Arabic influences from, and the Spanish Roma, who indeed played a huge part in the creation of flamenco, but the art form also has roots in Afro diasporic music and dance, especially since Spain and Portugal, the Iberian Peninsula, played such a large part in the transatlantic slave trade. There's a lot of influence um from sub-Saharan Africa, as well as Northern Africa.
00:21:11
Speaker
And then there's also Palos that are called Ida y Vuelta, which means a round trip. And these incorporate melodies from Latin American music, largely from Cuba. And Flamenco also contains traces of Sephardic Jewish singing and regional folk music and dance of the time that it was created.
00:21:31
Speaker
So these days flamenco incorporates elements of jazz music, of tap dance and more. So flamenco is this like really rich and complex art form that has lots of different roots that have combined. And it was created with these influences from the various peoples who have inhabited the area. So it's always evolving and it's, but it's also always based as Griset was saying in the singing and the ways that rhythm can unite those in a shared space.
00:21:57
Speaker
So it's largely improvised around a set of rules. It's a structured improvisation. And what's really cool about it is the sort of creative rhythmic ways that artists play within the rules and these structures in exciting and unexpected or like really satisfying ways. And that's what really keeps the art form fresh, in my opinion. Wow. Well, I can tell that this is clearly a passion project.
00:22:23
Speaker
for both of you, this is your passion. And Amy, so I i think that translates into why you're pursuing your PhD.
Amy's Dissertation on US Latinx and Flamenco
00:22:31
Speaker
So can you share something about the thesis work that you're gonna be doing with your PhD? Oh my gosh. Yes, where do I begin?
00:22:38
Speaker
So my dissertation ah looks at flamenco performance and practice and how it manifests in various ah regional communities in the US, particularly communities that have large Latinx populations. um Of course, as we mentioned, flamenco is a Spanish art form. It comes from Spain. But my project seeks to understand how US Latinx flamenco performance, if you know we can define such a thing and say that such a thing exists,
00:23:08
Speaker
negotiates or maybe dissociates from Flamenco in Spain in order to serve those these Latinx communities and affirm Latinx subjectivities. Kind of like how are artists using this form in a way that really serves them, right?
00:23:23
Speaker
I look to the ways Latinx flamenco in the US is mobilized in community to support those that feel maybe silenced or rendered invisible ah by our hegemonic Anglo-American culture. I use archival research, ah ethnographic methods ah to try to understand how flamenco, as performed by these Latinx practitioners in their communities in the US, can reflect their identities, can foster social belonging, and can resist pressures of assimilation into both kind of Anglo-American culture and ideas of Hispanic essentialism. And so basically, the project is about flamenco, it's about Latinx identity, and it's about theories of community formation. When one thinks of Latinidad, they don't usually think of flamenco first.
00:24:11
Speaker
Because as we mentioned, Flamenco is from Spain. But there's plenty of Latinx Flamenco artists and students and aficionados who deeply connect with the form. I'm sitting next to one right now. So my question is, like what is it about Flamenco that these Latinx artists are connecting to? How do they negotiate their own positionality within legacies of colonialism, pressures of assimilation, et cetera, et cetera? I don't think that artists are copying or like striving towards the flamenco that's coming out of Spain. It's not kind of a mimicry. I think they're doing their own thing and they're taking ownership over this art form, engaging with it in ways that reflect and respond to their community and personal needs and desires. And like that's what I'm interested in, how Latinx artists in the US are understanding flamenco and themselves through their flamenco. What I love about that is is it's it's this kind of question that's seeping into other dance genres about this notion of, like you said, colonialism, an America that is built upon immigration um for different art forms, dance forms for other folks who are and essentially not seen, always marginalized. I mean, so it it totally makes sense. And there's something about being in America that changes and alters it.
00:25:30
Speaker
It's it has a true essence, but then it gets altered because it's evolving. That's a pretty cool thing. I'm grateful that you're doing that kind of this kind of research work. Is there a lot of people doing this kind of research or are you just realizing that ah I'm striking gold here?
00:25:47
Speaker
I mean, there are lots of people doing research about flamenco. A lot of people are especially interested in flamenco history and kind of uncovering that these roots of of flamenco. You know, people like Mira Goldberg, Antonio Pisa. So like, there's a lot of historians who are doing flamenco research. And then of course, there are people who are thinking about flamenco today with the financial crisis in Spain ah during COVID, like what happened to flamenco during COVID, ideas of like tourism and nightlife,
00:26:16
Speaker
There are some scholars who that I know who are thinking about Flamenco in the Southwest. you know We talked about Albuquerque and how there's such a large Flamenco presence there. And like why why is that? What does it mean? How does it play into that community? It's like a big pillar of the community.
