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A Moving History with Dr. Candace Feck
359 Plays1 year ago
OhioDance A State of Dance is a six-part series coming out the fourth Friday of each month through November 2023.
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 2023 we have highlighted 33 individuals and institutions. The team has traveled over 5000 miles and interviewed 100 individuals in all five regions of Ohio. In this inaugural episode we talk to Dr. Candace Feck, dance writer and oral historian for the Virtual Dance Collection about her life, her work with the VDC, and how inseparable dance is from our historical landscape. 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.
OhioDance would like to thank our funders: Ohio Arts Council, National Endowment for the Arts, The Ohio State University Dance Preservation Fund, The Greater Columbus Arts Council, Columbus Foundation and Akron Community Fund.
Season One, Episode One: This month's guest is M. Candace Feck, Ph.D. Candace Feck is The OhioDance Virtual Dance Collection Oral Historian, Faculty Emerita in Dance, The Ohio State University, B.A. Cultural Anthropology; MA in Dance; PhD Art Education. Dr. Feck’s essays, criticism and research have been shared in numerous presentations, and published in journals, films, websites and archives. She completed an oral history of Bebe Miller, housed in the New York Public Library Dance Collection. She was a member of the NEA-funded Accelerated Motion: Toward a New Dance Literacy in America. She is the recipient of a Michael Sherker Award (1998) and a National Dance Association Award (2000).
Host: Rodney Veal
Executive Producer: Jane D’Angelo
Editor and Audio Technician: Jessica Cavender
Music Composition: Matthew Peyton Dixon
Recommended
Transcript
Introduction to State of Dance Podcast
00:00:07
Speaker
Welcome to a State of Dance, sponsored by Ohio Dance and hosted by independent choreographer and interdisciplinary artist Rodney Veale.
Ohio Dance's Mission and Virtual Dance Collection
00:00:26
Speaker
Hello, I'm Rodney Veale, artist and choreographer here in Ohio, a great state of dance. The mission of Ohio Dance is 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 the practice within the state of Ohio
00:00:56
Speaker
and weave them together in an easily accessible digital format. This we call the Ohio Dance Virtual Dance Collection. As of 2023, we have highlighted 33 individuals and institutions.
Exploring Ohio's Dance Stories
00:01:09
Speaker
The team traveled over 5,000 miles and interviewed 100 individuals.
00:01:14
Speaker
all five regions of Ohio. This is only a part of what Ohio Dance does. Over this podcast series, we will explore some more of the stories still to discover. I like to say, do it like Ohio Dance.
Dr. Candice Feck's Role in Dance Documentation
00:01:31
Speaker
Today we'd like to welcome our guest, Dr. Candice Feck. Candice's faculty emerita
00:01:37
Speaker
in dance at the Ohio State University. Candace is the oral historian for 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 at Ohio. That's very heady, but she's also a really amazing lady in her own right and just fun to be around. So Candace, welcome to this conversation about State of Dance.
Candice Feck's Dance Journey
00:02:06
Speaker
thrilled to be here. It's super cool. All right. So, Candace, for the audience's perspective, we do have a little bit of history, a little connection with the Ohio State University Dance Program, and it's always a pleasure to be in your company. So, tell us a little history about you, Candace Feck. I mean, what, I mean,
00:02:26
Speaker
I've talked to a lot of artists and my other day job as a television host. When does the bug of dance really step in for someone? And when did it step in for you? Well, it's an interesting question. I can tell you that my mother had a dance studio in Cincinnati, Ohio.
00:02:46
Speaker
And so I literally grew up in her studio, hanging around in there, taking classes, eventually teaching for her when I was in high school. My mother is sadly no longer with us. And so I feel like I can tell you it wasn't very good training.
00:03:03
Speaker
But it was dance, and I loved it. And it wasn't, you know, part of my history. But something happened. I graduated from Webster College in St. Louis with a degree in social and behavioral sciences.
00:03:21
Speaker
and got a job as a social worker in Cincinnati in the early 70s, dating myself. And I stumbled upon a concert poster for a company called Contemporary Dance Theater. I went to the concert and I had sort of a biblical experience, the kind in which you leave everything and follow me, kind of.
00:03:49
Speaker
I was dumbstruck by what I saw. I had not really seen contemporary dance, and it was a life-changing experience. From then on, I was social worker by day, dance student by night, and here I am.
