1 00:00:01,639 --> 00:00:05,360 Speaker 1: Welcome to Get Connected with Nina del Rio, a weekly 2 00:00:05,480 --> 00:00:09,440 Speaker 1: conversation about fitness, health and happenings in our community on 3 00:00:09,440 --> 00:00:11,719 Speaker 1: one oh six point seven light FM. 4 00:00:12,160 --> 00:00:14,680 Speaker 2: Thank you for listening to Get Connected where I'm pleased 5 00:00:14,720 --> 00:00:18,880 Speaker 2: to welcome back Dante Poalo, artistic director of the Lemone 6 00:00:18,920 --> 00:00:22,800 Speaker 2: Dance Company, shortly beginning celebrations of the company's first eighty 7 00:00:22,920 --> 00:00:26,560 Speaker 2: years with an upcoming program at the Joyce Theater honoring 8 00:00:26,640 --> 00:00:30,080 Speaker 2: eight decades of revolutionary modern dance. The performance has come 9 00:00:30,160 --> 00:00:34,520 Speaker 2: up soon October fourteenth to nineteenth. Tickets are on sale 10 00:00:34,560 --> 00:00:37,080 Speaker 2: now at Joys dot org and you can find out 11 00:00:37,080 --> 00:00:40,720 Speaker 2: more about the company at Limone dot NYC. But Dante Poleo, 12 00:00:40,760 --> 00:00:42,440 Speaker 2: it's nice to see you again. Thanks for coming back. 13 00:00:42,880 --> 00:00:44,760 Speaker 3: Nice to see you, Thanks for having me. I love 14 00:00:44,800 --> 00:00:48,120 Speaker 3: that you said the first eighty years. That's well said. 15 00:00:48,520 --> 00:00:50,600 Speaker 2: There's a long way to go, right, you're just kind 16 00:00:50,640 --> 00:00:51,440 Speaker 2: of getting rolling. 17 00:00:51,840 --> 00:00:53,440 Speaker 4: So first eighty years, the. 18 00:00:53,440 --> 00:00:55,640 Speaker 2: First eighty years, So we have to go back in 19 00:00:55,720 --> 00:00:59,240 Speaker 2: history though, to start, I think Jose Lemon in dance. 20 00:00:59,560 --> 00:01:01,840 Speaker 2: Why is he's so important in dance history? 21 00:01:02,680 --> 00:01:04,280 Speaker 4: You know, he was a very cool guy. 22 00:01:04,959 --> 00:01:08,360 Speaker 3: He came over to America from Mexico, in the early 23 00:01:08,400 --> 00:01:12,360 Speaker 3: nineteen hundreds, his family was escaping the Mexican Revolution. 24 00:01:13,080 --> 00:01:16,319 Speaker 4: They came to America, and. 25 00:01:16,200 --> 00:01:18,640 Speaker 3: Then he had this really wild ride, you know, being 26 00:01:18,640 --> 00:01:20,520 Speaker 3: in America in those early days. 27 00:01:21,280 --> 00:01:23,120 Speaker 4: You know, when he was in Mexico, he was taught 28 00:01:23,160 --> 00:01:23,479 Speaker 4: to be. 29 00:01:23,560 --> 00:01:27,560 Speaker 3: Ashamed of his indigenous heritage, but take pride in his 30 00:01:27,640 --> 00:01:30,000 Speaker 3: Spanish heritage and his European heritage. 31 00:01:30,160 --> 00:01:31,680 Speaker 4: When he comes to America and he's taught to be 32 00:01:31,720 --> 00:01:33,279 Speaker 4: a shame to be Mexican. 33 00:01:33,480 --> 00:01:38,679 Speaker 3: And like this like multi level like layers of shame 34 00:01:38,760 --> 00:01:39,679 Speaker 3: about identity. 35 00:01:40,120 --> 00:01:43,280 Speaker 4: I think really impacted who he was and how he 36 00:01:43,319 --> 00:01:46,160 Speaker 4: saw the world. And I think because he comes at. 37 00:01:46,080 --> 00:01:50,320 Speaker 3: It from so many different perspectives, his level of empathy 38 00:01:50,480 --> 00:01:53,920 Speaker 3: is so strong, and he can see so many sides 39 00:01:54,040 --> 00:01:57,960 Speaker 3: to every single point. And I think when you're creating 40 00:01:58,480 --> 00:02:03,560 Speaker 3: art and you're building something for mankind, for humankind, and 41 