(367) Dance Programming at the Kennedy Center, with Alicia Adams and Jane Raleigh
Today on 'Conversations On Dance', we are joined by two forces behind dance at the Kennedy Center, Alicia Adams, Vice President of International Programming and Dance, and Jane Raleigh, Dance Programming Director. Jane and Alicia take us through their journey from young artists to arts management leaders, tell us how arts administration has evolved in recent years and talk about their collaborative work to program and plan dance at the Kennedy Center. To view the dance programming and purchase tickets for the Kennedy Center's upcoming season, visit kennedy-center.org.
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TRANSCRIPT
This transcript was generated automatically. It’s accuracy may vary.
Rebecca King Ferraro [00:00:04]:
I'm Rebecca King Ferraro.
Michael Sean Breeden [00:00:05]:
And I'm Michael Sean Breeden and you're listening to Conversations on Dance. Today on conversations on dance, we are joined by two forces behind dance at the Kennedy center alicia Adams, vice president of international programming and dance, and Jane Raleigh, dance programming director. Jane and Alicia take us through their journey from young artists to arts management leaders, tell us about how arts administration has evolved in recent years and talk about their collaborative work to program and plan dance at the Kennedy center. To view the dance programming and purchase tickets for the Kennedy center's upcoming season, visit kennedy center.org. Good morning, Alicia. And Jane. Thank you both so much for joining us today. We are so excited to get into some of the nitty gritty of what you both are doing at the Kennedy center, which is of course, one of the most important arts organizations in America.
Michael Sean Breeden [00:01:02]:
But we always like to start at the beginning with guests we haven't had on before. So maybe we'll start with Alicia and just hear a little bit about how you first became interested and involved in the performing arts in general.
Alicia Adams [00:01:15]:
That's a very long story. I'm not sure we like it. We like diving in. I've been involved since elementary school in the arts playing the cello and piano and taking dance classes and then going to New York where actually studied dance at NYU in Columbia dancing in a company for a short time. In the city and then deciding that I was neither going to be a cellist or a dancer because there was not enough talent there to give me a lifestyle that I would find acceptable. I'm from Washington, DC. Originally, so anyway, I got into arts management and I went to an institute at Harvard in arts administration one summer, and it was just great. It made me know that this is exactly what I wanted to do.
Alicia Adams [00:02:21]:
So I had been doing volunteer work at arts organizations in New York, everything from soup to nuts, including editing a black dance publication during that time. So I just pursued a career. I worked for Ailey for years. I worked at city center theater, I worked for Harry belafonte, I taught dance for a while. So I did every job. And it was my goal to not work anyplace more than three or four years at one point so that I could get as much experience as possible and really decide what I wanted to do. But as we know in this field, you don't really have that option, and it's generally opportunity that allows you to move forward. So the opportunity I was the executive director of Harlem school of the arts in, I mean, that certainly was a passion of mine, and I was looking to expand it.
Alicia Adams [00:03:30]:
I had grown it. I actually stayed there five years, which was past my limit for me, but we had gotten money from the city to expand it because we were bursting at the seams, and the board decided not to do that, which is when I decided I should probably move on because I wasn't interested in just treading. So an offer from the Kennedy Center came, and I was headhunted for the Kennedy Center and for the Joyce Theater and was offered the executive directorship of the Joyce Theater and this position at the Kennedy Center. And I decided that to take the Kennedy Center position because it offered a broader platform and it was cross disciplinary, and that was something that I was really interested in, not just the dance. I mean, the dance is fine, but I also had some other interests. I also worked for Harry Belafonte for a while where I went out every night looking at work that he might be interested in. So it was a great time in the city, and it was a time when dance was just it dance was hot during that time, during the Dark Ages.
Rebecca King Ferraro [00:04:51]:
How long have you been with the Kennedy Center now?
Alicia Adams [00:04:54]:
Forever.
Rebecca King Ferraro [00:04:55]:
You've passed your three years, is what you're saying?
Alicia Adams [00:04:59]:
No, forever. For 25 years, actually.
Rebecca King Ferraro [00:05:04]:
This is the job that got you to stay for that long term. I love it.
Michael Sean Breeden [00:05:09]:
Yeah.
