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Rhythm Revival: Lynn Dally's Journey to the Global Stage
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This month's guest is Lynn Dally. Lynn is a pioneering tap dancer, choreographer, and educator whose artistry helped define the modern tap renaissance. A co-founder of the groundbreaking Jazz Tap Ensemble in 1979, Dally fused the improvisational spirit of jazz with the rhythmic precision of tap, bringing the form to concert stages around the world and re-establishing tap as a serious contemporary art.
In 2001, Dally became the first tap dancer ever awarded a Guggenheim Fellowship in Choreography, affirming her trailblazing role in expanding the boundaries of rhythm dance. Her choreography celebrates musical collaboration, syncopation, and the voices of women in tap—work that includes the acclaimed documentary Gotta Move: Women in Tap and the nation’s first conference dedicated to female tap artists.
Through her performances, teaching, and global outreach, Lynn Dally has preserved tap’s lineage while propelling it forward. Her legacy continues to inspire generations of dancers who see in her career a bridge between tap’s vernacular roots and its vibrant, evolving future.
OhioDance: A State of Dance is a six-part series coming out the fourth Friday of each month through November 2025. 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 2025 we have highlighted 44 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 Podcast
00:00:07
Speaker
Welcome to A State of Dance, sponsored by OhioDance and hosted by independent choreographer and interdisciplinary artist, Rodney Veal.
00:00:22
Speaker
Welcome to A State of Dance, sponsored by OhioDance and hosted by Rodney Veal. The podcast is partially based on the OhioDance 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.
Who is Lynn Daly?
00:00:41
Speaker
Today, I would like to welcome our guest, Lynn Daly, dancer, choreographer, and the artistic director of the l LA-based Jazz Tap Ensemble. Lynn is also UCLA professor emerita.
00:00:53
Speaker
Lynn, I want to thank you for joining us today. Glad to be here. So Lynn, you've had an an extremely robust career working with many stars in the tap world and your own tap company.
00:01:06
Speaker
Most of your work was in l LA, but you are originally from Columbus and went to OSU for your undergraduate years studying dance and French literature. Your father owned a dance studio in Columbus on high street named Jimmy Rollins Dance Studio.
00:01:20
Speaker
Your father taught ballroom and your mother taught ballet. Your father started with tap dancing.
Early Dance Influences
00:01:26
Speaker
Can you talk about your early years of dancing? And were those years of dance spent in your parents' studio?
00:01:32
Speaker
Yes, I did. I grew up in the studio. And since I was there first born, i was there a lot. And it was the family business. You mentioned he was the ballroom dancer. She taught ballet.
00:01:48
Speaker
But he was also the tap dancer. That's what he did in his early life. He was in vaudeville as a teenager in some family act where he was the oldest kid in the act.
00:02:03
Speaker
And I know it's something he enjoyed. And I just i realized my one of my best friends and dancers that I grew up with, Fred Strickler, who just passed recently, I was listening to his oral history and hearing him describe my father. And I thought, my God, I never i didn't perceive that. you know He was just my dad.
00:02:28
Speaker
It felt very showbiz, but Fred described him as a true old vaudevillian. And I was like, you're right. He was.
00:02:39
Speaker
But I didn't know it. He was just my dad, you know, and a very demanding teacher and and and a very good one. So growing up in the studio, what was so much fun was it was a whole world.
00:02:52
Speaker
He chose his teachers. They learned things. his curriculum that he designed to be able to teach in his studios. So I got to hang out with them. I remember when I got my first candy cigarette and I would take it in ah to the break room because I was the only kid allowed in you know in the teacher's lounge, as it were.
00:03:14
Speaker
They couldn't, like, get rid of me, you know, so I'd go in with my candy cigarette. You were hanging out with the other adults with your candy cigarette because yeah yeah you were as as sophisticated as they were. ah oh oh for sure.
00:03:26
Speaker
I couldn't wait to get older all the time when I was little. But it was very rich because my mom placed me and ah and my sister and brother later in Catholic school. So i was in Catholic school all 12 years, right? But the contrast of going to, in the first grade, Holy Rosary.
00:03:48
Speaker
in Columbus, and then St. Joseph's Academy, and then Immaculate Conception, and then Bishop Watterson High School. You know, I had full-on Catholic education, and it was excellent. It was all good. But the contrast with being in school and then after school, going to the studio until 8 or 9 o'clock at night, you know? but I was there a lot, and I got to know everyone who worked there, and it was great.