Ohio's Dance History and Influences
00:04:05
Speaker
I love it. I mean, that light bulb moment of seeing contemporary dance has kind of drove this, even though you had experience with it, which is, you know, it was experiences experience. Right. That's pretty cool. I mean, so, you know, this is, I mean, it's, you know, you said you dated yourself by saying this is happening in the 70s. Yes.
00:04:26
Speaker
Now, how did that lead you to Ohio State and this whole getting into this sort of world of writing about dance? Oh, my goodness. When I got married in 1976, I moved to Youngstown, Ohio for a few years, and there was nothing much happening dance wise there except for European folk dance, which I loved. And I would travel
00:04:55
Speaker
weekly over to a place called the Cleveland Modern Dance Association at the time and took classes there. Somehow I got invited by a woman named Marilyn Kaczynski who was running the dance small little dance program within phys ed at YSU.
00:05:19
Speaker
Youngstown State University. She asked me if I would take her place while she was on sabbatical. And I said, sure. I had never thought about teaching. Didn't even give it a thought. That was I had no aspiration to be a teacher. I started teaching in that that area at YSU and
00:05:42
Speaker
got the teaching bug almost as badly as I had gotten the dance bug watching contemporary dance theater. I loved it. I loved sharing my enthusiasm for dance. And what happened from there is that I realized, oh my gosh, I want to do this, but I'm not trained to do this. And I migrated with my husband to Columbus and enrolled in the graduate program at OSU right then and there, 1979.
00:06:13
Speaker
You just knew Ohio State was the place to be. Let's put this in context, historical context, about dance in Ohio because we're talking Cincinnati to Youngstown to Columbus. You can't be any more immersive. Your mom ran a dance studio in that world. So let's, for our listeners, explain why Ohio has this really robust history of dance in the state.
00:06:38
Speaker
The fact is, it does. And I've learned that certainly working on this project, how rich, how deep the dance roots are in this state and around this state. And what I think is, A, it probably doesn't hurt that it's a day's drive from New York. So we are a place that can be reached by artists who were really shaping contemporary dance at the time. Ohio is a state that has a lot of big cities.
00:07:07
Speaker
gents population. I think that that is a factor. And I also think Ohio is a place that has more than an average amount of colleges and universities. So you have this kind of bubbling population, not far from New York, and you have a lot of colleges and universities where dance begins to take root.
00:07:33
Speaker
It's not a scientific explanation, but it's what I've got. I've thought about it a lot.
00:07:38
Speaker
No, I know. And that's why we brought you in with this conversation, because you have to put the thought
Virtual Dance Collection and Oral History Methods
00:07:44
Speaker
process into it. Because I always ask the question about why Ohio? Why? Why? Why? I'm in this world of dance as well. And I go, Dayton, Ohio, I mean, a major ballet company and a major contemporary dance company at the St. and we're the sixth largest city. So it's interesting. And it's just very fascinating. And I knew it fascinated you. So
00:08:05
Speaker
It does and my fascination has only grown as we've worked on this project and I've met some of these people in various outposts of Ohio. It's amazing and unexpected. It's kind of a secret. You know, people don't think of Ohio.
00:08:21
Speaker
dance, but it's a fact. But it's an actual fact, and it's tangible. It's very real. It's like, folks, you can actually see and experience and kind of embody, immerse yourself in a dance world. Absolutely. Just a perfect lead-in to your work as a historian for the virtual dance collection. What about this project spoke to you and said, yes,
00:08:42
Speaker
I'm going to give up my retired, I'll put it in air quotes, retired life to invest in this ambitious project that Ohio Dance took on with the virtual dance collection. Yes. Well, I can say that while I was at Ohio State, I was involved in various projects. I did an early CD.
00:09:05
Speaker
when CDs were brand new, documenting the work of Victoria Uris. And to do that project, I fell into using oral history methods. I had been trained through the social sciences work to think about oral history as a methodology. And it was incredibly useful to talk to all the people who had worked with Vicky through the years. So that became a mainstay of that project.
00:09:35
Speaker
I also was working on a book on Elizabeth Streb. I probably did thousands of pages of transcripts of interviews with people who had worked with Streb, including Streb herself. So I was using this methodology and eventually taught oral history methodology at OSU. So when I retired, which was 2015, I got a call from this woman named Jane DiAngelo.
