Episode 031 - Tessa Priem

In this episode, I welcome Tessa Priem! Tessa is a solo dance artist and the creator of "Inner Reformation: An Autobiography Danced." She shares about her journey from a massive health crisis to healing and redemption, and the way that the arts helped her navigate it all. (Fun fact: this episode's cover image is of Tessa and is her show's promotional photo!)

 

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Episode 31 - Tessa Priem

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

[00:00:07] Krista: I think artists help people have different perspectives on every aspect of life.

[00:00:13] Roman: All I can do is put my part out into the world.

[00:00:16] Elizabeth: 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, and you're enjoying doing it and you're trying your best, that can be good enough.

[00:00:24] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.

[00:00:32] Lindsey Dinneen: Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey, and I am so excited to have as my guest today, the lovely Tessa Priem. She is a solo dance artist, and we had the privilege of meeting at the Kansas City Fringe Festival several years ago. But thank you so much for being here.

[00:00:53] Tessa Priem: Thank you, Lindsey. Thank you for having me.

[00:00:57]Lindsey Dinneen: Yeah, of course I would love if you don't mind sharing just a little bit about who you are and maybe your background in dance and sort of the arts and, and go from there.

[00:01:09] Tessa Priem: Yeah, that makes a lot of sense because I'm not really known. I frequently say I'm a big, fat nobody. So I live near Kansas City. And in fact, I've lived near Kansas City for just over a decade. Lindsey, so you and I met at the Fringe Festival in 2018, in the summer of 2018. And so by that time I lived near Kansas City for eight years. But when we met, that was literally the first like, I believe maybe it was in 2017 that I started stepping out into the artists' community in Kansas City. So it took me a long time to even start connecting with artists, even though I live so close to such a, an amazing city that supports the arts so well. So as you highlighted, we, you and I, met at the Kansas City Fringe Festival. And, to give a bit of my background, I grew up studying dance. I wouldn't say my training as a child was necessarily super by any means at all. But I had this great love for it. I loved to perform, and performing for an audience is probably one of my most favorite things to do as a kid and as a youth, especially in high school.

[00:02:46] So I went on and I studied modern dance in college. And then I danced with a small company in St. Louis for about five years. And then I went on a long hiatus from performing probably about nine years, maybe just a little over nine years. And, in that time I moved to Kansas City and I experienced a health collapse. I experienced a physical health collapse, but before that I experienced a mental, I experienced severe depression. So I just had a lot of things in life that, that went pretty terribly for a number of years. And I stopped dancing altogether in that time. So, my answer is already getting quite long. There's so much more I could share, but kind of to wrap it up, Lindsey is that throughout my health collapse, during my health collapse, it began in the year 2012. I thought I was dying and I'm a mother of three children. So it was very, very devastating to me, the thought of potentially leaving my children behind.

[00:04:00] So what happened was, I really wanted to share my life story with my children in the event of me dying. And so in 2016, which before that, I had tried writing out my life story and every attempt failed. I, it just was not working. So I'm kind of, in a sorta miraculous way, I was just standing in my kitchen one day and the idea hit me that I could dance out my life story. So, I had never seen a solo dance show before in my entire life, Lindsey, cause you know, I mean most dance that we see is done in companies or you usually dance with other dancers, you know, or, or at least another partner. To see a solo dance artist was completely out of my realm of experience. So just standing in my kitchen, my struggle with figuring out how can I tell my life story to my children, the writing isn't going well, that idea literally just hit me. "You can dance out your life story." And so, that's what I started October 31st, 2016. And it took almost a full two years to get the dance together.

[00:05:27] And it debuted July, 2018 at the Kansas City Fringe Festival, and that's when I met you, Lindsey. And so, so my solo show debuted at that time, my life story danced out. It's called "Inner Reformation: an Autobiography Danced." And, after the Fringe Festival, I had to decide what to do: to either quit that solo performance or to say, "I'm going to make this my life's ambition." And it was really scary to kind of make that decision, but I ended up deciding this is going to be my life's work. And so, so now I'm four years into the journey and it's a journey that certainly has its ups and downs, but I continue to build on, I continue to work on that show, absolutely. But I also am working on other artistic projects as well. And so I'm still a solo dance artist just traveling by myself. But I have people along the way that support me. You know, us doing this interview is an example of that.

