November 17, 2025 • 16 mins
Dance/NYC is a service organization for the dance industry promoting the appreciation, practice, and knowledge of dance in the NYC metropolitan area. Interim Executive Director Sara Roer details their new fund providing direct support to freelance dancers.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Thanks for listening to get connected with returning guests from
Dance YC. They are a service organization for the dance industry,
promoting the appreciation, practice, and knowledge of dance in the
New York City metropolitan area, and Dance NYC has just
announced a new fund to provide direct support to freelance dancers.
Sarah Rower is Interim Executive director of Dance NYC. Thank
(00:34):
you for being on the show.
Speaker 3 (00:36):
Thank you so much Nina for having us back. It's
really an honor to be here and always exciting to
share some of the resources that we're putting out into
the community for dance workers.
Speaker 2 (00:47):
Dance NYC has so many resources for dance workers, calendars
of auditions, a workforce directory, and events calendar. What else
does the organization do?
Speaker 3 (00:56):
So, as you mentioned, we are an arts service organization,
which is sometimes a misunderstood entity, but that essentially means
that our work is to support dance artists and dance
workers in doing their work well and feeling supported and
doing their work. So Primarily, the way that we do
that as an entity is through regranting, which means that
(01:19):
we're moving money from larger funders to smaller organizations or
individual dance workers. We do that through research, which we
talked about previously on this show, through doing a dance
indust resensus from which came a robust research report. We
do that through advocacy. We do a lot of that
in coalition with other art service organizations in the community,
(01:40):
where we are advocating for things like increases to the
New York City budget, which we had much success for
this year, which is a great win. And we also
do that through knowledge sharing, which is part of what
you were talking about, Nina, in terms of the robust
amount of resources that we have on our website, and
we also work to disseminate those out through social media
through this serves through showing up on panels and sharing
(02:03):
these things, through showing up on radio shows like this
one and letting people know what's available and what they
can take part of in terms of support for their work.
Speaker 2 (02:12):
And adding to that now is the Dance Workforce Resilience
Fund distributing one time grants directly to dancers. How does
it work?
Speaker 3 (02:21):
Yes, So, as you have mentioned, it is underway. It
launched in mid to late June of twenty twenty five,
and it is one of our first models in terms
of a rolling fund, which means we are continually accepting
applications for this fund and then once a month we
are selecting a number of grantees that receive, as you're
(02:42):
talking about, this one time one thousand dollars award.
Speaker 2 (02:45):
And this grant is designed to benefit individual freelance dance workers.
That's who's eligible. Why this particular group.
Speaker 3 (02:54):
We are doing that because that is the distinction of
folks in our community that we know are the most
likely to be under resourced and undersupported. And we know
that from these other pieces of work that we've mentioned,
through the Dance Entency Sensus, through our research. So we
know that dance workers typically and this is from our
(03:14):
data in twenty twenty three, are earning an average of
twenty two dollars an hour, which is fifteen percent below
New York City's living wage standards. And we also know
that nearly half of dancers are taking jobs without formal contracts,
which can exacerbate this kind of procurity. So the dance
(03:35):
Workforce Resilience Fund is an attempt to link those two
things together in terms of support. So the fund is
geared towards this distinction of workers, individual freelance dance workers
who we know are in a very low wage and
a part of the eligibility and part of the application
is that it is linked to contracted dance performance work.
(03:57):
So we are incentivizing, so to speak, the use of contracts,
starting to try and move more and more folks toward
having these working standards and workplace protection conversations.
Speaker 2 (04:10):
Our guest is Sarah Rower. She's interim executive director of
Dance YC. They're a service organization for the dance industry
which is just announced the Dance Workforce Resilience Fund. You
can find out more at dance dot NYC. As she mentioned,
you can apply online. It is one time grants of
one thousand dollars to more than three hundred and twenty
(04:31):
freelance dancers in New York. You're listening to get connected
on one six point seven light Fmimina del Rio. Just
to go a little bit back in time, Sarah, as
you mentioned, you did the study in twenty twenty three.
Most dance workers you found in the city have additional
jobs outside of dance. I believe up to have have
at least four jobs. Many do direct fundraising. They have
(04:52):
health insurance only through a partner or a parent. New
York City is the center of the dance world, but
most dancers cannot support themselves through dance alone. Can you
talk about what that career looks like when you're being
paid perhaps for the rehearsals and the performance, but all
the other things that you're responsible for that you have
(05:13):
to cover in your career.