00:02:03,600 --> 00:02:05,840 Speaker 3: you're able to look at it from so many different perspectives, 42 00:02:06,040 --> 00:02:09,360 Speaker 3: you're able to really create something that speaks to the 43 00:02:09,440 --> 00:02:14,640 Speaker 3: human experience and give pathways into each of his stories 44 00:02:15,240 --> 00:02:17,040 Speaker 3: knowing that it's going to be looked at from so 45 00:02:17,080 --> 00:02:19,760 Speaker 3: many different perspectives. And I think the breadth of his 46 00:02:19,880 --> 00:02:23,079 Speaker 3: work speaks to that, and I think now. 47 00:02:22,919 --> 00:02:25,680 Speaker 4: More than ever, is more important to find those places 48 00:02:25,680 --> 00:02:27,680 Speaker 4: that we actually can connect. 49 00:02:28,000 --> 00:02:30,520 Speaker 2: There's also something about the look of his work, not 50 00:02:30,560 --> 00:02:32,200 Speaker 2: all of it, I'm not familiar with all of it, 51 00:02:32,280 --> 00:02:34,640 Speaker 2: but he originally wanted to be a painter and he 52 00:02:34,760 --> 00:02:38,079 Speaker 2: was enthralled by dance instead. And when you look at 53 00:02:38,080 --> 00:02:41,320 Speaker 2: the forms he uses, it almost still feels like he's 54 00:02:41,360 --> 00:02:43,720 Speaker 2: thinking as a visual artist. It's three D now and 55 00:02:43,800 --> 00:02:44,359 Speaker 2: it's moving. 56 00:02:45,880 --> 00:02:48,639 Speaker 3: Yeah, I always think about that when That's one of 57 00:02:48,720 --> 00:02:51,200 Speaker 3: the things I love most about his work is sitting 58 00:02:51,200 --> 00:02:53,840 Speaker 3: in the house, but sitting on the upper mezzanine and 59 00:02:53,840 --> 00:02:56,320 Speaker 3: seeing it from the top, because you can see the 60 00:02:56,360 --> 00:02:58,840 Speaker 3: way the bodies shift from side to side, and all 61 00:02:58,880 --> 00:03:00,120 Speaker 3: of a sudden there'll be in a circle, and then 62 00:03:00,160 --> 00:03:01,440 Speaker 3: all of a sudden they'll be in a line, and 63 00:03:01,480 --> 00:03:04,800 Speaker 3: it's like this painting that's moving. So I think his 64 00:03:04,919 --> 00:03:08,560 Speaker 3: years as a visual artist really instructed his craft. 65 00:03:09,600 --> 00:03:11,440 Speaker 2: There's one other thing I want to ask about, just 66 00:03:11,480 --> 00:03:13,280 Speaker 2: that time in history. You know, I happen to be 67 00:03:13,320 --> 00:03:15,800 Speaker 2: watching right now this thing about the history of film, 68 00:03:16,320 --> 00:03:19,280 Speaker 2: and it occurred to me, you know. Lemon Dance Company 69 00:03:19,320 --> 00:03:21,680 Speaker 2: was founded in nineteen forty six, can you also give 70 00:03:21,760 --> 00:03:23,920 Speaker 2: us some context as to what was going on in 71 00:03:24,040 --> 00:03:27,600 Speaker 2: dance and art at that time that he was responding to. 72 00:03:28,440 --> 00:03:32,200 Speaker 3: Yeah, he so, like you said, he thought he came 73 00:03:32,240 --> 00:03:33,799 Speaker 3: to New York thinking he was going to be a painter, 74 00:03:34,120 --> 00:03:36,440 Speaker 3: and then he went to an exhibition and he went, oh, 75 00:03:36,520 --> 00:03:40,200 Speaker 3: this person has already painted everything that I wanted to paint. 