Alicia Adams [00:05:09]:
Well, I mean, it was the international work, being able to travel, to meet new artists and to see different cultures and to be able to bring that back. One thing that when I first came to the Kennedy Center, I was a little dismayed because a lot of the work that I had seen, not in dance necessarily, but in theater, and it was just how the system worked on our stages, and particularly in theater, was work I had seen five years ago in New York. And so I thought, oh, my goodness, have I made a huge mistake. I'm sort of going back in time and just sort of dedicated myself to trying to push forward, to bring new work and not just to repeat what was happening in New York, but to find a way to make what I did at Washington, what I did in Washington distinct.
Rebecca King Ferraro [00:06:08]:
Jane, how about you? Same question. Give us that background in the performing arts and dance.
Jane Raleigh [00:06:14]:
Yeah, I love doing these conversations with Alicia because I always learn one new thing. I didn't know you ever taught dance, Alicia. That's awesome.
Alicia Adams [00:06:23]:
Yeah, I think at Bloomfield College.
Jane Raleigh [00:06:25]:
Wow. I'll ask more questions about that later. Yeah, I think my background is similar. I grew up in a very artistic family. My father was a theater lover and my brother was an actor up through professionally was a stage actor. So I grew up as the only dancer of the family. But all of us were musical and artistically inclined. So as a child, I was always balancing ballet training specifically with singing.
Jane Raleigh [00:06:57]:
I was always in the synagogue choir and the school choir and all of that and was on a pre professional track. I would say, in ballet. Did the summer intensives at different ballet companies and then got to be 17 and really wanted to go to college, really wanted to get a liberal arts degree. I don't think I would have been happy going the conservatory route or I also didn't quite think I was talented to audition for companies. So I went to the College of William and Mary in Williamsburg, Virginia. In Colonial Williamsburg. And there I studied. I actually have a Spanish degree in Spanish language, but a minor in dance.
Jane Raleigh [00:07:40]:
And that, I think, opened my eyes hugely to what else goes into the dance world, because William and Mary doesn't have a ton of performance opportunities. So we danced and performed, but we also choreographed. We also were the backstage volunteers to put up the lighting and understand how a show actually gets put together. And that's what inspired me to start doing internships around the country. So between my freshman and sophomore years of college, I interned at the American Dance Festival in Durham, North Carolina. And that was my first I was a production intern there. So that was my first foray into real professional lighting, sound stage management in a way that opened new doors to understanding of everything that actually went into the arts. But I think even when I graduated, think I thought that production work was the only thing that went into dance, other than I didn't understand that there were people like me and Alicia doing all this administrative work behind the scenes.
Rebecca King Ferraro [00:08:51]:
Right.
Jane Raleigh [00:08:52]:
And I was actually an intern at the Kennedy Center, was my first real arts administration job. And I worked in the team that's now called Social Impact, but was called Performing Arts for everyone at that time. And they did a lot of festival work and a lot of daily performances that were free and open to the public. So it was putting on a show every single day. And that made me understand that arts administration was a field and what it actually looked like. And also was the first time that team was very musically inclined at the time that I was on it. And so my dance knowledge, just from being a dancer in childhood was very valuable to them. And I realized for the first time that I had knowledge and had opinions that could contribute to putting together a festival lineup or could contribute to curation in a different way.
Rebecca King Ferraro [00:09:47]:
Right.
Michael Sean Breeden [00:09:49]:
How common is it for people in arts admin to have the kind of background, extensive background that both of you have in the arts, or how essential is it?
Alicia Adams [00:10:00]:
I think it's probably less common than it used to be, but it used to be that everybody grew up in an art form and then went into arts management. The arts management field really only came online in the 60s with the creation of the National Endowment Endowment for the Arts. And that really set the profession on a very different course where people were being paid differently. There were applications to fill out. DA DA DA DA DA. Prior to that, though, everybody grew up in it, and you sort of learned how to do it because it had to be done. You were a dancer in a company. The company needed somebody to manage it, to fill out all the forms, et center, and you graduated to that position somehow.
Alicia Adams [00:10:57]:
Today they try to get people not so much for the curation, but for the operation of the organizations from the business world, and that's a different story. I have to remember that we're recording.
Michael Sean Breeden [00:11:16]:
I was going to say maybe you could speak a little bit to that. You don't have to say anything that you don't want to say, but that's a real change. And how do those people, I guess, get brought up to speed? Or what does that shift in priorities mean for the arts, I guess?
