Episode 002 - Bryant Williams

In this episode, I welcome Bryant Williams! Bryant hails from Mexico, and shares his stories about encounters with art that changed the trajectory of his life. 

Links to get in touch with Bryant Williams: https://www.facebook.com/BeMovedBryant/ | https://www.facebook.com/kcjazzdance/

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SHOW NOTES:

Episode 002 - Bryant Williams

Lindsey Dinneen: [00:00:00] Hello and welcome to Artfully Told, where we share true stories about meaningful encounters with art.

[00:00:06] Krista: [00:00:06] "I think artists help people have different perspectives on every aspect of life."

[00:00:12] Roman: [00:00:12] "All I can do is put my heart in to the world."

[00:00:15] Elizabeth: [00:00:15] "It doesn't have to be perfect the first time. It doesn't have to be perfect ever, really. I mean, as long as you, you're enjoying doing it and you're trying your best, that can be good enough."

[00:00:23] Elna: [00:00:23] "Art is something that you can experience with your senses and that you just experience as so beautiful."

[00:00:33] Lindsey Dinneen: [00:00:33] Hello and welcome to another episode of Artfully Told. I am Lindsey, and I am so excited to have one of my very favorite people on the show today, and his name is Bryant Williams, and he actually is hailing from Mexico on a beach. So I'm super jealous, but that's okay.

[00:00:57] But I am so excited. He is an amazing artist. He has had an incredible career as a professional dancer, choreographer, teacher, but that just like barely scratches the surface of who he is, what he contributes to the world through his art. So I will actually let Bryant introduce himself, but thank you so much for being here today. I really appreciate it.

[00:01:23]Bryant Williams: [00:01:23] Oh my gosh, thank you so much for having me and thanks for creating this platform for us to come together and talk about art and how it inspires us. I think now more than ever is the time to really figure out the new directions for art.

[00:01:38] I've spent my whole life as a dancer. I started when I was five years old, and I started because I didn't get a job for a commercial that I auditioned for because I wasn't a dancer, and I was so upset that someone said no to me. And so I told Mom she had to put me into dance classes because I needed to get that job at five.

[00:02:01]And I started dance classes and fell in love with it, and dance and art in general have been in my blood, you know, ever since then and even before then. But my career has taken me all over the world. I trained to dance in New York City professionally, Chicago, L.A., Miami, and all over the world, which has been incredible, and really helped me gain inspiration from every corner and every culture, which has been awesome.

[00:02:30]Lindsey Dinneen: [00:02:30] That is awesome. Yeah. Well again, thank you for being here cause I'm super excited to chat with you

[00:02:36] Bryant Williams: [00:02:36] I'm so excited to be here!

[00:02:39] Lindsey Dinneen: [00:02:39] So I know you have a couple of different stories of some encounters with art that were particularly meaningful to you. So I would love, if you don't mind sharing.

[00:02:49]Bryant Williams: [00:02:49] Yeah. I think the first one-- art to me is so personal and spiritual in a way, you know, it's, and they always say, one moment in your life can completely change you, you know. As "Wicked" said best, you know, and far good. You know, there's so many unexpected moments that change you. When I was a young kid, I think I was 13, I was staying up late one night and I was watching a PBS documentary on the Alvin Ailey American Dance Theater.

[00:03:19] Now, keep in mind, when I was growing up as a kid, I was a jazz dancer. I was a competition kid, and I loved jazz. Still do. And so I was staying up really late watching this documentary on Alvin Ailey, which some of you may or may not know is the world's largest modern dance company. And they were talking about Mr. Ailey's specific, religious influences and how, his quote, unquote, "blood memories," as he called them, of his time growing up in Texas and the very religious culture that he grew up in had really inspired him to create some of the works that we love and know from him and his company.

[00:03:56] And there was this light bulb that went off in me, while I was up, I think it was like midnight that this was on. But I remember thinking, "Holy cow, like, wait, I can take my faith and I can take my personal life experiences and I can put that into my dance." And that all goes together. I think that as a young kid like that had never really, that had never really, come up for me. I just thought dance was jazz squares and a high kick.

[00:04:24] Lindsey Dinneen: [00:04:24] Everyone loves a good jazz square.