76 00:03:40,680 --> 00:03:43,400 Speaker 3: So he spent a year really distraught and aimless, as 77 00:03:43,400 --> 00:03:45,520 Speaker 3: he mentions in his memoirs. And then he was introduced 78 00:03:45,520 --> 00:03:48,640 Speaker 3: to Doris Humphrey and Charles Weidman. They had just left 79 00:03:48,640 --> 00:03:51,080 Speaker 3: at Denis Shaun School and were starting their own company 80 00:03:51,120 --> 00:03:54,240 Speaker 3: in school. So now Jose enters at this moment when 81 00:03:54,280 --> 00:03:57,360 Speaker 3: they're beginning to build something. And you know, we're talking 82 00:03:57,360 --> 00:04:00,800 Speaker 3: about the late nineteen twenties, early nineteen thirties, talking about 83 00:04:01,280 --> 00:04:04,560 Speaker 3: being between two world wars, we're talking about the Great Depression. 84 00:04:05,000 --> 00:04:09,560 Speaker 3: So these really intense moments in our history impacted the 85 00:04:09,680 --> 00:04:13,320 Speaker 3: kind of art that Jose and Dars and Charles were making. 86 00:04:13,880 --> 00:04:16,080 Speaker 3: So you know, up to this point, we had experienced 87 00:04:16,080 --> 00:04:19,760 Speaker 3: a lot of Eurocentric ballet, a lot of storytelling that 88 00:04:19,839 --> 00:04:21,920 Speaker 3: had to do with the fairies and ghosts and farm animals 89 00:04:21,960 --> 00:04:26,479 Speaker 3: and kings and queens, and I think Jose and Doris 90 00:04:26,520 --> 00:04:28,599 Speaker 3: were really interested in looking at what it was to 91 00:04:28,680 --> 00:04:31,440 Speaker 3: be a human being in this country at that time, 92 00:04:31,960 --> 00:04:35,880 Speaker 3: and their work really reflected this idea of community and 93 00:04:35,960 --> 00:04:39,640 Speaker 3: this idea of hope inside of despair, and that lives 94 00:04:39,680 --> 00:04:42,200 Speaker 3: not only inside of the work itself, but also inside 95 00:04:42,240 --> 00:04:46,520 Speaker 3: of the physical technique. There's this constant resisting against gravity 96 00:04:46,520 --> 00:04:50,640 Speaker 3: and then giving in to gravity versus creating shapes and 97 00:04:51,000 --> 00:04:55,520 Speaker 3: presentation and being about the forward, but really being about 98 00:04:55,520 --> 00:04:57,640 Speaker 3: what's happening inside of the community. 99 00:04:58,560 --> 00:05:02,320 Speaker 2: We're speaking with Dante Paleo. He is the sixth artistic 100 00:05:02,400 --> 00:05:05,560 Speaker 2: director of the Lemon Dance Company in their eighty year history. 101 00:05:05,560 --> 00:05:09,159 Speaker 2: It's a position that originated with Doris Humphrey. The upcoming 102 00:05:09,160 --> 00:05:11,839 Speaker 2: program at the Joyce Theater honors those eight decades of 103 00:05:11,920 --> 00:05:16,600 Speaker 2: revolutionary modern dance with performances October fourteenth through nineteenth. Tickets 104 00:05:16,600 --> 00:05:19,360 Speaker 2: are on sale at Joyce dot org. You can find 105 00:05:19,400 --> 00:05:24,520 Speaker 2: out more about the company at Lemon Limo n dot NYC. 106 00:05:25,040 --> 00:05:27,360 Speaker 2: You're listening to get connected on one six point seven 107 00:05:27,440 --> 00:05:29,920 Speaker 2: light FM. I'm Na del Rio. So you have these 108 00:05:30,000 --> 00:05:33,719 Speaker 2: upcoming performances, you're looking at eighty years, how do you 109 00:05:33,839 --> 00:05:36,960 Speaker 2: balance that vision with this performance and what you're doing 110 00:05:37,000 --> 00:05:37,520 Speaker 2: in general. 