Speaker 3 (05:14):
Yes, and those are some of the things that we
So this fund is working to promote and support to
proms in a way. One obviously is just a direct
subsidy for folks. So that because we know, like you're saying,
there's so many things even when we're looking at some
of these contracts that aren't covered. There's no considerations for
(05:35):
child together, there's no considerations for travel. And we know
from the large amount of data that we're getting from
these applications, a lot of people are using this funding
for those kinds of basic needs. Right They are buying groceries,
they are supplementing rent on a slow month, they are
paying off medical debt or they are no actively getting
medical attention, which is great. We love it while we
(05:57):
see something like that. And then in the contracting realm,
you know, we did a lot of educational work leading
up to the launch of this fund, and during the
beginning of the launch of this fund, developing short and
long form contractual templates so that folks have what we're
thinking of as like a menu for your conversation of
(06:17):
entering a work workplace agreement. We have a you know,
the the more robust version, which we hope folks will
move toward over time, and then we have a really
short version which is at least trying to get a
basic checklist of things to talk through, like what is
the payment, how is it being issued, what is the timeline,
articulating and being clear that this is an independent contract
(06:40):
relationship and what that does and doesn't cover in terms
of workplace protections, just so that folks are getting like
strengthening that muscle, right, because we have to train in
the studio and this is a different kind of muscle
that we're trying to strengthen and hone around how we
make these agreements for our work.
Speaker 2 (06:58):
So part of the component of this is about just
getting a contract and getting things formalized.
Speaker 3 (07:04):
Absolutely, yes, yeah, that's really what we're thinking of as
like the bare minimum. And then we are supplying We
have done some webinars which we have recorded and have
for free on the website, and we have offered one
on one technical assistance with a legal consultant, which is
still available through the end of this fund. And then
we've offered these just templates which people can download and use.
(07:27):
So we're offering a lot of tools to help move
folks into more rigorous contracting practices. And we know that
we're working in a space because we have those statistics
that so many people are working without contracts at all.
We know that we're working in a space where we
are essentially thinking about this fund is helping to onboard
(07:48):
people into a contracting practice at all.
Speaker 2 (07:50):
And are you looking at what type of dance it
is or what type of performance space or anything else
you know, burlesque to ballet from the subway or wherever
it might be. Are you looking at anything like that?
Speaker 3 (08:04):
That is not a consideration in terms of eligibility for
the fund. It is really wide ranging in terms of
a performance, a movement or dance performance practice.
Speaker 2 (08:14):
The full fund I believe is about three hundred and
twenty thousand dollars, and you're opting for one thousand dollars
individual grants. Why did you opt for smaller grants to
more people versus bigger grants to fewer people.
Speaker 3 (08:27):
That's a great question. We wanted to make this intervention
at sort of the lowest rung of payment and contracting
practice that we could and make it as widespread as possible,
so we opted for doing microgrants for that reason, and
also because when we're working in a lottery system and
(08:49):
we're working more broadly than deeply, we would be able
to make the application and the vetting processes quite quick
and more simple, so that we're able to keep moving
through this fund and turning out and reaching as many
dance workers as possible during this time.
Speaker 2 (09:08):
And where does the funding come from for this pilot?
Speaker 3 (09:11):
That's a great question. It's a consortial funders, So we
have some seed funding from the Ford Foundation as well
as the New York Community Trust, and a combination of
smaller other funders that have come in to fill it
out as well.
Speaker 2 (09:25):
The dance community is very wide. Is there help for
people with English language barriers or other barriers.
Speaker 3 (09:32):
Absolutely, we have as you're mentioning, we have a lot
of these resources on the website at dance dot NYC.
We have a carousel of information on the front page
and the DWR Fund is one of those tiles. So
if you give it a maximum of four seconds, you'll
be able to see it flash in front of your eyes.
And we do have an email address that folks can
(09:54):
reach out to DWR Fund at dance dot y C,
where through requests we can offer Spanish and Chinese translations
as well as American Sign language interpretation and live captioning
and just leaving the conversation open. If there are other
accommodation that would help folks access the application and the
fund more easily, we can have a dynamic, ongoing conversation
(10:17):
via that email as well.
Speaker 2 (10:19):
So again, these grants are available to dancers whose contracted
work goes through April thirtieth. You can apply through March
third of twenty twenty six, and as you mentioned, this
has been available the application process since June. What have
you take has been the takeaway in these first few
months of the pilot.