[00:04:25] Bryant Williams: [00:04:25] Right? I had never, I, I had never been so moved by someone being able to say, you can take every little part of yourself, every little piece of what makes you you and put that into dance.  And that's what dance is. That is what people resonate with when they watched dance and that has never left me--that one moment. And I remember going to the library, this was back before, we had like computers at home, and I went to the library, and I started researching Alvin Ailey and it turned out they were coming to the Bay area.

[00:04:57] I'm originally from San Francisco. They were on their national tour and they were coming, and I begged my mom to buy me tickets to go see the Alvin Ailey American Dance Theater. And as true mothers do, she made me clean the garage, and I did it. And we sat, we sat there in the performance and the curtain came up. And I'm getting goosebumps telling you this now-- the curtain came up and there was a woman dressed in white. Her name was Renee Robinson--is Renee Robinson-- and all she did was walk down stage, in this white costume in this white light, and it was to, "Come Sunday" was the song, and I burst into tears and I can't, I cannot even tell you why I did.

[00:05:43] I just had this visceral moment of connection to her and this dance. And that had never happened in my life, especially for, you know a teenager. The piece was called "Grace," choreographed by Ronald K. Brown. And the piece is essentially about-- we are born free from sin and we are born in grace and through life, through the challenges that we have, we are in constant struggle of good and bad, of the choices we make and you know, of, just navigating our life. I think that resonates so much now in this current climate. And at the end of the piece, reprieves comes of "Come Sunday," and the entire company walks upstage into a white light, to really signify that at the end of our lives, we go into grace.

[00:06:32]And the curtain comes down and I look over at my mom and she is a blubbering mess. And I'm a blubbering mess, and it was intermission after that and we sat there during intermission and didn't say a thing. And to me, you know, when you told me that this episode was talking about, you know, art that inspired you, I think that to me was the first time I was ever viscerally moved by a piece of art. And that I'd never understood that dance can tell a story in that way that can connect to you in that way without ever saying anything.

[00:07:11] Um, still to this day, I think about "Grace" and you know, the impact that Ronald K. Brown had on me, in that moment, because it was, it was ever changing, you know, and my mom and I left the performance. They, of course, closed the performance with Alvin Ailey's "Revelations," and we walked out into the lobby and we saw a poster in the lobby saying they were auditioning for the summer program for the school the next day.

[00:07:39]I begged my mom to take me to the audition. and she did, and I was accepted, and I was in New York a couple months later in the summer program, and then never left. That's how I got to New York. For me, like, seeing "Grace" and being touched by this piece of art completely changed my life.

[00:08:01] You know, who knew before me watching that PBS documentary a couple of months earlier, and within six months I was living in New York and dancing in New York, and never left. And my professional career went on from there. You know, I think itself, it's so interesting even now to go watch dance performances.

[00:08:17] And I'm sure you have some too-- moments that you have when a piece of art just moves you so much. You know, whether it makes you cry or whether it makes you laugh. You know, dance is meant to convey that story.

[00:08:29]Lindsey Dinneen: [00:08:29] Yeah. That's beautiful. You were probably already on the path to become a dancer, a professional, but I love how that completely changed your trajectory. Who knew? You know, that's so cool.

[00:08:42] Bryant Williams: [00:08:42] In a moment,  and I think that's one of the coolest things about art in general is, you know, art has that opportunity to truly touch you in a way,  Even songs, like, I'm sure all of us can think of a song that can make you cry, that can make you miss somebody.

[00:08:58] Have you seen the, I dunno if you've seen that, "30 Day Music Challenge" that's going around.

[00:09:02] Lindsey Dinneen: [00:09:02] I haven't...

[00:09:03] Bryant Williams: [00:09:03] And it's on Facebook and every day, like, there's different themes of like songs you can choose. But I saw that and immediately thought of like, Oh my God, even music is so interesting. And when you're really forced to think of, well, what's a song that makes you think of this? Or what's a song that you know, reminds you of that? It's a really interesting concept of how art is impactful, you know, in so many ways.

[00:09:26]Lindsey Dinneen: [00:09:26] Yeah. Yeah. That's awesome.

[00:09:28]Bryant Williams: [00:09:28] There's so much inspiration out there. You know, I think as an artist, you're constantly looking for, the next thing to inspire you. You know, you're constantly aware of your surroundings and what's happening, because this could be that moment, you know, this could be that, that inspiration that you have. I choreographed a piece a couple years ago, and I kept looking for inspiration everywhere, you know, like what? And it was, the theme was I had to theme the piece around-- what's the word I'm looking for?