111 00:05:38,440 --> 00:05:41,800 Speaker 3: Yeah, So whenever I build a program or a season, 112 00:05:42,080 --> 00:05:45,159 Speaker 3: I'm thinking about who jose was, why he made the 113 00:05:45,200 --> 00:05:47,680 Speaker 3: works he made. So this way, my audience has something 114 00:05:47,720 --> 00:05:50,080 Speaker 3: they can identify with. When they're looking at the older works, 115 00:05:50,080 --> 00:05:51,880 Speaker 3: it's like, what is important about this work or what 116 00:05:51,960 --> 00:05:55,440 Speaker 3: is it important to pull about him to give people 117 00:05:55,480 --> 00:05:58,880 Speaker 3: some insider draw people in a little bit more. And 118 00:05:58,920 --> 00:06:01,760 Speaker 3: then when I look at that, So this season, I'm 119 00:06:01,800 --> 00:06:04,440 Speaker 3: looking at you know, I've looked at the women who 120 00:06:04,480 --> 00:06:05,160 Speaker 3: influenced him. 121 00:06:05,200 --> 00:06:06,000 Speaker 4: I looked at his. 122 00:06:07,400 --> 00:06:10,720 Speaker 3: You know, his Mexican heritage and how that shaped his choreography. 123 00:06:11,160 --> 00:06:13,599 Speaker 3: And this season, I'm really looking at the male power 124 00:06:13,680 --> 00:06:18,800 Speaker 3: dynamics he really he's one of the only choreographers that 125 00:06:18,920 --> 00:06:22,359 Speaker 3: featured the male protagonist and a male antagonist in so 126 00:06:22,480 --> 00:06:25,200 Speaker 3: many of his works. So you have these two men 127 00:06:25,400 --> 00:06:27,880 Speaker 3: with this passion between them. 128 00:06:28,120 --> 00:06:30,600 Speaker 4: And that just makes me wonder what is it that. 129 00:06:30,520 --> 00:06:33,039 Speaker 3: He was exploring from his own personal life, Because he 130 00:06:33,080 --> 00:06:35,560 Speaker 3: says that you know dance my works and will know 131 00:06:35,640 --> 00:06:39,960 Speaker 3: who I am. All dance is autobiographical, So you know, 132 00:06:40,040 --> 00:06:43,680 Speaker 3: I'm wondering about the homo eroticism in his work and 133 00:06:43,800 --> 00:06:47,480 Speaker 3: this really intense male and male relationship that comes through 134 00:06:47,520 --> 00:06:48,520 Speaker 3: a lot of his works. 135 00:06:48,720 --> 00:06:52,120 Speaker 2: Tell me about Chakan, then, Chakan is something that is 136 00:06:52,440 --> 00:06:53,520 Speaker 2: obviously male centric. 137 00:06:53,560 --> 00:06:56,160 Speaker 3: It was a solo piece, so this is one of 138 00:06:56,200 --> 00:06:59,640 Speaker 3: the first solos he made for himself, and to honor 139 00:06:59,720 --> 00:07:02,279 Speaker 3: the history of these eighty years, we're kicking off the 140 00:07:02,320 --> 00:07:06,159 Speaker 3: program with this chicon But instead of it just being 141 00:07:06,200 --> 00:07:08,760 Speaker 3: the solo that he had created for himself, to show 142 00:07:08,800 --> 00:07:12,640 Speaker 3: that men can dance and men can take presents on stage, 143 00:07:13,200 --> 00:07:17,400 Speaker 3: we are doing a multi generational group version. So we 144 00:07:17,480 --> 00:07:21,440 Speaker 3: have over twenty artists that span from people who have 145 00:07:21,560 --> 00:07:25,040 Speaker 3: danced with Lemon himself all the way all the way 146 00:07:25,160 --> 00:07:28,360 Speaker 3: to students who are learning about Lemon for the first time. 147 00:07:28,760 --> 00:07:29,880 Speaker 4: So we have this really. 148 00:07:29,680 --> 00:07:32,360 Speaker 3: Beautiful collection of people who've been in the company and 149 00:07:32,360 --> 00:07:34,360 Speaker 3: people who are teaching the work, and people who are 150 00:07:34,400 --> 00:07:37,120 Speaker 3: learning about the work, all on stage to share and 151 00:07:37,160 --> 00:07:40,200 Speaker 3: celebrate him and this iconic moment. 