Speaker 3 (10:41):
That's been an exciting, I mean one we you have
just realized how much sort of passive data we are
receiving via these applications, and how much we are learning
about more we are learning about the community. You know,
we did this huge way via the dance industry senses
and this fund. Because it's so widespread and because the
application barriers are pretty low and simple, we're getting a
(11:04):
lot of people, which is wonderful, and we are learning
a lot about the wide variety of contracts that are
out there and the work to be done in that space. Honestly,
it's showing us a lot around everything, from like folks
using an email agreement that's just sort of casually outlining like, yeah,
this is the time I think we can afford to
(11:26):
pay you one thousand bucks. You know, rehearsals will be
sometime this month, you know, to like folks having some
pretty robust like obviously they've done their kind of due
diligence and have their own internal template of contracts that
they're working with within their companies, even when they're small.
We've seen a lot of folks grappling with missing work,
(11:50):
with unsupported and unpaid time off due to injury, struggling
with childcare and basic living expenses while they are doing
dance work, and those are again, you know, every time
we do this kind of research and data, we have
ideas that these things are happening, and then when we
(12:10):
receive the evidence of that, so to speak, you know,
in print, it's an important underscoring and it's important to
have that actual data because all of that helps drive
advocacy and helps drive funding, and it builds on each
thing to kind of help support the sector as a whole.
Speaker 2 (12:31):
Again, the last major survey you did about metropolitan area
dance and dancers was in twenty twenty three. Did this
fund spring forth from that? How long has it been
in the works.
Speaker 3 (12:43):
Yes, yeah, it absolutely did. I tend to think of
our work at dance and I see as somewhat cyclical,
so where we might do something like the dance Centers
Industry Census, which involved convening it involved grassroots work with
the community to be in direct contact with them to
get their data to understand what's going on. That data
(13:06):
becomes research and it becomes a research publication. That research
publication has advocacy priorities and really clear findings that come
out of it that drive what we're coming to City
Hall with in terms of our testimony in terms of
our asks for the budget, and then it also peels
out into okay, as an organization, what can we directly
(13:26):
act on in terms of an intervention, And that's often
where our regranting programs come in. So this is a
peel off in that way that's uniting some of the
pretty dire findings that we found around really low wages
and around this really low contract adoption rate, which to
us brings concerns around working conditions.
Speaker 2 (13:47):
I would think that's true for every freelance industry, right,
Like freelancers, you step off to have your own career,
but the business part doesn't always come naturally to people
or the resources are hard to find. Are people who
aren't involved in this arena, what would you want them
to know about the dance community and the challenges in
this career.
Speaker 3 (14:06):
One of our core goals within the organization is to
bring more understanding and awareness and value of dance not
only to the dance community, but to the large arts
community and then even beyond the arts community. And so
one of the things I think is to me really
impactful about dance as a performing art is that it
(14:31):
is one of, if not the most difficult to reproduce
and has an ephemerality that I think lends a lot
to its magic and also to the difficulty in understanding it.
And I think, you know, because it doesn't often use words,
because it moves quickly sometimes and you can't hang on
(14:51):
to anything, and like a picture of it doesn't really
give you the sense of what's going on, and a
recording of it doesn't really do the same as being
there sharing space. I think that that makes it a
little harder to hold on to, which to a lot
of us is kind of the seed of its brilliance,
and to many other folks, I can understand, it feels
(15:14):
a little harder to get in and understand and take
it in. But I would say that what I want
folks to understand or take away about that is, you know,
movement is our first language. Actually, most of us are
gesturing and pointing and moving toward things that we desire
or that are interesting before we have words. And I
(15:37):
think dance can offer us a really deep and kind
of essential reconnection to that way of bonding, end of
interest and excitement and joy.
Speaker 2 (15:53):
There is so much more for the industry and about
the industry at dance dot YC a myriad of resources
again including auditions of Workforce directory and events calendar, rehearsal space,
rehearsal space, subsidy program, and again the new Dance Workforce
Resilience Fund is open through spring of twenty twenty six.
Our guest has been Sarah Rower, the interim director of
(16:16):
Dance NYC. Thank you for joining me on Get Connected.
Speaker 3 (16:19):
Thank you so much, Dina.
Speaker 1 (16:21):
This has been Get Connected with Nina del Rio on
one oh six point seven light Fm. The views and
opinions of our guests do not necessarily reflect the views
of the station. If you missed any part of our
show or want to share it, visit our website for
downloads and podcasts at one O six to seven lightfm
dot com. Thanks for listening.