00:04:17
Speaker
That's pretty amazing. you know
Why Shift from French to Dance?
00:04:19
Speaker
You just had this total immersion. Were you one of those, this is what I want to do, I'm going to be a dancer just like my mom and dad? Or did you decide like, well, I love it, but let's move on to something else?
00:04:29
Speaker
I was very responsive to the training and the rehearsal practice sheets that he gave me. There was a period, I wasn't allowed to take tap with my dad until I was eight years old.
00:04:41
Speaker
So I had other teachers first. And they were more forgiving, sure. i' sure But my dad was really so clear in his teaching.
00:04:54
Speaker
And he was a good choreographer and a good dancer. It was a great model that way. Did I grow up thinking, oh, i I've got a dance for the rest of my life? No.
00:05:05
Speaker
I just was responding to the immediate situation and enjoying it a lot. I got a lot from it. By the time I was about 12, 12 or 13, he had a TV show for a whole season.
00:05:19
Speaker
Really? Yeah, on a Sunday afternoon after church. It was like a half-hour show, and it featured the dancers from his studio. Because besides his work with children, his adult ballroom thing was a big deal. i mean, he would stage ballroom performances to meet the big bands who would come into the big hotels downtown.
00:05:43
Speaker
You know, he'd he had a little crew of his best people who could do everything. So when a good big band would come in to do the Deschler, the Neal House, I can't remember them, but, you know, they were the big hotels downtown. I enjoyed it. I really did enjoy it. yeah But here's the change point. and He gave me a studio to run as my 15th birthday present.
00:06:09
Speaker
My mother was furious. Really? was like, what are you doing to my child?
Starting the First Dance Company
00:06:16
Speaker
I didn't think it was a bad idea. I went for it. Of course. No, you didn't. i mean But then my father was a very good seller of whatever he was selling.
00:06:26
Speaker
so He really was. Anyway, that didn't last even a whole year, but I enjoyed it. you know So graduating from high school, somehow I got to see a modern dance concert at Ohio State in Sullivan Hall, which became the dance department home many years later. But at that time, there was theater hall.
00:06:51
Speaker
on the main floor and it was mostly the faculty of the dance department making works. And it to my eye, I mean as much as I already knew from my studio life and from my dad taking us to New York and seeing shows and seeing artists as i was growing up, this modern dance concert was like, what is this?
00:07:17
Speaker
I thought I was done with dance. Coming out of high school, I thought i wanted to be a translator at the UN. And I really loved my French classes, so I thought, oh, I've got something for language. I bet I could translate.
00:07:31
Speaker
I believed that for about, i don't know a couple months or something. But anyway, so I saw this one concert, and it really did... opened my eyes to, oh my God, there's so much more out there that has to do with your creativity. And I knew that I liked choreographing.
00:07:52
Speaker
I knew what it was. i had done a bunch of it on the way up in the studio in terms of making routines and stuff. But this was different. This was a whole other kind of expression, whole vocabulary, everything. And you wanted it you really wanted in on that.
00:08:10
Speaker
I did. And my best friend in the dance department, she was from Akron, Janet Wynn Descutner, who became the chair of dance at the University of Oregon in Eugene for many, many years. She also was a French major.
00:08:26
Speaker
And by the senior year of engaging so completely with the dance department, I lost my French scholarship completely because I wasn't doing the work. Yeah.
00:08:38
Speaker
Because the dancing was a much more enjoyable experience. oh that Yeah, there was so much to it. because ah And again, ah see, I think because of my dad and what I've been exposed to that young, I really knew good teaching, you know?
00:08:54
Speaker
And Helen Alkire was a killer teacher. She was someone who... Yes. Yeah. Exactly. Because I'm an OSU alum, so this is, you know, I heard the stories. You know, and everybody else on the faculty and just the whole point of view about what could happen.
00:09:13
Speaker
And that time as an undergrad, here was the major bonus for me artistically. By my senior year, I was one of the few that got to make a new piece for Merchant, which was before it was called the Wexner Center.
00:09:29
Speaker
So, in other words, I was an undergrad who was valued enough in the work, you know, that I got to have a piece on that stage. I did this graduate work in theater at Smith, and that kind of rounded out for me culturally, artistically, because I got to, I was like a graduate assistant teaching modern dance in the dance department, but all my graduate studies were in the theater department.