[00:06:33]Lindsey Dinneen:  Yeah, absolutely. And so, yeah, so I am particularly interested in your autobiography danced, "Inner Reformation" and sort of your creative process and the, how that all came to be because, you know, undertaking a full length show, like you said, as a company is a task enough, but as a solo artist, I mean it magnifies and just even building up your stamina and all those kinds of things. So can you just share about all that process?

[00:07:08]Tessa Priem: Yes, I mean, I could talk for hours about this. Yes. So the way I formatted the solo show, directed those two, almost two years, in me creating the autobiography dance. And that was that I, at the very beginning, I set a goal and that was that well, first of all, let me back up just a little bit. When I had that idea in my kitchen to dance out my life story, there had been a CD that I had been listening to. I've been teaching a dance class. It was my first dance class that I had taught in years, because again, I had gone on a really lengthy hiatus from dancing. And in that time I'd had children and again had experienced severe depression, had experienced a complete health collapse. So as I was standing in my kitchen, literally my body was still quite weak from my health collapse. So just the idea of even doing a solo show--you spoke of the stamina required for solo show-- I had very, my strength at that time was not, I was pretty weak still. So anyway, even so, I had the CD in mind again, because I, I, for the first time was teaching this class and I used this particular CD in this class.

[00:08:31] And so as I was standing in my kitchen and, and that idea hit me, I turned on that CD, Lindsey, and every single song-- there were 12 tracks on that song, on that CD--and every single song, Lindsey. I knew it, it was like automatic. I knew what part of it, my life, that song, my life fit to that CD, I guess, is what I'm trying to say. And unlike trying to write the book for my children and it being entirely unsuccessful, it was automatic that when I listened to the CD, it was just all clear. And that's why I kind of call it miraculous. It's just, it was so effortless and so surprising just out of the blue, right? So, so after I had that sort of clear picture, if you will, of what every song was going to be about and how it applied to that particular period in my life, for that particular event in my life. I, and knowing that the CD itself had 12 tracks, I decided that I would create one dance per month for one year. And then the second year I would start perfecting. Well, no, no, wait, sorry. I super underestimated things. I thought that by the second year I would be able to perform it, but that proved absolutely ridiculous because working cause it ended up being a 57 minute show.

[00:10:12] So to create one dance per month for 12 months, and keep in mind, I hadn't danced for years and keep in mind, I had just come from a terrible health collapse that left me often unable to walk. I was so weak at certain times that my husband had to carry me. It was, yeah, so, so I was kind of just starting over, in terms of moving my body once again. So creating one dance per month, it was very silly of me to even think that the whole dance would be perfected by that second year. And I could just spend the whole year showing that dance. So what ended up happening was I ended up spending almost all of the second year perfecting the dance. And then finally, by the time that Fringe came around, the dance was just barely ready for me to show is quite a crunch because I was still building up that stamina to be able to perform for nearly an hour. So, that was, I guess, kind of the process, Lindsey, have one dance per month and then with the goal of showing it in the second year, and by, by complete mercy, I was able to show it at the Fringe Festival in the second year.

[00:11:36]Lindsey Dinneen: Yeah. Yeah. That's fantastic. And it's also, I love that you were so deliberate about breaking down your process. I think that for a lot of us, when we kind of maybe look at a, a high level goal like that, you know, it, it can feel overwhelming unless you do break it down into manageable chunks. So that, that's great. I love the way that you processed through that.

[00:12:03] Tessa Priem: Yeah. And I think what helped with that was that the fact that there were 12 songs on the CD. But again, those songs just coincided with the chapters of my life, if you will. It's even funny, Lindsey, that the, even the titles of the songs, it's almost like it was written for my, it's for my life story. It's, it's bizarre, because even the titles of the songs themselves literally apply to what the dance is about. So it's what each dance is about. So  another little thing that I consider just kind of strange and, and nearly kind of, I don't know, I don't know if using the word miraculous is that or not, but that's the only word I can think of, you know? So, or maybe providential or something like that. So, I think again, that's, that's part of what guided me certainly is the fact that it had 12, 12 songs and that helped me set one dance per month. So it was kind of laid out for me nice and neat. I didn't have to think too hard about it.

[00:13:11] Lindsey Dinneen: Perfect. I love that. And so I'm just curious, what surprised you the most along the road, either throughout the process or audience reactions or what stood out to you the most?