00:10:03
Speaker
We all take the call from Jane. You know how that goes. We all take the call.
00:10:08
Speaker
She is an amazing figurehead in this state and full of ideas, full of energy to enact those ideas. She happened to call me in the summer right after I retired. I was getting ready to go on a long trip to Italy, six months I was going to be gone. I was in a pretty good space to say yes to anything.
00:10:37
Speaker
She got me right at that critical moment. She asked if I knew anybody that could do oral history interviews that I could recommend because she was starting this initiative to document the dance of Ohio.
00:10:52
Speaker
And I said, well, I mean, I could do it. I'm retired. And she was quite enthused about that idea. And, you know, it's easy to make plans when you have a long voyage ahead of you. And when you think, when I come back, I'll start my new life over. I was in.
00:11:11
Speaker
But the project itself pulled me and continues to pull me deeper and deeper. I cannot get over the riches of this collection.
Team Behind the Virtual Dance Collection
00:11:21
Speaker
You are working as the historian for the virtual dance collection, but I know you're not working alone. You're not a lone wolf. So can you tell the folks out there who's on the team of the virtual dance collection and putting it together?
00:11:34
Speaker
I would love to, because I'll tell you, I'm very proud of the fact that we're a lean, mean team. It is shocking to me, looking at the website, thinking a handful of people did all this. So I have to mention Jane DiAngelo, the director of Ohio Dance, whose brainchild this whole project is. I think Rodney, as chairman of the board of the Ohio Dance
00:12:02
Speaker
I think that that brainchild may have been spawned in a conversation with you and Jane so let's give credit there and the board, the board, the amazing board. So, Jane is a spinner of ideas and an amazing facilitator of them I can't say enough about how my admiration for her.
00:12:23
Speaker
There's also Jessica Cavender, who is an extraordinary, she's a beautiful dancer, okay? I know. Beautiful dancer, and she is our videographer. She has lots of experience with photography and videography, cinematography. She makes her own films.
00:12:44
Speaker
And she brings all that expertise to the project. And Megan Davis Bushway is also a videographer and a dancer and a teacher of dance and has a great eye for photography and cinematography. And finally, there's a man named Patrick Tabatred and he's our webmaster who puts it all on the site at the University of Akron.
00:13:10
Speaker
An amazing group of small but furiously, fiercely dedicated people. And lots of talent, which is really great. We're in the middle of a residency at Kent State right now, introducing students there to Karamoo House. And Friday, watching as Jessica just introduced the collection, the virtual dance collection to those students.
00:13:34
Speaker
And just as she was navigating through the homepage into Karamoo House, it almost took my breath away how much there is going on and how much we have to share and how diverse it is. So it continues to interest me.
Oral History Process and Insights
00:13:50
Speaker
I love that. And let's talk about that because you did talk about your oral history process of gathering these interviews and asking these questions. So let's talk about that process with this particular project with a virtual dance collection because you've interviewed over a hundred people. So folks, this is an ongoing project. I mean, it's like our history keeps
00:14:12
Speaker
Forming so to speak and as cuz dance will is very vital in our state so talk about your process in this it was anything different about this process and versus what you've done in the past with all history to modify adapt to me.
00:14:27
Speaker
In some ways, it's a shortened form of an oral history. You know, a true oral history might involve as many as half a dozen sessions with an informant. You go in, you start with their childhood and you go on and you go on.
00:14:42
Speaker
This is usually, our average interview is probably an hour to an hour and a half. So it's very focused. In that sense, it's different. But the preparation is the same as any kind of research. I look to see what I can find out about the informant. I want them to know that I've done my homework. I'm not going to ask them something that's already documented elsewhere.
00:15:05
Speaker
And then I go in with, as I always would for an interview with a protocol. And if I listen carefully, which is the key, I will learn things that I didn't know and the questions evolve as we're going. It's an improvisation exercise, really, once you get into it.
00:15:23
Speaker
I love that. It was attributed to actually the dance pedagogy of improvisation, which is I love. And you talked about that there's just so many surprising things. Is there one that really when you went in, you thought the interview was going to just be just basic information and then it turned into this treasure, this gold mine of stuff?