00:09:57
Speaker
So I got to take acting and directing and scene design and and then new ideas of criticism. And then i wrote a 100-page thesis on the character types in the theater of Eugenia Nesco.
00:10:13
Speaker
I can't imagine what I said that many years ago. I've always wanted to look it up and see if it made any sense at all. But at the end of that, I went to Europe for a little while with my first dance job in Greece. And then my friend and i started making our way up through Europe, and I wanted to go to London. I went there, and I got so excited about the people I met there that were making dance and were associated with that Graham Center that was also about notation and all that.
00:10:43
Speaker
It was a a high time. And so i rented a bed for a month. Just to get to know people better, take class, and see what what would it be like to be a modern dancer in Europe.
Teaching and Collaborating at Ohio State
00:10:58
Speaker
You know, that's kind of what I was trying to get a feel for. Okay, a month, lost my plane ticket home. I had to call my Oh, goodness.
00:11:09
Speaker
so i came home and then i had no job no anything really but roy bowen in the theater department offered me movement for actors class to teach and i did that for quarter a couple quarters, I think. And then Helen Alkire called and said, would you like to teach in the dance department?
00:11:31
Speaker
Well, of course, that was the job. So i was i taught there for five years. The amazing bonus of graduating from that department as an undergrad, that a few years later, i got hired and I taught for five years and I loved it.
00:11:49
Speaker
I loved the whole attitude. It's where I really learned about collaboration and just the values that were put forth made sense. And the people could dance.
00:12:01
Speaker
i mean, it comes down to that. Yeah, it does. We're going to take a little bit of a break from our conversation, and I look forward to talking to Lynn about her journey forward in dance.
00:12:18
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 OhioDance.org and click the membership button to join and receive the many benefits that come with your membership.
00:12:31
Speaker
You can also donate through our purple donate button.
00:12:44
Speaker
Hello, everyone. Welcome back to State of Dance. And we are talking to Lynn Daly. And Lynn, I love to pick up this conversation. After five years of teaching at Ohio State, when did you start your dance company?
From Ohio to UCLA: A New Beginning
00:12:56
Speaker
ah I was offered a teaching position at UCLA for the fall of 76. So from 71 to 76,
00:13:04
Speaker
so from seventy one to seventy six I was doing a variety of things. My then husband and i took a year off thinking to get away from the university life so we could do something else each.
00:13:21
Speaker
And my something else was i knew I wanted to have some kind of a dance company because I really did want a choreograph. I didn't see becoming a commercial choreographer. I really wanted to make my own work and make a company somehow. But I felt i needed to study more too. So there was one year of just basically traveling around and visiting our friends in different parts of the country. a little bit of a hippie year.
00:13:49
Speaker
was great. And then i went to San Francisco for a year after a couple of workshops in Long Beach. There was a really good summer festival there. where I got to study with Merce, and I was Richard Kimball's assistant one time.
00:14:05
Speaker
He was a great ballet teacher here in Columbus. But I went to San Francisco to study exactly with Margaret Jenkins, because Margie was a great proponent of Merce's work, and she was just at that moment returning to her hometown to establish her studio and her company, right? Right.
00:14:26
Speaker
So my first little Lindahlian dancers, we made 11 concerts that we performed all over the Bay Area, starting at Margaret Jenkins Dance Studio. There were me and six dancers.
00:14:40
Speaker
So there's seven of us, and we all were students of Margis. So I wasn't professing to have a particular technique. I just wanted to make dance. You just wanted to move. Yeah.
00:14:51
Speaker
yeah There's a thing. Sometimes it's just that. Please, yeah. I just want to make dance. So that was the beginning, in a way, of my modern dance company. And that did go for quite a while because after that year with Margie, which was so valuable, just another great teacher she is, besides everything else artistically that she's accomplished,
00:15:13
Speaker
I was invited to as a guest artist at terrific dance departments like OU in Athens, where I was invited for a whole semester doing the guest artist thing, which was teaching, because I could really teach improvisation in modern dance. I mean, I was getting known for being a really great improv teacher.
00:15:35
Speaker
in the modern dance field and technique and make a dance for the people I was working with. you know That kind of residency, very full. So I did that and also did one at Denison, other places too.