[00:13:26] Tessa Priem: Hmm. Oh, one thing when I began the project, I had so much doubt. My self-confidence, if you will, was so extremely low, Lindsey, I didn't think anyone would want to watch me. I thought I would be boring. It's just, it's just mind boggling to me of, of where my mind kind of was at that time, thinking that I had almost nothing to offer to a crowd, to an audience, right? And so that was a long process. Another, I guess, surprising thing was that I dealt with a good bit of injury while creating it, literally. And so, and this was, this was quite challenging because I only had a month to complete each dance, right? So, so literally Lindsey, by the time, like nearing my 11th and 12th months, I was literally crawling on the floor cause I had injured my ankle and it was unbelievable. I'm serious. I was crawling on the floor and so a lot of the dance had to be, I had to end up, as I perfected it in the second year, I had to change a decent bit of the choreography to especially get me on the floor because I had messed up my ankle so badly because my ankle wasn't used to dancing as, cause I was dancing on it daily. And so it was just such a quick transition for my body to go from not dancing and to have gone through as complete health collapse.

[00:15:04] And by the way, I had lost probably about 20% of my body mass in that time. So I had lost so much muscle tone and so on. So it, it, it was, it was hard on my body, but here, let, let me say something that was so surprising, Lindsey, that countered all of this doubt, self doubt along the way. And that countered my injury was creating the solo show was the most joyous thing I had done for 12 years in my life. I had had a really horrible stretch of 12 years. And so this solo show was the first year that I had genuine happiness and joy. And so any burden that I had, almost felt so insignificant, if it can't by comparison, because the joy was just so fulfilling and uplifting, and I needed that so badly in life, I needed that so badly.

[00:16:07]Another thing that was surprising is, because this was such a big goal of creating a solo show, creating all 12 dances in 12 months, you know, and having never seen a single solo show in my life. So I didn't know what I was doing. And furthermore, I am not one to open up easily to people about certain events of my life. So the fact that I was even making a solo show about my life story and was even considering opening that up to my own family, let alone the public, was like insanity to me, right? So, there were so many times along this journey throughout these two years where it really seemed that the solo show might not come together because my ankle was too messed up.

[00:16:52] Or, there was a particular event when I was six months in this solo show, I ended up having sort of a screening of it. And I invited about 40 people to come and I was halfway through building the dance. So I had six dances done and they were going to come, about 40 people, and they were going to watch me dance because I wanted their feedback to know, "Is this just a stupid project?" I wanted to know, "Are people going to be bored with me? Are people going to boo me off the stage?" You know?  It ended up where we ended up doing the showing in the basement of my home. And so, because we couldn't fit about 40 people into my basement, we had to break it up into two showings. And so about 20 people came to the first showing. So, and then I did these two showings back-to-back, where about 20 people came to the first showing and then the next set of people came in.

[00:17:46] And just to give you a clue, Lindsey, about how weak I was at that time. So I only did about 30 minutes of the dance at that time. I was so weak after the first showing that I literally laid on the floor of my basement. Well, the next set of people came in and I had to direct a few of the men who came to set up my set for me, because as the show progressed, my props change location. But, I had even more props early on in the creation of my show, like a lot more props than what you saw at Fringe. But anyway, I was so weak at this time, at six months into the creation of the solution that I had to lay on the floor and build up strength while I directed these men to put my props in place. And I had no idea if I would be able to build up the strength to perform this the second time for the second show, but here's a great surprise. What happened at the showing was incredible. The people supported me. They were just kind of blown away. And it affirmed for me that I should keep going and creating the solo show that I shouldn't stop, that I should keep going. And so I did. And so those are, I guess, just some of the surprises along the way. 

[00:19:09] Lindsey Dinneen: Yeah, absolutely. And how encouraging too, because I know all artists at, I think I can only imagine at all levels, so to speak, have those moments of even if initially, you know, you're really passionate and you think definitely this is a good concept, until you have some feedback, you still, it takes so much bravery and courage to put yourself out there and put your creation out there and hope. So that's so great that you had people, you know, to help you along the way and say, yes, this concept is important and yes, you should be doing this. Well, and, so since you debuted it at the Fringe Festival, my understanding is that you've gotten to do some additional work. Have you gotten to perform that particular one again?

[00:19:59] Tessa Priem: I did. I performed the full solo show at a small university in Minnesota. I was supposed to perform it at least in two other locations, but I ended up having to have major abdominal surgery. So both of those shows had to be canceled. But you know, kind of like you and I were talking before we started recording this conversation, Lindsey, the timing of things in life can sometimes be such a gift, because those shows being canceled and me being completely out of commission, totally unable to move, because dancers, I mean, perhaps most of the listeners who listen to your podcast know that dancers or, or anybody who moves their body, you move from the core of your body. So what was cut open? It was my core. My abdomen was completely sliced open.