00:15:44
Speaker
It happens almost every interview in some way, but the one that comes immediately to mind is one of the early ones we did documenting the work of Betty Robinson in Columbus. She is sadly deceased. We were speaking to her daughter and people who had worked with her. And as the interview went on, now Betty had this prolific studio
00:16:09
Speaker
of big performances, yearly performances. I don't know, hundreds and hundreds of students, maybe a thousand students, I don't know, that she touched in her dance life in Columbus. And these were classes that were offered to African American students when nothing else was really available.
00:16:27
Speaker
And we're talking and I'm asking about the studio, which was in her basement. We're talking about how kids came and went from the house freely, how she developed her yearly shows, and how connected she was to other dance events in town, like the early development of the civic ballet that became Ballet Met. So this is all very rich and interesting and going along and suddenly,
00:16:54
Speaker
something came up about when she got home from, I think it was a school in Hilliard where she was a teacher. And I said, wait, wait, wait, are you saying she taught all day and then did all this? And yes, we just looked at each other like, what? You had a full time job working as a special ed teacher and you developed all this. So that is memorable. Yeah. Oh, my goodness.
00:17:22
Speaker
I mean, that in and of itself, I mean, just special education. It's a rigorous profession. It goes beyond just the classroom. It's the preparation and the after work that has to go, you know, speaking to someone who worked in K-12 for 19 years. It's a lot of work. Yeah. And then have a dance company and cool and okay. All right. That's that. And I think that's what's so important about telling these stories and finding out these things about the
00:17:51
Speaker
the individuals and the organizations that would surprise us. Yes. It is surprising. It goes back to the point of Ohio having such a rich history of dance. I mean, it's just, it's kind of practically unheard of. So it's pretty cool. It is. And it reminds me to say something that's very dear to me, and that is that I view the conversation as a site of knowledge or knowledge making, just as we're talking right now to me.
00:18:17
Speaker
A conversation is like sacred ground. You're listening to each other, you're exchanging information and a lot can come. There's a kind of alchemical process where the sum is greater than the individual parts you meet and things bubble out of that. And that is just a core belief of mine. So it allows me to go into these interviews, I think just curious and ready and excited to learn.
00:18:45
Speaker
and their stories, as you said, that might not come out otherwise. I love it. So we're going to take a little bit of a break and then we're going to come back. We're going to deep dive into even more things about Candice and the Ohio Dance Virtual Dance Collection.
00:19:07
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.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.
Writing the Documentary Script in Italy
00:19:32
Speaker
Okay, Candace, we've talked about the virtual dance collection, but there was an offshoot of the virtual dance collection where we produced a documentary because we had so many interviews and so much rich material. But it's really interesting to me that you wrote the script for the documentary on a trip to a tiny village
00:19:50
Speaker
in Abruso, Italy. I mean, the fact that this has become an international production. Can you tell us something about the fact that you're in Italy writing this rich documentary about? Shouldn't you have been enjoying the scenic views of Italy?
00:20:06
Speaker
And Lee versus writing a documentary? I was. I was enjoying the scenic views and they were inspiring my writing. In fact, I was enjoying the cappuccinos in the little local espresso bar. I went there every day. First couple hours of every morning, had my cappuccino.
00:20:25
Speaker
took in the sights and sounds of the community and thought, how am I going to write a documentary? And what I did really, Rodney, was I reread all the transcripts from the first 10 sites, which involved, I mean, I don't know how many interviews. Some places we interviewed five people.
00:20:44
Speaker
So I looked over them. I didn't have a method for working, but I made a chart in which I had a column that said where we were in the interview tape. I made a column that said narrator, which was you Rodney. Yes, it was. You gave me a fantastic script to read from, so thank you very much on that. Oh my gosh. My approach was to try to include all the voices of those first 10 sites.
00:21:13
Speaker
And that just was an important starting point for me. It didn't end up being very useful because what I produced, looking to tell a story, make an arc through all the voices and transcripts that I had, added up to an hour and a half of a draft. And I got home. We didn't know exactly how long it had to be at that point, but we quickly discovered that it needed to be 26 minutes.
00:21:40
Speaker
Right. That's a lot of chopping.
00:21:44
Speaker
We had an opportunity to show the documentary on television for a lot of folks. A half hour show is really only 26 minutes long. But when you're starting with 90 minutes, right, it was a tough reality to deal with. So I tried, of course, chopping and striking through different passages. And finally, one of the things that's unique, I think, about our project and our process is that we are all busy people and we're a very small team.