00:15:51
Speaker
So it was a few years of a variety of things happening. And then when I got offered the position at UCLA, autumn of 76, that was to join their modern dance faculty as the first kind of outsider who wasn't raised or trained by them. So like a junior faculty from somewhere else, you know, with maybe a new point of view. That was very wonderful.
00:16:18
Speaker
While I'm there, I'm still doing some Lindahlian dancers in ah L.A.
Founding Jazz Tap Ensemble
00:16:22
Speaker
And then re-meet with Fred Strickler, my friend from teenage years, because he had the scholarship to my dad's studio when he was a teenager, right?
00:16:33
Speaker
And we both went to Ohio State. We didn't really dance together there because we were two years apart, but we totally aware of each other. Anyway, Fred and i kind of messing around in the kitchen. And what surprised us was that we were both able to execute a dance we learned when, like, I was 13 and he was 11, a certain dance by my father that he had choreographed in the 40s, probably.
00:16:59
Speaker
learned it in the 50s, were just amazed that we have this, you know, real body memory of this material, and we're laughing and carrying on. Well, then meanwhile, he and I each had made new relationships with a great dancer from San Francisco called Camden Richmond. And Fred and I each had a different relationship with her.
00:17:22
Speaker
By 79, Fred and I had opened Pacific Motion Dance Studio in Venice, California. Pacific Motion. Oh, please. What a title. Yeah, right? Isn't that good?
00:17:36
Speaker
It was the joining of two companies, right? His company was called Eyes Wide Open Dance Theater. And really fabulous. They made great work, very unusual, and yes, theatrical, of course, and great dancers and great ideas. And my modern dance thing, Lind Alley and Dancers.
00:17:57
Speaker
So i had an opportunity to put on a Lind Alley and Dancers concert in L.A., my first opportunity. found a small theater called The Vanguard, invited Fred and another dancer from Eyes Wide Open,
00:18:10
Speaker
So my company now had five dancers for that performance, but we were doing all my choreography. So that was going on at the same time that we're getting excited about tapping again. So Fred and I in Camden, with different circumstances, came up with the idea of why don't we make a concert?
00:18:30
Speaker
We didn't say let's make a company. and We just said let's make a concert while we have this studio because we were booking every everybody. Every weekend we'd book another concert in there for 125 seats, you know, in Venice. yeah It was a great venue for making new stuff.
00:18:47
Speaker
And we presented many other kinds of people. great Baratje Notcham dancer, Jeff Slayton, formerly of Merce Cunningham, and Viola Farber. He presented his company there.
00:18:59
Speaker
Many different people all making stuff. So the idea, January 79, let's try to make a concert at Pacific Motion. And Camden brought two musicians that she'd already been working with, and i brought a percussionist. That first round We let go that percussionist, and we brought Keith Terry, who at that time, he's now very well known for something he's really invented. I mean, i consider him one of the true sources of body music. And he was starting to work it out in jazz tap ensemble. We had an opening number that was stepping and clapping.
00:19:37
Speaker
He made a comic piece with Camden that was very funny, period. He made another percussion piece with Paul Arslanian, the pianist. So this idea of having a company, we did the thing in January, got a great response, and then we said, let's try it again in March, fix what we want to, you know, make it better, which we did.
00:19:59
Speaker
And that gelled the six people, the three dancers and the three musicians who would do it. And then I got a grant for Lindalee Dancers, and I went to the NEA. I actually went to D.C. and presented myself to people Could I please apply this to jazz taup ensemble? Because that's where my true work is now.
00:20:20
Speaker
We were in a documentary film made by two British filmmakers that featured Honey Coles. Wow. Our whole point of view was looking the black masters, the legends that were still alive and tapping, still dancing. It was like we wanted to learn as much as we can. We knew what we had. Yeah.
00:20:43
Speaker
But we wanted to learn as much as we could. And I think we thought we were going to be like MJQ, which you have to be a certain age to even know what that means. But that was the Modern Jazz Quartet. And it was four black artists, jazz musicians, who played together brilliantly all the time.
00:21:03
Speaker
So our point of view was to develop ourselves quite individually as soloists, and each of us made our own solos. It was three very different dancers, three different points of view, but at the same time that we could really work as an ensemble and share back and forth between the dancers and the musicians were...