[00:09:57]A painter and artist, and I, I can't--let's see--now I can't think, but we're just going to keep moving on. I had to find an artist, a theme, a dance around, and I kept going back and forth, and there was one piece in particular--I had the idea of what I wanted to do and it was a crazy idea, but I didn't have the artist.

[00:10:19]And so I kept looking and looking and I found this mirrored room online, and I just love the picture of it. And it is an art installation, and it is a room full of mirrors and all of these circles and orbs. And I just thought it was so cool. And so I thought--keep in mind this dance that I was choreographing had a lot of big balls in it that the dancers were using to manipulate in their dancing.

[00:10:48]And so I was really inspired. I was intrigued by this room, and I started looking up the artist, and it's a Japanese artist, and her name is. Yayoi Kusama. And I could be pronouncing that wrong. I apologize if I am. But  what I thought was cool is she only draws circles and all of her art and these huge installations that she does is all in circles, whether it's a painting, sculpture, these giant installations, like that room of mirrors. It's a really abstract kind of thing, but I thought it was really cool. And so I started looking her up-- and what I think is more interesting, that really resonated with me-- is, since she was a young child, she actually has been experiencing hallucinations.

[00:11:30]And she was in and out of mental hospitals when she was younger, and a lot of people called her crazy. And one of the only things that ever helped and assisted with those hallucinations or those episodes was drawing circles. And that like, really blew my mind in a way because, you know, we all have those coping mechanisms, right? And this artist has found a way to take that coping mechanism that, you know, a way of life for her, and turn it into art. And I think the whole concept of art out of perceived insanity is so interesting and there's so much depth there and it's, there's, there's a lot to go with. I loved it when I originally came up with this concept.

[00:12:14] I was, like, I am crazy for, like, trying to choreograph this dance with these giant piles of--these girls are gonna dance on and I'm going to figure out a way to make it work. And then I just happened to find an artist who society calls crazy and she just happens to find a way to make it work. And so to me, there was such a like, cool--I felt so connected to her because, yeah, it was such a, it was such an interesting dynamic that we shared. But I think it's interesting now, and she still lives in a mental institution, and the only time she leaves there isto go to her studio to paint. She is still creating all of these installations and all of these amazing sculptures and paintings, and I just thought it was so--ever since then, I've been so captivated by her because-- first of all, she is an amazing dresser. She has all these fun, colorful linens and she's kinda kooky. And as artists, we love kooky.

[00:13:09] I think, that was one of those moments where I started with this concept of this idea and just knew that somehow it would come together. And as an artist, I think sometimes we do start with the ending and then figure out a way to make it work. Am I right?

[00:13:25] Lindsey Dinneen: [00:13:25] Yes. Oh yes.

[00:13:27] Bryant Williams: [00:13:27] And I just, I loved it like it how things come together then become an organic part of the process, you know, that it's not so, so structured and contrived in a way.  It's very, it's very organic and how that progression happens. And I loved that, you know, like that there's, again, art inspiration comes from everywhere.

[00:13:48]Lindsey Dinneen: [00:13:48] Absolutely. And so do you, when you choreograph, do you have, like, a kind of a set process that you follow or is it always different depending on what's inspiring you or whether you have, like, parameter--or what's it like for you?

[00:14:06] Bryant Williams: [00:14:06] It's very interesting how I choreograph and a lot of people would not, would not go about it this way. But I'm such an emotional person, which I hate to say, but that's okay... 

[00:14:18] Lindsey Dinneen: [00:14:18] Absolutely

[00:14:19] Bryant Williams: [00:14:19] That I have to--I cannot choreograph something that I'm not 100% invested in. and so for me, a lot of times I will create a concept of what I want. So I understand where we start, where we finish. And the middle to me should be a reflection of the process.  I only choreograph what I plan to do that day, and the reason being is--I could choreograph a whole piece in my home, but then can get in the studio and put it on those dancers,  and that's not what I want. And so there's a lot of ways that, like, I will take different sections of choreography, put them together in the moment, and then I always know that there's a way that they're going to go together. I don't ever know how, but I know that it will get there in the end because if it is a truly organic part of myself, and if I know where I want the story to end up,  then I know every chapter of sorts in between. I might have to move some around, but building that vocabulary of, of sections depending on where I am that day in my life.