[00:20:56] So, so that sent me to the couch and I had to think of what was next. What was I supposed to do? And so that kind of started me on some new things in my art, in some new directions. So, basically from having major, major abdominal surgery, it sort of became clear to me that it was time to start writing my autobiography. So in October, 2019, October 31st, 2019, three years after I started creating my solo dance show, I determined that I was going to set a five-year project to write out my life story. So, I just reached my first year of that anniversary. So I have four more years to go Lord-willing. So I am currently writing my autobiography to be kind of a companion to my solo dance.

[00:22:01]So, I guess that's part of the fruit of getting my abdomen worked on in surgery is that it, it rerouted my sort of plans and my, my focus, as well as, this is funny, Lindsey, but, you know, before COVID, no dance performances were being live-streamed. Online dance performances have always been largely done in public, right? We make our performances in public and if anything, we record it and then afterwards you can watch your recording, right? So, while I was recovering from that surgery, it's kind of like standing in my kitchen, you know, and the idea hit me that I could dance out my life story, and it kind of, similar way I thought, because I'm a mom so I know that I, it's not very feasible for me to travel around like most companies do or like most solo artists do they travel around and they perform their shows. And I knew that's not something I can can do in my situation as, as a parent. And as a parent, I homeschool my children, so I just knew that wasn't feasible.

[00:23:27] So I had to think of, "Well, what can I do? What can I do?" And so I thought, literally, Lindsey, I've been working on this for probably 10 months. If not close to a year, I had been working to make my solo show live through. And I was keeping it a secret. I was keeping it a secret because I thought everybody's going to beat me to the punch. And now I think what I learned is anytime I have an idea, there's just really no reason for me to keep it secret because it's just, it's just silly to keep a great idea to yourself, I suppose. But anyway, so what happened literally overnight? It was March 13th this year, 2020. Overnight, the digital dance world was born, Lindsey, and I saw it happen online.  The whole dance community has entirely changed and everybody has shifted to online and online performances. So, so at that point there was no need for me to keep anything secret anymore that I was trying to build a live stream solo show.

[00:24:25] So, so that was, that was kind of just a funny thing. And, the world was sort of ripe for things to go digital because we have these digital devices and it is totally possible to live stream things. And so that's, I think kind of an interesting and neat thing about COVID, but it doesn't  replace meeting in public and being able to be together. That's for sure. But to move on from the solo show and from writing the autobiography, the other thing that I actually stumbled into is, last August, 2019, I was preparing for a gig. I was going to be performing at Johnson County Public Library in Kansas City.  The event coordinator, his name is Joseph, he saw my solo show at the, at the Kansas City Fringe Festival. And, the library was going to be doing a theme throughout the year regarding mental health. And of course my solo show deals a lot with mental health and so he asked me to come there. So what happened is I was rehearsing for this gig to perform at the Johnson County Public Library, and lo and behold, I ended up in a park on a beautiful sunny day and I recorded myself dancing outside ,Lindsey. And when I got home, I was blown away by what I saw. Because I saw how absolutely gorgeous it was to dance outside in the wind and in the sunshine, and to see these big fluffy white clouds in the sky and to see like soaring hawks in the air as I was dancing.

[00:26:05] And so my jaw just dropped open when I got home and looked at the footage. So I started a new goal. I started a goal that I would dance outside once per month and would capture the footage. And I did that for an entire year So that's what I did. And then I finished that July, 2020. So half of the filming that I did was filmed during the time of COVID actually, which worked out pretty well because I was just dancing in open spaces,  So I was just going to public places, and I didn't have to worry about running into people too much or anything like that. And, and so it just worked out quite well. I was able to film all 12 months and I filmed on my humble computer camera because that's the only resource that I had at the time. So computer cameras, as we know, aren't that great with capturing video because it's just this tiny, tiny lens that's letting in light. But what happened, Lindsey, was when I went outside into the natural light, somehow this tiny little lens that light poured through, and it was able to capture my dancing in such an unbelievable way.