00:21:26
Speaker
on stage with us all the time. That was the setup. And there was no one doing tap concert. It wasn't even a bookable thing when we started. it We had to get through that barrier to become viable to get work because it wasn't a category, you know? Now it is.
00:21:45
Speaker
Now there's no question if somebody doesn't have at least some tap on their major ah year, They're not there. They're not really. Yeah, right. They're not connected. You're right. You're absolutely right. So, and in that first five years, we did have phenomenal good fortune and positive response.
00:22:04
Speaker
And we got work and the legendary dancers started noticing us and gave support in their different ways. And one of the things that's so great about our progress is that we were able to then bring those artists onto our stage. So we had the platform, we gave them our stage, and they were guest artists. And that was incredible.
00:22:29
Speaker
Sometimes they came and simply performed a set within our concert format. Sometimes they also, I would be able to convince them to make something for us to perform with them. For example, in the repertory, which was another thing as jazz tap evolved. I mean, it lasted 33 years just by intent pure manifestation Exactly.
00:22:55
Speaker
Part of the point of view, especially that came from me, this part, was repertory was important. And it was also how we brought new dancers into the company, you know, because we have repertory. So there was something to come in and learn to do right away. And then they would develop their own solos and...
00:23:13
Speaker
And each person that came into the company over time brought something new, and it was fabulous. And we have great musicians. And we danced in some great places. I mean, we danced at the Kennedy Center when it was the Kennedy Center.
00:23:30
Speaker
Yes, absolutely. And we danced in London, 10 shows. The last two were taped for BBC Channel 4. And that tape played in Europe for two years and then came to America on Bravo. So all these things also helped us get jobs. We performed in Paris at the Théâtre de la Ville. It's a thousand-seat theater that's the former home of the divine Sarah Bernhardt. I mean, it just, you know, good things happen. And then we got invited to Maison de la Danse in Lyon, and we went there four or five times over the years.
World Tours and Promoting American Dance
00:24:06
Speaker
I just saw footage the other day of me, Fred, and Camden in 1983 doing Caravan, which was one of my choreographies for the company based on a Thelonious Monk recording that we then translated. yeah
00:24:21
Speaker
And then I saw 2006 and six and that that performance, almost all the performers were black except me and the drummer. but Things had changed at that particular time. It was Derek Grant, who'd already been a great contributor to the company. And now he's one of the beloved dancers and teachers in the field, Derek Grant.
00:24:44
Speaker
And Dormesha. Dormesha grew up in l L.A. I first saw her when she was eight years old at the Olympics, the Olympic art. She was only eight years old. She did black and blue as a young teenager. When she came back to L.A.,
00:24:59
Speaker
I did ask her, okay, when you graduate from high school, I'd like to ask you to join my company. And she did. So we have many great years with great dancers, Mark Mendonca, and of course, Sam Weber, who's just getting ready to celebrate his 75th birthday.
00:25:20
Speaker
So there's a long history and it's taken us many, many places. Yeah. well Oh, Bangkok. Yeah. You traveled the world. um Arts America. so Yeah. Arts America tours. We've done two big ones.
00:25:33
Speaker
One was five countries in Southeast Asia in the 80s. And then the other one was Central and South America, countries that had just finished civil wars included, like Guatemala. Hey, what a tour that was.
00:25:48
Speaker
It really opens your eyes. And the last tour we had, international, was very, very special because we were chosen by the State Department and who was produced by BAM, Brooklyn Academy of Music. They produced this tour and it was they chose four American dance companies.
00:26:07
Speaker
and sent them to different parts of the world. They did this for a few years, and the year that we were chosen, this was just brilliant, I thought, on their part. They asked us, would we like to go to Africa? And nobody in the company had been to Africa.
00:26:22
Speaker
Nobody had ever been able to get that far. So immediately we said yes, period, yes. And it was incredible. It was a full month, one week in each of four cities. Like we started in Kinshasa, Democratic Republic of Congo. And you're in your hotel room.
00:26:42
Speaker
You feel very protected and stuff because it's, you know, U.S. government. so you So you have a diplomat who is your liaison and who speaks the language and so forth.
00:26:54
Speaker
But the way the tour was set up, this is when Hillary Clinton was secretary of state. And when the term soft diplomacy. oh yeah. The arts that as a soft diplomacy opened people up to the ideas of American democracy. I mean, I certainly felt that we were totally into it and that it was totally working.