[00:15:21] You know, what do I think about the topic? You know, what do I think about this piece today might be different than what it was yesterday. And so, I always say I'm just a half a step ahead of the dancers and I kind of like it that way. I feed off of that energy. And that pushes me. Like if we get to the end of the phrase that I'm tired and we still have more time, like, okay, what else can we do? Like what else can we explore? I love that. I know it sounds crazy, but a lot of people probably-- there's some people that are super prepared with choreography and like have everything written down and blocked and set. I do not cause I feel like it should be, it should be an emotional process, you know? And that is with the dancers as well.

[00:15:57] Lindsey Dinneen: [00:15:57] Yeah, you're right. Yeah. Well, it's fun as a dancer to have that kind of style where you almost get--maybe a little more, kind of, insight into the process of somebody setting a piece on you, which is kind of interesting. And me being such a planner, I mean, I've, I've choreographed in both ways, but there are a lot of times where I'll just come in and like--"Here's, here's the piece," and we'll just, like, knock it out, you know, in a day or something. But,  I love the creativity that can develop when you, when you do something a little more organically, like you were saying--okay, so we ran out of material for today, but maybe let's just experiment for a little while and see what happens. You know, that can create the most magic that way sometimes.

[00:16:43] Bryant Williams: [00:16:43] Absolutely, and a lot of times in the middle of that, like I could create a phrase and then in the middle I would be like, "Oh, well let's add something here. It's missing something here." You know? And I like that process. I also felt as a dancer, I've worked with a lot of choreographers and I, the ones I didn't like as much were the ones that treated me solely as a vessel for their agenda. You know, I also want it to be a part of that, if that makes sense. And so there were some choreographers that I worked with that, you know, didn't care what I thought--or not that they should-- but didn't care about me as a person dancing their work.

[00:17:23] Lindsey Dinneen: [00:17:23] Yeah.

[00:17:24] Bryant Williams: [00:17:24] And I never want my dancers to feel that way.

[00:17:27] Lindsey Dinneen: [00:17:27] Yeah, that's good. You care, no, that's--you care. And it's good because once you have those experiences that you don't-- that you didn't love, we'll just put it that way--then it's, it's helpful cause it helps you grow as, you know, as a creator as well. So that's, that's cool. And I think there is something to that too. And you know, because we're all artists. And in theory, you would hope that the process would be more, you know, collaborative, at least a little bit more because you're an artist just as much as, you know, the choreographer is an artist, and so hopefully it's just a meeting of minds and bodies and creating this, you know, inspirational piece.

[00:18:15] Bryant Williams: [00:18:15] So I have this-- if I can tell you another funny story.

[00:18:18] Lindsey Dinneen: [00:18:18] Oh, please do.

[00:18:19]Bryant Williams: [00:18:19] When I was dancing with Gus Giordano Jazz Dance Chicago, the world's largest jazz company-- when I was dancing for them, we had a new piece set--it was my second year in the company,  and choreographer, Ron De Jesus came in, and set a piece and--I, we were all ready to get up and start dancing, and he took us into his studio and he turned the lights off and he told us to lay down on the floor. And he gave us a piece of paper and a pencil. And I was like, "What the heck are we doing?" And he said, "Okay, put your pencil on the paper, close your eyes." And he said, "Without lifting your pencil off the paper, draw your life story. Draw your lifeline." And keep in mind, I was 18 or 19 when this happened. I had not a lot of life story

[00:19:12] Lindsey Dinneen: [00:19:12] Oh my word!

[00:19:14] Bryant Williams: [00:19:14] And he turned the lights off and he put this really soothing music on and we were there for five minutes and I had no clue what I was doing. So I was just doodling around, just drawing circles. And I just remember I kept thinking, like, I do not get it, but I'm too embarrassed to ask questions so I'm just going to go with it.

[00:19:37] We stop, and we go back upstairs to the main studio and he said, "Okay, now I want you to imagine this studio is that piece of paper. Go to the spot in the studio where you started your lifeline on the paper." And I'm like, "Okay, I can do that." So I go to like the general area and he said, "Okay, I want you to walk your lifeline." And that's when I thought, "Oh no, I completely failed because I'm just going to be walking in random circles!"

[00:20:08] Lindsey Dinneen: [00:20:08] Oh my word.