00:26:33
Speaker
There's definitely people doing this kind of research and thinking about what is flamenco? Why do people connect to it so deeply? You know, Grisette mentioned that there's flamenco in France, there's flamenco in Japan, there's I've met flamenco artists from Australia. I think that in my classes I have a lot of people who are part of the
00:27:04
Speaker
She also mentioned that in her classes, there was people from all over the world. And so there's lots of people from Japan. And she said this this year, there was lots of people from the United States and from Latin America. interesting to to housing in real meeting andjavari flaming quatonval So we're interested in and bringing flamenco to this other level, i mean like an international level. And and I think as a US American flamenco artist, my experience, like the music I listen to, the movies I watch, the political climate I live in, all of these things factor into how I experience dance.
00:27:44
Speaker
And then in Spain, of course, the same, but it's a different context. Or in Japan, the same, but a different context. And that stuff is so juicy. in And you can see it on stage. And so I think that's what's cool about flamenco is it's like really flexible. And so people can find it themselves in the form.
00:28:03
Speaker
ready That is so awesome. So, Grisette, I have a question for you because you are a busy woman.
Grisette's Upcoming Year in Flamenco
00:28:10
Speaker
and So you are are a hardworking busy woman. What are you looking forward to in the coming year?
00:28:15
Speaker
but ah bayp and sohomore recoas priroque somama e loma importantantte isurque se girapo yado um but i mean they don sayanos k ke um being leo muchas atis um artistic ah
00:28:37
Speaker
I'm thinking about three things. The first thing is that I'm a mom, so I want to support my my daughter, Violeta. And she has a lot of interest in in the arts, so she wants to support that. And my other child, my other daughter, is my dance studio.
00:28:57
Speaker
The other thing I want to
00:29:16
Speaker
My other purpose is to continue dancing while I can, creating and teaching and expressing myself through my work and to share my message with Columbus. I dance because my soul needs to, not with any pretense.
00:29:29
Speaker
And for the first time, I was in Spanish and Spanish in school, and I used them a lot.
00:29:53
Speaker
ah Lastly, I got a grant, so I'll be teaching flamenco to all these little kids in Columbus in the schools. And so I'm really excited about that. That's awesome. So, Amy, I have a three-part, which is basically the same question, but it's really a three-part for you. Do you have plans to do more archival work? And if so, where? And if not, what's next for you?
Amy's Research Interests in Dance and Archiving
00:30:18
Speaker
I have, I hope, two more years at OSU in this program, and I am really interested in continuing to learn more about archiving, but right now i I'm really focused on my dissertation writing. I'm really excited to learn more about archiving, and so as I was connecting with the other Dance USA Fellows and the representatives from the other organizations that the organizations that they worked with,
00:30:40
Speaker
It was so interesting to hear that these amazing, fantastic artists didn't have the time, the resources, sometimes the knowledge to properly archive and preserve their work and the ephemera that they had from their decades-long career. It's like, I have 45 years of stuff in my basement, and I don't know what to do with it.
00:30:58
Speaker
And then on the other side, I, as someone who has studied dance my whole life at multiple levels, I had never really been taught about archiving unless I sought it out. And so I'm thinking a lot about how to close this gap and how to combine these two things that I'm interested in, dance research and in a kind of cultural studies capacity and archival and library sciences. And so while I'm really focusing on finishing my dissertation right now, I'm thinking a lot about the ways that knowledge is like stewarded and transmitted in community, both within formal archives
00:31:32
Speaker
and in more kind of oral tradition based practices and how these ah different practices come to bear on the ways that the dance maybe shifts or expands or evolves over time. So I'd really like to incorporate these things I'm thinking about about archives and these questions that I have about how knowledge is transmitted and stewarded, especially anti-colonial practices, those that come from BIPOC communities, like how is knowledge transmitted and stewarded beyond putting papers and folders in boxes on shelves, which is also a valuable practice, but there are so many ways to transmit knowledge. And so I'm interested in and how that kind of comes to bear on these cultural practices, mainly dance, over time. and we're dancing a company together. We dance flamenco and we have many performances together. I absolutely love it. This is awesome. And I have to say, I really love, it's inspiring to know that you both are a part of the Ohio dance community and sharing this love of flamenco with the world. And that's the purpose of this podcast. We want people to know
00:32:44
Speaker
to kind of be able to deep dive and dig in. Maybe this is the chance for them to go explore, come to Columbus and see you both perform. This is what this is for. And this conversation just proves just how valuable this is. And I had a great time talking to both of you. So thank you so much for being on the podcast. We greatly appreciate it, Amy and Grazette. You are fabulous women and fabulous artists and educators. You are Mavericks and I love you. Thank you. Thank you so much, Rodney.
00:33:18
Speaker
A State of Dance is produced by Ohio Dance and hosted by Rodney Veal, executive producer Jane D'Angelo, editor and audio technician Jessica Cavender, musical composition by Matthew Peyton Dixon. Ohio Dance would like to thank our funders, the Ohio Arts Council, the National Endowment for the Arts, the Ohio State University Dance Preservation Fund, the Greater Columbus Arts Council, the Columbus Foundation, and the Akron Community Fund.