00:27:13
Speaker
We were able to work with the highest level of dancers in each place that we went to. Sometimes, so like in Kinshasa, it was the National Ballet of the Democratic Republic of Congo, and their main job was to maintain all the dances from all the different areas. But also, they had an interest in modern dance, and they had brought people in at various points. So we shared, like their drummers played for our tap dancers to improvise on the first day we met. So we were having great artistic meetings.
00:27:49
Speaker
And we shared the Shim Sham, because that's like really the hello and the goodbye of tap dancing is the Shim Sham, that actual one chorus a dance, right? And we brought shoes, too, because I thought, what are we doing? Because I like to tap barefoot, but you don't put that on stage because nobody can hear it I mean, it's fun. Right.
00:28:10
Speaker
You go into the motions, but we need to hear the sound. There is a sound. yeah This is all about the sound. So we were able to get some shoes that we took to each location. And the professional dancers, you know, we had classes with them.
00:28:23
Speaker
And then we also got to work in the community with, and this is something you don't even hear these words in America. But we worked with an art school that was populated by AIDS orphans in their early teens.
00:28:38
Speaker
And we tap danced all day, you know, on a floor that they made for us out of like sheets and sheets of cardboard, because that's all that was available.
00:28:49
Speaker
It was astonishing. And we had another class with a group of deaf students where we worked on percussion on the floor, using our hands, using our feet. And everybody could feel everything. Oh, it was so rich. Mozambique, lovely.
00:29:04
Speaker
Coastal, gorgeous. Bulaweo, loaded with artists who are making things and who want to get out in the world. It's very, very rich. Very rich. I love listening to you talk about the richness of the journey. I mean, all these different places and people coming together, especially around an art form like TAP.
00:29:24
Speaker
And so now that you're back, mean, you've had all these experiences and they are amazing.
Reflecting on Legacy and Future Plans
00:29:29
Speaker
And I strongly suggest everybody get out your devices and start Googling because you are truly a fascinating woman. do You now return to Columbus and what project do Well, you get involved with now that you're back here, you've done all this.
00:29:43
Speaker
You're back in Columbus. What's going happen? I know it's scary. I have to say I've been here, don't know, nine months. I'm getting ready this coming weekend to see my first tap concert in Columbus. And I've been waiting and waiting, like, where's the tap dancing? You know, where is it? It's here. Yeah, it's easier here.
00:30:04
Speaker
So i'm I'm going this weekend. at Lauren Squires and the people she's been working with, they're having a 10th anniversary concert. And so I'm really looking forward to seeing that.
00:30:15
Speaker
And of course, I'm situated now so much closer to New York. It's much more like when I grew up because we would go to New York all the time. It was what you could do.
00:30:26
Speaker
So those connections for me mean a lot because I do have a life in New York. We performed at the Joyce from 86 until 2008 with Gregory Hines opening our 86 concert at the Joyce and doing all eight shows. Yeah. Oh, thank you, Gregory. What a gift. What a gift.
00:30:48
Speaker
But what's next? I'm just floating a little bit. I'm very happy that OSU Library, the Dance and Theater Collection, has accepted my stuff. So I can actually...
00:31:01
Speaker
go to the library and work on it, which in a way I want to do. I want to be able to look back at some of these things and just focus it because there's so much to it and it has so many moving parts in terms of how we reached out toward the legends and then later how we worked with kids and had our own teen project for years, and all that.
00:31:23
Speaker
So i think ah I think it's that. We'll see. and whatever Whatever you do, Lynn, it's going to be fabulous. Just like this conversation. So, Lynn, I'm so glad we had this moment to share and have a conversation. i just want everyone to know that now that your personal archives and collections are going to OSU and the library, that's another way to check it out. There's another way to discover, because that's what this is all about. So, Lynn, thank you for being one of our guests. Thank you so much.
00:31:55
Speaker
Really, this has been so much fun. Total block. Thanks for being on the podcast. You are awesome. A State of Dance is produced by OhioDance and hosted by Rodney Veal, Executive Producer Jane D'Angelo, Editor and Audio Technician Jessica Cavender, Music Composition Matthew Peyton Dixon.
00:32:16
Speaker
OhioDance would like to thank our funders, the Ohio Arts Council, the Ohio State University Dance Preservation Fund, the Greater Columbus Arts Council, the Columbus Foundation, and the Akron Community Fund.