Alicia Adams [00:11:37]:
Well, it's been going on for quite some time now with the board of trustees. Most of the people on major boards are of wealth from the business world, have interest, maybe philanthropists, patrons of the arts, and may know something about it, but not people that necessarily have grown up in it. In terms of staffing, though, because the arts want to be treated equally and in the same way as other organizations are, then we bring in business models to run our organizations. And I do think that there needs to be more hybridity there meaning that these people without extensive backgrounds in the arts need to have a way to learn about it. And what we have is really invaluable for the organization, because you have all of that knowledge of the art form, plus you have the knowledge of what needs to be done in order to manage it.
Jane Raleigh [00:12:58]:
Right. I also think to that point, Alicia, one thing I've noticed even in my time at the Kennedy Center, is the prevalence of arts administration, master's degrees that exist. So I think to your point, Alicia, a lot of people used to just come up through it, and when you retired from performance, you became an administrator, or you did it on the side, and then that became your career. But so many people now can actually go straight from undergrad into a master's program in arts administration. There's even master's degrees in curation, which I think didn't exist all that long ago. So I used to really wrestle with that when I was an intern here, because half the leaders we would, as interns, get to speak with all the senior leaders at the Kennedy Center, and half of them had terminal degrees and half of them didn't. And one thing I always found interesting terminal sounds deadly.
Alicia Adams [00:13:55]:
Advanced degrees, I'll say.
Jane Raleigh [00:13:58]:
But one of the things I always found fascinating was that people who had an advanced degree always said, I would never have this position without this degree. And people without the degrees would say, you absolutely don't need this degree and to get where I am. So what it said to me was, if you would like to pursue that, if you think that studying this as a business function or studying this as a codified way of working would help you, then you should pursue it. But if you don't think that's interesting, you probably can just immerse yourself in the art and achieve it yourself.
Alicia Adams [00:14:33]:
Right? And when I was coming through, the Institute for Arts Administration at Harvard was one of the first to begin to teach arts administration. It was taught by the Harvard Business School. And I think the program lasted maybe three years or five years, and they quit because by then there were so many universities in around the country that had programs in arts administration, so they felt that it wasn't necessary for them to carry on with. Yes. I mean, I agree with Jane. A lot of times, though, the people in the arts administration programs were people that had a deep interest or experience in the art form. But the field is just so unpredictable, you might say, in terms of how it operates, where the opportunities might lie. I don't think you can just pick when you become a lawyer, you have some options and you sort of know the ladder up.
Alicia Adams [00:15:54]:
And if you do sort of the right things, you can get there. But in the arts world, you really can't. And you have to move laterally in order to increase your earnings. And how many jobs are there at the top? Men used to occupy most of them. Women came into it much later. So there's a lot around that.
Rebecca King Ferraro [00:16:23]:
Well, as we all know, there's no better employee than a dancer or a former dancer.
Jane Raleigh [00:16:30]:
I was just having that conversation with my staff. That just the ability to take a correction and be like, oh, yes, thank you. I will take that immediately and make a change.
Rebecca King Ferraro [00:16:39]:
And that you want the correction. Very unique.
Alicia Adams [00:16:42]:
Yeah.
Rebecca King Ferraro [00:16:42]:
You're like, give me feedback. Come on, bring it on.
Alicia Adams [00:16:46]:
There are many things that are said about dancers.
Rebecca King Ferraro [00:16:50]:
Let's talk about each of your roles at the Kennedy Center and what each of you do. And we'll start with you, Alicia. And then we'll go to Jean.
Alicia Adams [00:16:56]:
So I curate the contemporary dance series and also the international programming. And so what my job is is basically to think about what needs to be programmed, to think about the companies that are there to see them. I don't know if curation comes from the word curious or not. I have to look that up. But certainly to be curious about what there is and how I might be innovative in the work. It is not so hard to pick dance companies and put them on a slate and schedule them. And there are companies always knocking on our door. We don't really have to go out and seek companies.
Alicia Adams [00:17:55]:
And we've seen so much. And with the international travel that I do, it also allows me to see work that's going on around the world and to bring that as well to the Kennedy Center, but with an eye. I like to think about everything that I do, whether it's an international festival or it's curating a dance series, that it's going to be knowledge based, not necessarily with a theme. But then I'm thinking about ancillary programs engagement with the audience, what we tell the public about the work, how we can surprise, but at the same time give people what I would say we want to give people some of what they want, but also what they don't know they want. Yes, and I think that there is a line there because of course it relates to the bottom line. It has to be a palette that is going to be marketable and will generate the revenues that we need to generate for the budget. But I try not to let budget dictate what I'm thinking about. Initially.