152 00:07:40,640 --> 00:07:44,480 Speaker 2: I love that. That sounds fantastic. You're also presenting the 153 00:07:44,520 --> 00:07:47,000 Speaker 2: Emperor Jones. It's from nineteen fifty six, so Sha kinda 154 00:07:47,040 --> 00:07:49,440 Speaker 2: put it in context. Was nineteen forty two The Emperor 155 00:07:49,480 --> 00:07:53,280 Speaker 2: Jones is nineteen fifty six that's based on a play. 156 00:07:52,720 --> 00:07:57,760 Speaker 3: Yeah, Eugene o'neils play The Emperor Jones, And the play 157 00:07:57,800 --> 00:08:03,160 Speaker 3: itself follows the this person who had escaped and being 158 00:08:03,280 --> 00:08:07,240 Speaker 3: enslaved and goes to this Caribbean island and takes over 159 00:08:07,360 --> 00:08:10,000 Speaker 3: and becomes a tyrant and then the people you know, 160 00:08:10,160 --> 00:08:13,280 Speaker 3: rise up against him and he eventually is killed or 161 00:08:13,360 --> 00:08:18,320 Speaker 3: kills himself. It's you know, a silver bullet is a theme. 162 00:08:19,520 --> 00:08:22,560 Speaker 3: And now when jose created he didn't he wasn't creating 163 00:08:22,600 --> 00:08:24,400 Speaker 3: like a ballet version of the play. He took the 164 00:08:24,400 --> 00:08:27,120 Speaker 3: themes of the play and created this like wild fever 165 00:08:27,240 --> 00:08:32,160 Speaker 3: dream of this man's emotional journey. And now I'm taking 166 00:08:32,200 --> 00:08:35,760 Speaker 3: that piece out of the Caribbean and I'm bringing it 167 00:08:35,840 --> 00:08:38,200 Speaker 3: into contemporary urban context. 168 00:08:38,679 --> 00:08:41,760 Speaker 4: So I'm reimagining what this work can look like in 169 00:08:41,840 --> 00:08:42,960 Speaker 4: this moment today. 170 00:08:43,440 --> 00:08:46,200 Speaker 3: You know, you think about a convicted felon being a 171 00:08:46,360 --> 00:08:49,920 Speaker 3: tyrannical leader, one's imagination doesn't have to go far to 172 00:08:50,040 --> 00:08:55,480 Speaker 3: draw the contemporary parallel. But in this particular play, it 173 00:08:55,520 --> 00:08:58,800 Speaker 3: gets more complex than that. So what else can we 174 00:08:59,000 --> 00:09:01,160 Speaker 3: deem from the story? Else can we shine? What other 175 00:09:01,240 --> 00:09:03,640 Speaker 3: lights can we shine on it to see what other 176 00:09:03,720 --> 00:09:05,320 Speaker 3: things are important about this work? 177 00:09:05,520 --> 00:09:07,439 Speaker 2: And you reconstructed the music for it. 178 00:09:08,320 --> 00:09:10,320 Speaker 4: When we did it in twenty eleven, they brought the 179 00:09:10,360 --> 00:09:12,840 Speaker 4: score back and parts of that we're missing, but then 180 00:09:12,840 --> 00:09:14,560 Speaker 4: they found it. So now we're going to be able 181 00:09:14,600 --> 00:09:18,120 Speaker 4: to do it with a new recording. 182 00:09:19,120 --> 00:09:21,360 Speaker 3: And it's going, you know, it's it's fascinating to see 183 00:09:21,400 --> 00:09:23,920 Speaker 3: like this history of music, the way it keeps growing, 184 00:09:24,000 --> 00:09:26,520 Speaker 3: and now we're able to use this new score or 185 00:09:26,520 --> 00:09:27,800 Speaker 3: the reimagined score. 186 00:09:27,920 --> 00:09:29,559 Speaker 2: What I love about the first two pieces that you've 187 00:09:29,559 --> 00:09:32,240 Speaker 2: talked about so far also is you're not that they 188 00:09:32,280 --> 00:09:35,280 Speaker 2: are specimens of a certain time, but you're taking them 189 00:09:35,280 --> 00:09:38,120 Speaker 2: out of that and you're also sort of recreating them. 190 00:09:38,760 --> 00:09:40,120 Speaker 4: You know, we can go back and we can do 191 00:09:40,240 --> 00:09:43,120 Speaker 4: historical versions of these works, which I do sometimes in 192 00:09:43,160 --> 00:09:46,000 Speaker 4: a program, but I also want to see how far 193 00:09:46,120 --> 00:09:48,520 Speaker 4: we can stretch some of these works as well, so 194 00:09:48,640 --> 00:09:51,120 Speaker 4: thinking about new costumes and new prop pieces. 