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Thanks for listening to get connected with returning guests from
Dance YC. They are a service organization for the dance industry,
promoting the appreciation, practice, and knowledge of dance in the
New York City metropolitan area, and Dance NYC has just
announced a new fund to provide direct support to freelance dancers.
Sarah Rower is Interim Executive director of Dance NYC. Thank
(00:34):
you for being on the show.
Speaker 3 (00:36):
Thank you so much Nina for having us back. It's
really an honor to be here and always exciting to
share some of the resources that we're putting out into
the community for dance workers.
Speaker 2 (00:47):
Dance NYC has so many resources for dance workers, calendars
of auditions, a workforce directory, and events calendar. What else
does the organization do?
Speaker 3 (00:56):
So, as you mentioned, we are an arts service organization,
which is sometimes a misunderstood entity, but that essentially means
that our work is to support dance artists and dance
workers in doing their work well and feeling supported and
doing their work. So Primarily, the way that we do
that as an entity is through regranting, which means that
(01:19):
we're moving money from larger funders to smaller organizations or
individual dance workers. We do that through research, which we
talked about previously on this show, through doing a dance
indust resensus from which came a robust research report. We
do that through advocacy. We do a lot of that
in coalition with other art service organizations in the community,
(01:40):
where we are advocating for things like increases to the
New York City budget, which we had much success for
this year, which is a great win. And we also
do that through knowledge sharing, which is part of what
you were talking about, Nina, in terms of the robust
amount of resources that we have on our website, and
we also work to disseminate those out through social media
through this serves through showing up on panels and sharing
(02:03):
these things, through showing up on radio shows like this
one and letting people know what's available and what they
can take part of in terms of support for their work.
Speaker 2 (02:12):
And adding to that now is the Dance Workforce Resilience
Fund distributing one time grants directly to dancers. How does
it work?
Speaker 3 (02:21):
Yes, So, as you have mentioned, it is underway. It
launched in mid to late June of twenty twenty five,
and it is one of our first models in terms
of a rolling fund, which means we are continually accepting
applications for this fund and then once a month we
are selecting a number of grantees that receive, as you're
(02:42):
talking about, this one time one thousand dollars award.
Speaker 2 (02:45):
And this grant is designed to benefit individual freelance dance workers.
That's who's eligible. Why this particular group.
Speaker 3 (02:54):
We are doing that because that is the distinction of
folks in our community that we know are the most
likely to be under resourced and undersupported. And we know
that from these other pieces of work that we've mentioned,
through the Dance Entency Sensus, through our research. So we
know that dance workers typically and this is from our
(03:14):
data in twenty twenty three, are earning an average of
twenty two dollars an hour, which is fifteen percent below
New York City's living wage standards. And we also know
that nearly half of dancers are taking jobs without formal contracts,
which can exacerbate this kind of procurity. So the dance
(03:35):
Workforce Resilience Fund is an attempt to link those two
things together in terms of support. So the fund is
geared towards this distinction of workers, individual freelance dance workers
who we know are in a very low wage and
a part of the eligibility and part of the application
is that it is linked to contracted dance performance work.
(03:57):
So we are incentivizing, so to speak, the use of contracts,
starting to try and move more and more folks toward
having these working standards and workplace protection conversations.
Speaker 2 (04:10):
Our guest is Sarah Rower. She's interim executive director of
Dance YC. They're a service organization for the dance industry
which is just announced the Dance Workforce Resilience Fund. You
can find out more at dance dot NYC. As she mentioned,
you can apply online. It is one time grants of
one thousand dollars to more than three hundred and twenty
(04:31):
freelance dancers in New York. You're listening to get connected
on one six point seven light Fmimina del Rio. Just
to go a little bit back in time, Sarah, as
you mentioned, you did the study in twenty twenty three.
Most dance workers you found in the city have additional
jobs outside of dance. I believe up to have have
at least four jobs. Many do direct fundraising. They have
(04:52):
health insurance only through a partner or a parent. New
York City is the center of the dance world, but
most dancers cannot support themselves through dance alone. Can you
talk about what that career looks like when you're being
paid perhaps for the rehearsals and the performance, but all
the other things that you're responsible for that you have
(05:13):
to cover in your career.