[00:27:22] So then I was able to take screenshots from those from the footage of me dancing outside. And I ended up creating three slide shows that run for seven hours each and they have royalty-free music built into them. And so this is my very first product that I'm launching by Inner Reformation. And I just recently launched this. And so it's very new territory for me. And I'm so delighted about it and so excited about it. So those are kind of the things that I'm doing right now. I'm still working on my solo show. I'm writing my autobiography.  And then, I'm working on these outdoor slide shows, so I'm kind of all over the place, but that's what I'm doing. Lots of different art projects.

[00:28:15] Lindsey Dinneen: Yeah. That's great. Well, and congratulations on this new project and endeavor. That is so exciting.  Thank you so much for sharing your story and your process and, and just everything, you know, that's made art so impactful for you personally, and how it's really made a difference in your life and, and through you, I'm sure to the lives of other people. So you know that, like you said, you're a pretty private person. So being brave and vulnerable is a big deal. And so thank you for doing that because that's going to impact other people's lives for sure. Well, and I do have a couple of questions that I like to ask all of my guests, if you're up for that. So first of all, how do you personally define art or what is art to you?

[00:29:05] Tessa Priem: Yeah, so I had listened to some of your podcasts right before doing this with you. And so I figured that you would probably ask me this question. And knowing that you were going to ask me, you would think that I would have thought how I would answer you. But what it made me think of is that I actually did a presentation that had a lot to do with what is art. And I ended up looking up the various definitions and like, the Oxford dictionary and Miriam Webster. But one thing that really sticks out to me from what I learned just about sort of the definition is, well, first of all, let me back up just a little bit throughout history. This has been debated and continues to be debated. It's such a interesting question because people always have different answers. So I think even the Greek philosophers from long ago, like really examine this question, what is art? So anyway, from the dictionaries, I thought it was so interesting how they really emphasize that the aspect of skill. So developing a skill. And I, I'm not going to go into, you know, your level of that skill or something, but, but you know, whether it be drawing or whether it be dance or whether it be music of some sort, right? So you have this certain skill or craft that you work on and you end up making something in that skill or craft and that what you make expresses something, right. There's some sort. Of purpose behind that making. And then furthermore, beyond that sort of purpose, whatever it might be, that can be so varied.

[00:30:56] It's so varied for each artist, but from that purpose of whatever you've made, usually after that, that work, that creation is often shared with others, usually. Not always, not always, but it's often shared. So those were just some aspects that I thought were really interesting about what is art, you know, it's kind of, it's this skill or craft that people have that people work on and they pour themselves into it and they make whatever it is that they, that they need to create. And often then they share that work. Not always, but, but frequently that's what happens. And then what happens from that is that the audience in some way responds. And so, I guess that's kind of, maybe that's art, it's, it's making something. And then you go on to either just keep it to yourself, which is special, or you go on to, to share that with others to potentially impact others in some kind of way. But it's definitely something that you make to definitely something that you make.

[00:32:09]Lindsey Dinneen:  Yeah, absolutely. Okay. And then what do you think is the most important role of an artist?

[00:32:17]Tessa Priem:  So I knew you were going to ask that too. When I first heard you ask this question on the first podcast that I listened to, one of my thoughts was honesty. Just honesty, honestly relating whatever it is that you're trying to create. I suppose I've also heard that art shows us what it means to be human. I mean, but that, well, I guess that kind of goes back to your former question. But, I think, for me personally, as an artist, like it's my big goal to be real and honest with people as I possibly can. I don't want to lie or hide because as you mentioned, it is very scary to reveal what you've made. It's very scary to reveal yourself. So in that it does require a good bit of bravery. And so I guess for me, I really just try to work on being real and honest, but I also want to be like lighthearted and silly at times too, because I can be a little bit serious sometimes. So that bringing that joy and fun, and I listened to your podcast, Lindsey, and I know that's what you've wanted to bring to people through your company, like the sense of joy and happiness and people's lives. So.

[00:33:46] Lindsey Dinneen: Yeah, absolutely. Okay. And then my final question is, and I'll define my terms a little bit, but do you think that art should be inclusive or exclusive? So inclusive referring to somebody who kind of invites you into the context behind it, whether that's a title or program notes, or a Q&A, versus exclusive where the artists share something, but doesn't put context behind it. So it's completely up to the audience to interpret.