00:22:14
Speaker
three to five people working. And we're all working on many other things at the same time. You know, Jessica was running a theater in the short north. Jane has all of Ohio dance with all of its many activities. And I had a similar situation, not a job, but lots of life events. So we're working on our own.
00:22:38
Speaker
I'm working, striking through, sending it to Jess, sending it to Jane. Maybe Megan is looking at it. It's a very cumbersome process, right? And I think I finally said,
00:22:48
Speaker
I think we need to rent out an Airbnb someplace, go somewhere away from all the other commitments and just get in there and work through it together, which I think was this new starting point of how to work with this material. And we really redid the script.
00:23:08
Speaker
But we're able to do it in such a way that Jessica could right away take the new idea and show us the footage. And we'd say, does that work? And maybe not that. Anyway, that's how we got to 26 minutes.
00:23:21
Speaker
I love it. And what I loved about it was the fact that by doing that, it allowed a narrative within this documentary to kind of bubble to the surface. And it was really about women and that there were these social forces that were having a time with civil rights, women's rights, LGBTQ rights.
00:23:41
Speaker
All these things are percolating at the same time, so there was this really interesting sort of call and response to the forces of our society heading in this direction to where we're at now. And I think it was important to do. You're singing to the choir, Rodney.
00:23:56
Speaker
Right, right. To get on my soapbox for a minute. Go for it. In teaching dance history and teaching people to write about dance for decades, I have the strong awareness that people just don't know what dance is.
Challenges of Writing About Dance
00:24:12
Speaker
You could step outside of this conversation
00:24:15
Speaker
ask somebody at the grocery store, what dance are you following? So we have a lot of work to do. And one of the things we have to do is erase the idea from people's minds that dance is a separate world. It's part of our world. It's a big part of our world. And it's always a product of its time. So social and political events and ideas are always going to be part of it. And people just simply don't know that.
00:24:45
Speaker
It's an articulation of an art form that's movement-based, but it is its own vocabulary. And like you said, it has a context. It has a rich social context, a historical context. It's of the now. It's what we're thinking, feeling, breathing. It is life itself. But how do you write about it? Because there's a lot of writing about film. There's a lot of writing about film.
00:25:07
Speaker
theater, there's a lot of writing about visual art, but dance is a really unique sort of writing practice. So can you talk about like how, like what makes writing about dance different? Well, let me say it's a creative act, writing about dance in itself, because dance is largely nonverbal. And now you're making words about a nonverbal, essentially nonverbal arts form.
00:25:32
Speaker
So where do those words come from? They come from deep within your experience of viewing it. I love it because it requires a very active form of attending to a dance. You can't write about it if you're just kind of sitting there passively letting it go by. You really have to connect with it.
00:25:54
Speaker
So that's a very special part of writing about dance. Also, it has the benefit of allowing you, the writer, to linger with a form that's disappearing as it's happening, right? The famous ephemerality of dance. This having to write about it allows you to sit with it.
00:26:12
Speaker
And it forces you to sit with it and think back through your sensory experience to make some kind of narrative. It is important because it also develops a vocabulary for a form that, as I said, is essentially nonverbal. And if we want to share the rich history of dance in Ohio or anywhere, for that matter, we need words to do that. So it's a very
00:26:39
Speaker
reciprocal kind of engagement. It's good for the writer and it's good for the dance because we're looking at it in a very careful way.
Future of Dance: Diversity and Evolution
00:26:48
Speaker
I love that. And so we're going to talk about dance writing in specifically because you have you are you've written so much about dance outside of the virtual dance collection and your career in the dance field. You wrote and this is going into your history. It feels like this is your life moment. But 20 years ago, you wrote an article
00:27:07
Speaker
called against on. And in the article, you argue the term choreographer uses dances on people. You say it is not clothing to take on and off. Wow. Well, it's again me trying to communicate to an outside world how integral, how personal, how intimate
00:27:30
Speaker
and experience dancing is. And it was annoying me for years and years to hear choreographers say, yeah, I went and set that dance on that company, or yes, let's put the dance on her, or I made it on him. And I was like, no, not on.