195 00:09:50,760 --> 00:09:53,319 Speaker 3: And you know, just setting it in a different time 196 00:09:53,440 --> 00:09:57,080 Speaker 3: to see how else the story can can shine. 197 00:09:57,360 --> 00:10:01,600 Speaker 2: So you said this program also touches on hose Mexican heritage, 198 00:10:01,640 --> 00:10:04,199 Speaker 2: and indeed you have a world premiere by a Mexican 199 00:10:04,280 --> 00:10:10,319 Speaker 2: choreographer Diego Vega Solorza. He looks very Alexander McQueen and 200 00:10:10,360 --> 00:10:12,640 Speaker 2: all of his works so hard, that's the way to 201 00:10:12,640 --> 00:10:14,200 Speaker 2: put it. I'm not sure how to put it, but 202 00:10:14,240 --> 00:10:16,040 Speaker 2: can you talk about who he is and how you 203 00:10:16,080 --> 00:10:17,160 Speaker 2: would describe his work. 204 00:10:17,800 --> 00:10:18,240 Speaker 4: Yeah. 205 00:10:18,320 --> 00:10:21,480 Speaker 3: So when I was looking at the overall season, I 206 00:10:21,559 --> 00:10:24,400 Speaker 3: was thinking about this aspect of Jose. I'm pulling from 207 00:10:24,520 --> 00:10:28,520 Speaker 3: his works that threaded these men against each other, this 208 00:10:28,640 --> 00:10:30,120 Speaker 3: malepower dynamic situation. 209 00:10:31,280 --> 00:10:31,840 Speaker 4: Diego and I. 210 00:10:31,880 --> 00:10:33,440 Speaker 3: Had been talking for a while, and I was really 211 00:10:33,520 --> 00:10:36,000 Speaker 3: drawn to his aesthetic. I loved the work that I 212 00:10:36,000 --> 00:10:39,000 Speaker 3: had seen of his, and so I knew that he 213 00:10:39,280 --> 00:10:42,440 Speaker 3: lived in that world already. He came from the same 214 00:10:42,480 --> 00:10:45,040 Speaker 3: area of Mexico as Jose. He grew up in a 215 00:10:45,120 --> 00:10:50,400 Speaker 3: similarly strong Catholic household, where the expectations of men and 216 00:10:51,080 --> 00:10:55,480 Speaker 3: religion were very similar, and so his art making comes 217 00:10:55,480 --> 00:10:59,920 Speaker 3: from a similar place. But the differences are so striking 218 00:11:00,040 --> 00:11:03,280 Speaker 3: that I thought a conversation between the two artists would 219 00:11:03,320 --> 00:11:07,079 Speaker 3: be really rich at this moment. So we started talking. 220 00:11:07,120 --> 00:11:08,920 Speaker 3: I was like, you know, this is this is where 221 00:11:08,920 --> 00:11:11,200 Speaker 3: I'm at, this is what I'm thinking where, you know, 222 00:11:11,400 --> 00:11:12,839 Speaker 3: would you like to be a part of that journey, 223 00:11:12,880 --> 00:11:16,080 Speaker 3: and he was like, yeah, absolutely, let's make some stuff together. 224 00:11:16,840 --> 00:11:19,240 Speaker 2: So how does he see Jose le Mon? Do you 225 00:11:19,240 --> 00:11:20,520 Speaker 2: think what has been the conversation? 226 00:11:21,920 --> 00:11:22,760 Speaker 4: He sees him? 227 00:11:22,800 --> 00:11:25,880 Speaker 3: As you know, the icon is legend, this man who 228 00:11:25,960 --> 00:11:28,600 Speaker 3: grew up in a small area of Mexico and then 229 00:11:28,720 --> 00:11:31,199 Speaker 3: ended up becoming the world's first or of the America's 230 00:11:31,600 --> 00:11:33,960 Speaker 3: first cultural ambassador. 231 00:11:33,240 --> 00:11:34,120 Speaker 4: For the United States. 232 00:11:34,160 --> 00:11:37,400 Speaker 3: So it's you know, how do you see that person, 233 00:11:37,679 --> 00:11:39,600 Speaker 3: you know, who lived one hundred years before you did 234 00:11:39,720 --> 00:11:43,440 Speaker 3: and then managed to do this really monumental thing at 235 00:11:43,440 --> 00:11:46,200 Speaker 3: a time when he really wasn't supposed to. 236 00:11:46,360 --> 00:11:49,200 Speaker 4: There wasn't space for a man like Jose Lemon in 237 00:11:49,240 --> 00:11:52,520 Speaker 4: the mid nineteen fifties, but this happened. 