[00:34:17] Tessa Priem: So let me give you a little bit of a backup story. When I was an undergrad learning modern dance, being exclusive was kind of like the go-to the way that we were taught. And so the more vague or abstract your dance piece, the better. And this was just all kind of across the board, like anywhere we traveled to perform or anything like that, just kind of the overall education. And the modern dance community seemed to-- I think the way I felt at least--was that we were entirely discouraged from being at all inclusive. So for example, the stranger your title was, the better. The more confounded you could leave your audience, the better. Well, that really bothered me personally, Lindsey, I just could not connect with that. I just really deeply could not connect with that. And in fact, I ended up hating dance--- I mean, that's why I went on a hiatus. Part of why I went on a hiatus for so long, for almost a decade, it was because I ended up hating dance and dance performance because I didn't like how the audience was sort of treated and it just didn't resonate with me.

[00:35:31] So, so I knew that at the creation of my solo show, that I wanted to make my dance understandable. So, so I, for example, I wanted to, to give in the program, I wanted to give them a description of what they were seeing. You know, not to feed everything to them on a spoon, but I wanted them to at least get a generalization or an idea so that they weren't walking away, scratching their head going, "What in the world just happened?" Because like, you know, you and I were talking before this, this recording, you had said how you experienced a lot of people who had gone to see a show or looked at some sort of art and your experience with people is that they just didn't understand what they were seeing. Well, that was so much my experience in my undergraduate degree. And, and even after undergrad, people would come to my show and they would be like, we just, we don't even know what we saw. And I felt so badly about that. So I knew I wanted to build my solo show completely different from that. Here's part of the beauty though, Lindsey, that in that almost nine years of a hiatus, or almost a decade of hiatus, when I came back, guess what's happening in dance right now that I just was blown away to see? Stories are being told in modern dance. So I just, I couldn't believe it. I couldn't believe that they were even telling actual stories for people to understand. And so I think there has been a great shift in dance performance. 

[00:37:05] So what I guess then to wrap up this answer is I guess what it's led me to believe is that both are good. Yes. If you can at least let your audience know, for example, "We're we're trying to be more abstract here." I think it's my biggest concern is when you just don't let the audience know anything, right? So if you, if there's a really abstract piece, if at least they could know, okay, it's abstract and they could kind of like let down their guard and say, "Okay, this is abstract. I don't have to work at getting it so much." Right?  Or something, but I, I do think it's good maybe to have kind of both inclusive, exclusive too, to a degree. That way you continue to have variety, because otherwise we might all just kind of start making the same kind of art. And I think it's really important to have great diversity in art, but at the same time, I really hope that we can be very compassionate to our audience because I mean, we are building things to share with them, ultimately, I think, and I've always heard from the dance community, this great passion for, we want to get our work to a larger audience. I mean, I've always heard that in my time and being in modern dance, they always want to reach more people. And I think a way to do that is just to always be very thoughtful to the patrons.  I guess kind of both, but if it is exclusive, I would hope that there is still some thought about how it may impact the audience.

[00:38:56] Lindsey Dinneen: Yeah, absolutely. Yeah. Thank you. Those were very thoughtful answers. I really appreciate that. So if people want to get in touch with you or kind of follow your journey, mayb connect with you, is there a way for them to do that?

[00:39:12] Tessa Priem: Yes. So I am on various social media platforms. I'm on Facebook, I'm on YouTube, I'm on Instagram and all of my names are the same. You can find me a@innerreformation. So you spell inner the word inner, and then you spell the word reformation.  If you type in my name, Tessa Priem, you could probably find me too. And in fact, if you Googled my name, Tessa Priem, you would find my website immediately and see photos of me. But I would love for people to join me on the journey. In fact, that's kind of my phrase that I say, enjoy the journey. So I would, I would love for people to come with me. And, cause I, I've got a lot that I hope to share. I have so much in me that I desire to share. And these outdoor slideshows, for example, are something that I would love to get in people's homes and in businesses and institutions to share on TV screens or any type of digital screen that we have. So, yeah, you can find me @innerreformation, and I am pretty easy to approach. I love interacting with people so that you can certainly find me online.

[00:40:33] Lindsey Dinneen: Perfect. Thank you so much. Well, and thank you again for joining us, Tessa, and for all of the insights that you've provided, and thank you for sharing your story and your message with the world through your dancing. I know that, like I said earlier, that makes a difference in people's lives. So I definitely want to say thank you. And, and thank you so much to all of you who have listened to this episode. And if you're feeling as inspired as I am, I would love if you would share this with a friend or two and we will catch you next time.

[00:41:09] If you have a story to share with us, we would love that so much, and I hope your day has been Artfully Told.

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