Alicia Adams [00:19:23]:
You might get to that, but if you don't start broadly, then you end up too small. And besides thinking I do actually do some other work.
Rebecca King Ferraro [00:19:38]:
This is kind of making me think of a conundrum that ballet companies have too, right, where they have to program a swan lake because they know that's going to bring people in, they're going to have nutcracker that's going to pack the house. And then here's a balancing program for the dancers or something a little different. So it's similar in a way, but what you're doing is on such a massive scale and so there's so much to consider.
Alicia Adams [00:20:01]:
Right? There is. And sometimes one year the Eisenhower Theater was being renovated and so we had to go to a this is when Meg was here to a different model of bringing in only smaller dance companies because we didn't have the Eisenhower, so we couldn't do some of the big companies that we would normally do. And that presented itself with sort of an interesting challenge that we could look at some of the downtown New York artists, we could think about it in a different way, and therefore we could sell it as this. This is a new experience for the dance audiences. And I think sometimes limitations open doors and present new opportunities. Jane and I often talk about know how we're able to bring in that work that's difficult for us to bring in because it doesn't fit the mold or the this. And it's not just the two of us. There are a whole bunch of other people that we have to talk to know anything is actually finalized.
Rebecca King Ferraro [00:21:15]:
Jane, how about you? Your responsibilities?
Jane Raleigh [00:21:17]:
Yeah. So where Alicia is curating the contemporary dance series, I curate the ballet series. And then in close collaboration with Alicia, I'm the one managing the budgeting for both of those series. And then I manage a team of two full time staff that execute all the dance offerings. So once we have a signed contract, I generally pass it off to my staff, who do all the logistical work of actually getting the companies here coordinating between a visiting production person and our production manager, the visiting company manager. And really, our staff are the Kennedy Center company managers to actually bring the dancers into the Opera House and get the shows up on stage.
Alicia Adams [00:22:01]:
But I just want to add one other thing, and that is to say that this setup is a very untraditional, unorthodox set up for how curating a dance and ballet season would happen. And we are not a dance only house, but between the two programs, between the two of us, we managed to present more than most performing arts centers across America in terms of dance. I mean, it's a full slate of ballet. There's a full slate of contemporary. So, you know, Jane and I have to manage to do this because there are many crossovers now, which she'll talk about when she talks more about the deaths.
Michael Sean Breeden [00:22:53]:
Yeah, I would love to hear a little bit about that, what your back and forth is, how your jobs overlap. Is it like, Jane's like, I want to bring this, and then Alicia's like, well, you can't do that because I'm already bringing this. What is your back and forth looking like?
Alicia Adams [00:23:09]:
It's looking like Jane is stealing stuff from contemporary dance and putting it into ballet. Like the chocoderos. I presented them some years ago on the contemporary dance season, and now they've gotten much better, and so Jane has put them on the ballet season.
Jane Raleigh [00:23:29]:
Okay, let me justify what our audiences think. Yeah, I mean, I think that we find ourselves in a really interesting moment in the way that the field is looking at dance and all that falls under the umbrella of dance. And I think the Kennedy Center historically and traditionally, has driven a very clean line between ballet and all other dance and put them in separate brochures and had them as separate subscription series. And one of the things that I personally really am working towards in Curation is to acknowledge that there's a lot more ticks along the spectrum of what ballet is, even within only the ballet aesthetic, even with only female dancers wearing point shoes or we just mentioned the trocs, even with anyone wearing a point shoe. The amount of difference between a very classical petipa Swan Lake all the way to Alonzo King Lines ballet, who we have on the season this year, is a huge spectrum of difference. And so one of the things I've been thinking a lot about is how to program things that fall along many of the ticks along that scale, so that if you came to all the ballet offerings on our subscription series, you might understand that breadth in a different way. But I think what alicia is referring to is the itchiness of Kennedy Center audiences and all of us who haven't experienced a lot of what that contemporary ballet is, or naming it as ballet. What is contemporary dance? What is European dance? That is sometimes a ballet company, but sometimes they're doing something super contemporary bare feet.
Jane Raleigh [00:25:18]:
And then the next piece on the program is point shoes. And what does that mean? Where does it fall in an organization that has always looked at ballet and dance as two separate things? Right. Which is challenging.