00:27:47
Speaker
there's no way the dance is on them. It's in, it's coming, it's full, full-bodied. Yes, I'm doing gesturing wildly because I just like, yes, I agree, I agree, I agree. It's a relationship and it's so many other things is how that person feels that day. What's going on in their lives is affecting how they make motion through this world. So yes,
00:28:11
Speaker
Absolutely. Which like I think that for our audience, because this is going to go to an audience of dance aficionados of people who are really invested in dance, but also people who don't know. Yeah. And so it's very, this is maybe something a little tool for them to recognize that choreography is not just a suit. Right. Put on and off. No way.
00:28:31
Speaker
Yeah, no way. For us dancers, you know, there's no way. It's a full on investment of self. And so, and a former OSU student, Annie Kaufenberg, referred to against on her article, Why It's Time to Stop Saying My Dancers. Yeah, how about that?
00:28:47
Speaker
Because it's like they're not your possessions. No, no. It's a similar little habit of language that she's attacking there. I love it that she wrote that and we had actually spoken about it, Annie and I, for years, but also with other dancers. I mean, B.B. Miller talks about it often. You can't, and it's affected as
00:29:11
Speaker
Any enterprise in which you invest deeply affects everything about your life. I can't say my butcher. I can't say my hairdresser. I won't say it. I find ways to say the hairdresser that does my hair, but I'm not going to say mine. She's not mine.
00:29:32
Speaker
You know, so it's those little you look at that my it's two letters on two letters
00:29:41
Speaker
makes a big difference. So it really does that. And so when we talk about dance, because we talked about you talked about the ephemerality of dance a little bit earlier. And so that's another similar concept. It's not our dance. It's not our performance. It is a performance. Yes, it's a really good point. And so we so that gives the audience I think the non dancer audience another tool to kind of passport into this world of dance.
00:30:11
Speaker
Exactly. And you remind me of no dance performance will ever be the same twice, right? As you said, it's how the person is feeling that day. Is the person injured? Did somebody have to step out and come in very spontaneously? There is no way a dance will ever be
00:30:31
Speaker
perform the same way twice unless it's a film that you're rewatching. So that's part of the live dancing experience. It's live and happening now, and anything could happen on that stage. People are making decisions in real time.
00:30:49
Speaker
actively. It's okay. You have this vantage point in a way, not to say there's a finality to it, but you have this vantage point of looking back because you've invested in seeing and observing and writing about dance in the state of Ohio. What can you say to folks about the next going looking forward with dance? What are your thoughts? What are your thoughts on where it's going forward?
00:31:15
Speaker
Well, I'm going to say straight out that I have no crystal ball. I hate to disappoint you. Looking into the future, it's beyond my reach, but I do feel something that I'm seeing, and I was reminded of it at Kent State on Friday as we flipped through the virtual dance collection from the homepage.
00:31:38
Speaker
is that there is an immense diversity of dance. I'm afraid when you say dance in public contexts in a social setting, for example, it's the ballet dancer that often comes to people's minds. And it's a beautiful art form, but it's one of many.
00:31:56
Speaker
And when I looked at our collection, we've got Mexican dancers at a dance company in Toledo. We've got folk dance, we've got hip hop, we've got so many forms. And what I see from that is that
00:32:13
Speaker
Dance will always reflect its time. I come back to that point. Our time is a time of embracing diversity on our on our best days. And I see that happening with dance, that we're going to see more of the cross influences among these various practices and kinds of dance.
00:32:35
Speaker
rather than one form or two or three forms. We're going to see a lot richer material develop from all of that intersectionality. Okay, well that is, that is, it's not a crystal ball but it is definitely a wonderful road map. Wow.
00:32:55
Speaker
to guide us in a journey and a direction to think about it. Stay tuned to the Virtual Dance Collection to see what comes up next. Candace, this has been a fantastic conversation and we got a little insight into you and the Virtual Dance Collection and keep on sipping the cappuccinos and the little talent in Italy. I'm packing my bags as we speak.
00:33:18
Speaker
And maybe the second documentary for Ohio Dance. So we look forward to that. Oh, it's been a joy to talk about my favorite subject. And it's always lovely to see you rod me. Thank you. My pleasure. It's a little pleasure.
00:33:38
Speaker
A State of Dance is produced by Ohio Dance and hosted by Rodney Veal, executive producer Jane DiAngelo, 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.