238 00:11:52,640 --> 00:11:56,040 Speaker 3: So the kind of light and kind of path that 239 00:11:56,120 --> 00:12:01,400 Speaker 3: Jose created for artists like Diego, I think comes really 240 00:12:02,640 --> 00:12:05,720 Speaker 3: like a light for them to follow to this path 241 00:12:05,720 --> 00:12:08,720 Speaker 3: that they created. So I think he's following that and 242 00:12:08,760 --> 00:12:11,440 Speaker 3: hoping to live in that and then go beyond that 243 00:12:11,480 --> 00:12:13,160 Speaker 3: with his own with his own artmaking. 244 00:12:13,559 --> 00:12:15,559 Speaker 2: So I don't want to get too far ahead of ourselves, 245 00:12:15,600 --> 00:12:18,360 Speaker 2: but this is as we've sort of been told, this 246 00:12:18,440 --> 00:12:21,480 Speaker 2: is the beginning of the first eighty years. The first 247 00:12:21,960 --> 00:12:24,280 Speaker 2: the first celebration of the first performance is do you 248 00:12:24,360 --> 00:12:26,400 Speaker 2: know what's coming next? What have you planned? 249 00:12:26,880 --> 00:12:28,480 Speaker 4: Oh? We have so much great stuff. 250 00:12:28,600 --> 00:12:31,959 Speaker 3: And the way to find out about that is by 251 00:12:32,000 --> 00:12:35,000 Speaker 3: signing up for our newsletters and going on to our 252 00:12:35,040 --> 00:12:37,199 Speaker 3: social media's and following all of those. 253 00:12:37,840 --> 00:12:39,400 Speaker 2: That's a very lovely way to put that. 254 00:12:39,559 --> 00:12:42,120 Speaker 4: Sure, yeah, nice, a nice way to plug it right. Yeah. 255 00:12:42,160 --> 00:12:45,880 Speaker 2: Absolutely. You can find out more at lumone dot NYC. 256 00:12:46,080 --> 00:12:48,560 Speaker 2: Tickets are on sale now for performances coming up soon 257 00:12:48,600 --> 00:12:52,679 Speaker 2: at the Joyce October fourteenth through nineteenth at the website 258 00:12:52,760 --> 00:12:54,920 Speaker 2: Joyce dot org. Anything that you want to else, you 259 00:12:54,920 --> 00:12:57,040 Speaker 2: want to add about the program, Yeah. 260 00:12:56,880 --> 00:12:59,040 Speaker 3: I'm looking forward to seeing everyone there. It's going to 261 00:12:59,040 --> 00:13:02,719 Speaker 3: be a really great celebration. It's a really tight program. 262 00:13:03,040 --> 00:13:06,040 Speaker 3: You know, we have three pieces, so I think you come, 263 00:13:06,120 --> 00:13:08,240 Speaker 3: you get this really beautiful experience, and then you walk 264 00:13:08,280 --> 00:13:11,240 Speaker 3: away inspired excellent. 265 00:13:11,400 --> 00:13:14,439 Speaker 2: Dante Poleo is artistic director of the Lemon Dance Company. 266 00:13:14,559 --> 00:13:15,840 Speaker 2: Thank you for being on Get Connected. 267 00:13:16,520 --> 00:13:17,160 Speaker 3: Thank you. 268 00:13:18,280 --> 00:13:21,280 Speaker 1: This has been Get Connected with Nina del Rio on 269 00:13:21,280 --> 00:13:24,040 Speaker 1: one oh six point seven Light FM. The views and 270 00:13:24,080 --> 00:13:26,760 Speaker 1: opinions of our guests do not necessarily reflect the views 271 00:13:26,800 --> 00:13:28,880 Speaker 1: of the station. If you missed any part of our 272 00:13:28,920 --> 00:13:31,280 Speaker 1: show or want to share it, visit our website for 273 00:13:31,440 --> 00:13:34,360 Speaker 1: downloads and podcasts at one oh six to seven lightfm 274 00:13:34,400 --> 00:13:36,480 Speaker 1: dot com. Thanks for listening.