Rebecca King Ferraro [00:25:32]:
Yeah. I'm curious. So you guys have a conversation. You're like, let's bring this ballet company, X Ballet Company, and we want to have them. Where do we go from there? There's logistics involved. Are you picking what ballets they bring? What is that looking like, and how far out are we looking, too? Because it's not like, oh, tomorrow we're bringing this company. What does that kind of look like?
Alicia Adams [00:25:53]:
Well, for contemporary dance, sometimes in terms of the company and the work, I may have seen a work that I really want to bring in, so I want the company to do that particular piece that may be a company of a certain level. If we're talking to Ailey, it's going to be the work that is being presented for that season. If you're talking to Mark Morris or Matthew Bourne, also, it's the work that's going to be presented for that season. So your interest, then is in the company itself, the choreography and the work and being able to show a new piece or some new aspect about the company.
Jane Raleigh [00:26:48]:
Yeah, I think it's very similar for me on the more ballet side of the aesthetic. I think, like, this past season, we presented Joffrey ballet's Anna Karenina. That was a specific invitation from the Joffrey to come see the ballet. I thought it ought to be seen at the Kennedy Center. So our entire conversation was only about bringing Anna Karenina to the Kennedy Center and when might that work, but especially because we have the unique relationships with American Ballet Theater and New York City Ballet who come every year, that allows us a different type of conversation. Last year was the 50th anniversary of the Kennedy Center, and so we were doing a lot of playing with looking back at our history and also looking forward to the future of the Forum. And so with both of those companies, I was able to have a conversation about that, about that intention. We'd love to do two programs, one looking back, one looking forward, and then the companies brought to me some options, and we ended up like, new York City Ballet was awesome.
Jane Raleigh [00:27:50]:
Last year, we did Midsummer Night's Dream, which had premiered at the Kennedy Center in 75, and so that was a really nice historical moment. And then we also did a future facing program that was all living new works by living choreographers.
Michael Sean Breeden [00:28:06]:
Right.
Jane Raleigh [00:28:06]:
So it's a little bit different.
Alicia Adams [00:28:08]:
Yeah. It takes years from the time of thinking about it or planning it to the time that you can actually put it on your stage, and sometimes you forget, all right, they're coming this year, because it was something that you planned three or four years ago to do. I wish we had a bit more spontaneity, that we could respond to things, say, within a year's time frame. We've had a little bit of that because of COVID and trying to catch up and cancellations and all. We could fill in a few spots, but I don't know. For me, the passion and excitement still remains around dance. And I think once you have danced that, you see the world with very different eyes. Once a dancer, always a dancer.
Alicia Adams [00:29:07]:
I think it just stays in your bones and in your heart in a lot of ways.
Michael Sean Breeden [00:29:19]:
Just thinking about the repertoire, the choosing of what repertoire is going to come. Is it more common for you to dictate rep for, say, one of those companies that you were talking about where the audience doesn't know that they need to see this yet, versus having an established brand like a New York City Ballet or an Alvin Nelly dance theater like that? Know, looking at something people are inherently interested in seeing, bringing in something that's more of an unknown? Are you more likely then, to dictate what rep you want from them versus having something that might automatically sell tickets like New York City Ballet?
Alicia Adams [00:29:58]:
And the answer to that is yes. I do more of that when I do the international festivals where I bring over artists in all the disciplines. Most of the companies are not or have in the past, have not known a couple of things. One of the things I think we both try to do is to nurture companies. We do have perennials, those companies that come every single year for a variety of reasons, and then there are other companies that we love that we want to be able to nurture and to continue to present. I did a festival in China back in 2005, and with Shen Wei, what we did after the festival was a five year residency because the work that he was doing was really fantastic, and we wanted to be able to help him to grow into what he was trying to grow into at that time. Jane is doing residencies with some of the companies, some of the local companies, and those are ways in which we are able to do something with them if we can't present them all of the time. And I think that that's really important.
Jane Raleigh [00:31:18]:
Yeah, I think one example to that exact point is Ballet West from Salt Lake City, who have come multiple times to do Nutcracker. They're coming in this fall to do Nutcracker at the Kennedy Center. And every time that I've interacted with Ballet West has been a conversation with the company about how many other things they do in Salt Lake that they would love for Washington audience to see. And Adam Scoot has this great festival of new works that he does every spring. And this year it's focusing on Asian choreographers in collaboration with Phil Chan. We are also presenting a festival of Asian choreographers with Phil Chan. And so it was a really exciting when we realized that Ballet West was already doing that at home, and we were having those conversations as well. It was a great opportunity to now, in this coming season, we'll see Ballet West for Nutcracker.