[00:20:09] Bryant Williams: [00:20:09] And I'm there until other people started moving because I wasn't sure, like, what I was supposed to be doing, and then I just aimlessly started walking around because, again, it was too embarrassed to ask the question. Might as well just keep going. So we did that for about 15 to 20 minutes. I--no lie--like we walked for a long time.

[00:20:28]And, keep in mind who was videotaping this whole thing. This is so odd. Oh, and after that 15, 20 minutes, he said, "Okay, put your papers down. I want you to go back to that same spot in the room that you started your lifeline." And so we all did. And he put on some music and he said, "Okay, now I want you to dance your lifeline." And I was like, "Okay, this is no better."

[00:20:59] And so we started at improving our lifeline, and so this was now step three of the process, and we're doing this for like another 20 minutes. And what was interesting is as I started improv, and at first I was just arbitrarily moving around, like trying to fit in with what everyone else is doing. And then I kept noticing that I kept going back to the same spot in the room.

[00:21:24] You know, and I would go away from it and then I would go back to the same spot in the room. And to me, that really clicked and resonated with me that sometimes in life we keep going back to the same stuff. Maybe we shouldn't. Maybe we should. Maybe it's just part of life. But to me that was comfortable. And the one thing I got out of doing that is, like, I always kept going back to the comfortable, to the same spot, to the same mess. And I was like, I remember thinking, and this is like, what, an hour into this now? And I'm like, "Oh, maybe I did get it! And I just had no idea. And this went on for the whole day. And so we walk in the next day and there's a big whiteboard up and there were like two or three TVs in the room, with VHS tapes in them.

[00:22:10] There were our names on the board and it had a time next to it, like a time code, and he said, "Okay. I want you to go find your name, your time, and then go to one of those TVs. Scroll to that part of the video, learn your phrase, and then you're going to teach it to all of us. So all of us took that day, you know, learning those phrases and really coming up with them.

[00:22:33] And out of those phrases, he took our lifelines and he put them into this piece,  and his--in his voice. And so it was a really interesting process because we created the vocabulary for it, you know, based on our life's experiences.  And it's so funny thinking about it now, cause I've never asked anyone else if they were just as confused as I was.

[00:22:53]I don't know to this day if they really had a clue. But, you know, what I think is amazing about that is, how he could take so much of that,  so much of that that made us us and translate that movement and that vocabulary into his voice, into his piece. Still to this day--the piece was called"Prey." P. R. E. Y. Like preying on something, and it's still one of the pieces that, Gus Giordano Jazz Dance Chicago is known for, because it is such a powerful piece. And I remember when we premiered that piece and the end came and the standing ovation was nuts, cause--and we had no idea like what the audience reaction was going to be! What I think is interesting is, you know, most people don't know that, that story behind creating it, but you know, that was a choreographer that definitely worked in a different way, but in a way that still resonates with me. It was a cool piece.

[00:23:51] Lindsey Dinneen: [00:23:51] Yeah, that is really cool. Well, thank you. Oh my goodness. Thank you for sharing all these amazing stories. I just love hearing people talk about, you know, experiences that helped shape them and inspire them. And that's just awesome. So thank you.

[00:24:09]Bryant Williams: [00:24:09] And you know what I'll say is like in this time especially, I just want to encourage people, go out and find an artist in a different medium than you, know, go out and find a painter, or go out and find a singer/songwriter. Like that's been the coolest thing for me is really, going out there and celebrating other people's art. You know, I think especially now, go find an amazing artists and send them a comment and say, you're awesome. You know, keep going.

[00:24:35] Lindsey Dinneen: [00:24:35] Yes, yes.

[00:24:37] Bryant Williams: [00:24:37] We've got the time. I mean now's the time more than ever to go be inspired by new things in art.

[00:24:44] Lindsey Dinneen: [00:24:44] Yeah, you're right. And everyone needs that encouragement. I mean, even if you are a, quote unquote, "accomplished artist," you're still going to have moments of complete insecurity when you're premiering something new or just, yeah. It's so important.  So I have a couple of questions for you, if that's okay. Okay. So how do you personally define art or what is art to you?

[00:25:11] Bryant Williams: [00:25:11] Art to me is inspiration. Art to me is vital. I think that's the best--where art is vital and art is a form of expression meant for the world to share in a mutual experience.

[00:25:26]Lindsey Dinneen: [00:25:26] Yeah, I love that. Okay. What do you think is the most important role of an artist.

[00:25:32]Bryant Williams: [00:25:32] Artists needs to be truly authentic. You know, in this day and age, you know, whether people like that or not, it's--art is subjective--and be authentically you.

[00:25:45] Lindsey Dinneen: [00:25:45] Love it. Okay. And then,  for the last question I have, I'll kind of explain my terms because it might sound a little funny, but, do you personally-- just a personal opinion--feel that art should be inclusive or exclusive? And to give some context to that. So exclusive kind of referring to: an artist creates something, puts it out there, but doesn't necessarily put much of an explanation behind it. It could be something that's not even titled or you're just, you don't have the context of, maybe what inspired the artist or kind of the reasoning behind what they did. Versus inclusive being artist trying to share with you more about either what inspired the piece or why they created it, or basically giving the audience, more context.

[00:26:37]Bryant Williams: [00:26:37] Yes. To all of the above. As an artist, like, there's so many different phases of--oh, art that you go through life. You know, even if you don't classify yourself as an artist, like, there's so many ways each one of us creates in our life. And there are some times that you want to go shout that from the rooftops and tell everybody what it is. And there are some times where you want it to be super internal and it's more of a cathartic experience for you. And I think they can live in the same person. You know, they definitely lived within me, you know, and I think what's so cool about, the artist's opinion in, in sharing something or not sharing something or--decision not opinion--decision to share, is such a personal thing for them.

[00:27:26] And it's something that I think a lot of artists spend time thinking about. Am I willing to open myself up to share this, you know, or is this something that's more of an intimate experience for myself? I've definitely created works that I was so proud of that I was like, it's about "this!" And I want everyone to know. And there are certain works that I've choreographed, based on people in my life based on experiences in my life that maybe I don't wanna share.

[00:27:54] But I think the great thing about artists, there's a universal experience that everyone has when they see it. You know? And that's why I think art is so vital that, I think both are valid in a way. Do I think there should be more of either way? I know this is a horrible answer, but I don't, I don't know: I think that's all up to the artist and I think it's up to-- think people respond either way. The cool thing is that you get different responses, but I think that's kind of cool too.

[00:28:22]Lindsey Dinneen: [00:28:22] Yeah. Yeah, absolutely. Well, and I asked that question cause I get, a variety of responses and I always just sort of love hearing different perspectives on it because. You know, like art, everyone's opinion on this is subjective, and I think that, you know, it's, it's what you, it's what you make of it and get from it ...

[00:28:39] Bryant Williams: [00:28:39] I think it depends on where you are in your life. Everything is ever changing. I think after, you know, this unique shared experience that we're all in, I'm excited to see what, what comes out of this in the art world. I'm excited to see what people create during this time and, you know, immediately after this time. Like, what an interesting time that we get to live in. And if there's one silver lining, you know, the amount of really personal art that I think is going to be created is mind blowing to me. I mean, I'm excited to see it. I'm excited to see what, what people's experiences were that are different than mine.

[00:29:17]Lindsey Dinneen: [00:29:17] Yes. Yeah. Well, and I think you just struck upon a really good, really good point about art in general is that people's experiences are different. And one of the most wonderful things that art can do is share those differences, in a truly unique and beautiful way that help us to relate to each other  more so than if, you know, we were just talking about it even.

[00:29:40]Bryant Williams: [00:29:40] I agree a hundred percent, you know? And you never know when that's going to happen or what that's going to be. You know? You just have to be open to whatever that is.

[00:29:49]Lindsey Dinneen: [00:29:49] Yeah. Love it. Love it. Well, thank you so much, Bryant. You are awesome. Really appreciate you being here.

[00:29:57] Bryant Williams: [00:29:57] I talk a lot, I'm sorry. I've got a lot to say.

[00:30:00] Lindsey Dinneen: [00:30:00] No, no. Yeah, never apologize. I love it. No, it's wonderful. And so if people want to connect with you, are, do you have, some ongoing things that, that you--or any upcoming projects you want to talk about or share? Any way that we can keep in touch?

[00:30:20]Bryant Williams: [00:30:20] I  teach a really, really important, and I use this word again--vital --dance movement called BeMoved Dance, and this was created by a mentor of mine, Sherry Zunker, who wanted a dance experience for people of all skill levels, but really designed for former dancers  who want to be in class, but our bodies don't want to do eight pirouettes and a battement to a split, which...