Jane Raleigh [00:32:10]:
We'll also see Ballet West come back as part of the 10,000 Dreams Asian Choreographers Festival to show some of the work that they do that's not Nutcracker, because we all know how many companies are doing other things all the time, right? So to that same point, Alicia, I think the opportunity to see that company in multiple versions of itself for our audiences will hopefully grow an understanding of what Ballet West can do, which is something I would like us to see with many companies.
Alicia Adams [00:32:43]:
And one thing we haven't talked about are the changing demographics of audiences, not just at the Kennedy Center, but New York and everywhere, and what is happening. Diverse programming in ballet in the past would be you add Arthur Mitchell and Dance Theater of Harlem to the program. Now that's much more expanded. There are more ballet companies of color, and there are more people of color in major ballet companies and in some dance companies. I mean, it's interesting. From early on, it was Martha Graham and Alvin Ailey that had the companies with a diverse pool of dancers. And it really has taken a long time for the contemporary dance world to catch up to that and longer for the ballet world, too. But it continues to happen.
Alicia Adams [00:33:49]:
And so we have to think about audiences. One of the companies that we just presented was company Kafique from France in a piece called Pixel. Now, they had toured the United States before on the West Coast, and actually, I had presented them before with a different cast of dancers, but still, audiences had not seen them in five years, six years. I don't know how long ago it was. We didn't really know what was going to happen in terms of ticket sales, but we have all these new platforms now to sell tickets on. So it's not just putting an ad in The Washington Post and The New York Times. It's using social media. And who's going to be interested in a French Algerian hip hop company performing a dance that's technology based? Who was that person? So we're learning as we are doing things.
Alicia Adams [00:34:49]:
But I thought this company is fantastic and that I have been trying to bring for many years. Again, so glad that it all worked out. People came, but I think social media played a real important part of. That.
Jane Raleigh [00:35:07]:
Yeah. And going back to your question, Michael, about how far ahead are you thinking when you're bringing something that might challenge an audience or might be a change for an audience to experience? One of the things I've recently realized is because we're working at least two seasons ahead, sometimes three seasons ahead, you may make a curatorial choice for two years into the future that you think, I think by this point, my audience will be ready to experience this work. But you actually don't know the answer to that until three years from now, when the two years from now season is over, to find out if people actually bought tickets to that. So I feel like I've been director of dance programming here for two seasons, and I'm about to wade into that wave a little bit where I feel I've made some changes on the ballet season that I'm excited to see. And I believe that our audience will come along and purchase tickets for it. And we may find new audiences to Alicia's point through social media that will be excited to see something different. But I won't actually be able to answer if we were successful with that until at least June of 2024. So it's a little bit of like, you just got to trust and believe and wait and see.
Jane Raleigh [00:36:24]:
But while you're waiting and seeing and trusting and believing, you're curating two seasons ahead. Three seasons ahead. Right.
Rebecca King Ferraro [00:36:30]:
So just before we wrap up, can you tell us how listeners can browse your wonderful upcoming season and get tickets.
Alicia Adams [00:36:41]:
Be better at doing that than me?
Jane Raleigh [00:36:45]:
Yes. The Kennedy Center's website is really the best place. Kennedy center.org and from the homepage you can sort by genre, I usually think that's the easiest way to navigate find dance, and then you'll see all of our dance offerings listed there.
Rebecca King Ferraro [00:37:01]:
Yay.
Michael Sean Breeden [00:37:02]:
Well, thank you both so much for joining us. I know I will be on that Amtrak train down to go see some dance programming this year, and we hope all of our listeners in the DC area come check out the wonderful programming that you guys have been such an integral part of.
Rebecca King Ferraro [00:37:16]:
And we'll be hearing more about it on the podcast coming soon this year. So we're really excited to share those upcoming conversations as well.
Jane Raleigh [00:37:24]:
Thank you so much.
Michael Sean Breeden [00:37:25]:
Thank you both.
Rebecca King Ferraro [00:37:26]:
Thank you. Conversations on Dance is part of the Acast creator network. For more information, visit conversationsondancepod.com.