[00:30:43] Lindsey Dinneen: [00:30:43] What are you talking about? Don't we always want to?

[00:30:43]Bryant Williams: [00:30:43] I want to; I just wouldn't get up. I would be permanently on the floor.

[00:30:51] Lindsey Dinneen: [00:30:51] Right.

[00:30:53]Bryant Williams: [00:30:53] So BeMoved has really allowed me a space to find peace and joy, and just space to remember the things that we love, you know, being a part of that shared community. So I'm just about to start teaching BeMoved classes online-- which I'm so thankful for the opportunity to continue to share in this community in a new way. And I'll be honest, I'm still getting used to this new way that we're doing it. But, any opportunity we can to share that community, I think is important.

[00:31:25]And especially with the dance movement, like BeMoved that is so vital to keeping that space in our lives for joy and for happiness. And now, they say you can't pour from an empty cup and, you know, finding those things in your life, whether it's BeMove or yoga, or meditation--find the things in your life that fill your cup, to get you through this time and to do all that.

[00:31:47]And you can follow that at @BeMoved Bryant-- are all of my classes for that. Yeah. So that'll be, I, there's a lot that we're working on.

[00:31:57]Lindsey Dinneen: [00:31:57] Awesome. I love it. Well, good. Yeah, and I just have to say, I have taken Bryant's class. I took it regularly back when he was still in Kansas City, and first of all, he's an awesome instructor in general, but the BeMoved experience is really special. And, I kind of came at it at a time where I couldn't take regular technique classes, because they, they just, they hurt my body a lot. I was coming out of some injuries and so BeMoved was my way to get back moving and actually do a class where I wasn't, like, miserable at the end.

[00:32:32] I was completely the opposite. I was just, you know, filled back up with energy and joy, and it's just so much fun. So I would say as a recipient or a student, yeah, these classes are awesome. So, once all the craziness is over and you're not, necessarily having to take everything virtually, definitely try to find a class in your area because it's for everyone, truly, and it is so fun.

[00:32:59] Bryant Williams: [00:32:59] I mean, you leave class and there's just such a, there's such a beautiful sense of energy to it, which is cool. And I hope you all get to experience it wherever you live. BeMovedDance.com has a list of all the classes, all over the country. There's some people, even in Australia that teach teach it, in the UK, in Canada. So there's lot of BeMoved teachers around. Yeah, and until then, take some of mine online.

[00:33:26] Lindsey Dinneen: [00:33:26] Exactly. Exactly. It is fun. Well, again, thank you so much, Bryant, and thank you for your contribution of art to the world, and the fact that you're still contributing and creating and, and, you know, teaching the next generation through the dance intensive and just everything you do.  I'm a firm believer that art--I'm biased--but art makes the world better. And I just really appreciate anyone who's willing to share art with, with the world. So thank you.

[00:33:58] Bryant Williams: [00:33:58] I agree with you 100%, and thank you for what you're doing. And this is an awesome platform for people to continue to inspire and get inspiration and continue moving that forward. You're amazing.

[00:34:10]Lindsey Dinneen: [00:34:10] Aww, you're sweet. All right. Well, thank you, everyone, so much for joining us and definitely get in contact with Bryant through those different avenues that he has, to continue dancing and encourage other people to do so, and we will catch you next time.

[00:34:29] If you have a story to share with us, we would love that so much and I hope your day has been Artfully Told.

[00:34:39]Hey there, Artfully Told listeners, I wanted to share a really amazing resource with you that I think you will find invaluable. This website is called Artist's Edge. The mission of Artist's Edge is to raise the level of business intelligence, life skills, and emotional intelligence for people who are committed to expressing their passions, creativity, and unique genius through their careers, helping them reach higher levels of success with ease. Artist's Edge is the education arm of Debra Russell Coaching, and she is an awesome person who uses all of her business background and skills to really assist artists become who they want to be. She has a bunch of different courses that you can go through as well as personalized coaching. If you are a wannabe artist that wants to turn their passion into a career, or is an already established artist that wants to take their career to the next level, she is the person to talk to you about this, so please follow the link in my comments and show notes, and we will catch you next time.

 

 

Intro & Outro Music Credits:

Bad Ideas (distressed) by Kevin MacLeod
Link: https://incompetech.filmmusic.io/song/3412-bad-ideas-distressed-
License: http://creativecommons.org/licenses/by/4.0/