Speaker 3 (05:14):
Yes, and those are some of the things that we
So this fund is working to promote and support to
proms in a way. One obviously is just a direct
subsidy for folks. So that because we know, like you're saying,
there's so many things even when we're looking at some
of these contracts that aren't covered. There's no considerations for
(05:35):
child together, there's no considerations for travel. And we know
from the large amount of data that we're getting from
these applications, a lot of people are using this funding
for those kinds of basic needs. Right They are buying groceries,
they are supplementing rent on a slow month, they are
paying off medical debt or they are no actively getting
medical attention, which is great. We love it while we
(05:57):
see something like that. And then in the contracting realm,
you know, we did a lot of educational work leading
up to the launch of this fund, and during the
beginning of the launch of this fund, developing short and
long form contractual templates so that folks have what we're
thinking of as like a menu for your conversation of
(06:17):
entering a work workplace agreement. We have a you know,
the the more robust version, which we hope folks will
move toward over time, and then we have a really
short version which is at least trying to get a
basic checklist of things to talk through, like what is
the payment, how is it being issued, what is the timeline,
articulating and being clear that this is an independent contract
(06:40):
relationship and what that does and doesn't cover in terms
of workplace protections, just so that folks are getting like
strengthening that muscle, right, because we have to train in
the studio and this is a different kind of muscle
that we're trying to strengthen and hone around how we
make these agreements for our work.
Speaker 2 (06:58):
So part of the component of this is about just
getting a contract and getting things formalized.
Speaker 3 (07:04):
Absolutely, yes, yeah, that's really what we're thinking of as
like the bare minimum. And then we are supplying We
have done some webinars which we have recorded and have
for free on the website, and we have offered one
on one technical assistance with a legal consultant, which is
still available through the end of this fund. And then
we've offered these just templates which people can download and use.
(07:27):
So we're offering a lot of tools to help move
folks into more rigorous contracting practices. And we know that
we're working in a space because we have those statistics
that so many people are working without contracts at all.
We know that we're working in a space where we
are essentially thinking about this fund is helping to onboard
(07:48):
people into a contracting practice at all.
Speaker 2 (07:50):
And are you looking at what type of dance it
is or what type of performance space or anything else
you know, burlesque to ballet from the subway or wherever
it might be. Are you looking at anything like that?
Speaker 3 (08:04):
That is not a consideration in terms of eligibility for
the fund. It is really wide ranging in terms of
a performance, a movement or dance performance practice.
Speaker 2 (08:14):
The full fund I believe is about three hundred and
twenty thousand dollars, and you're opting for one thousand dollars
individual grants. Why did you opt for smaller grants to
more people versus bigger grants to fewer people.
Speaker 3 (08:27):
That's a great question. We wanted to make this intervention
at sort of the lowest rung of payment and contracting
practice that we could and make it as widespread as possible,
so we opted for doing microgrants for that reason, and
also because when we're working in a lottery system and
(08:49):
we're working more broadly than deeply, we would be able
to make the application and the vetting processes quite quick
and more simple, so that we're able to keep moving
through this fund and turning out and reaching as many
dance workers as possible during this time.
Speaker 2 (09:08):
And where does the funding come from for this pilot?
Speaker 3 (09:11):
That's a great question. It's a consortial funders, So we
have some seed funding from the Ford Foundation as well
as the New York Community Trust, and a combination of
smaller other funders that have come in to fill it
out as well.
Speaker 2 (09:25):
The dance community is very wide. Is there help for
people with English language barriers or other barriers.
Speaker 3 (09:32):
Absolutely, we have as you're mentioning, we have a lot
of these resources on the website at dance dot NYC.
We have a carousel of information on the front page
and the DWR Fund is one of those tiles. So
if you give it a maximum of four seconds, you'll
be able to see it flash in front of your eyes.
And we do have an email address that folks can
(09:54):
reach out to DWR Fund at dance dot y C,
where through requests we can offer Spanish and Chinese translations
as well as American Sign language interpretation and live captioning
and just leaving the conversation open. If there are other
accommodation that would help folks access the application and the
fund more easily, we can have a dynamic, ongoing conversation
(10:17):
via that email as well.
Speaker 2 (10:19):
So again, these grants are available to dancers whose contracted
work goes through April thirtieth. You can apply through March
third of twenty twenty six, and as you mentioned, this
has been available the application process since June. What have
you take has been the takeaway in these first few
months of the pilot.
Speaker 3 (10:41):
That's been an exciting, I mean one we you have
just realized how much sort of passive data we are
receiving via these applications, and how much we are learning
about more we are learning about the community. You know,
we did this huge way via the dance industry senses
and this fund. Because it's so widespread and because the
application barriers are pretty low and simple, we're getting a
(11:04):
lot of people, which is wonderful, and we are learning
a lot about the wide variety of contracts that are
out there and the work to be done in that space. Honestly,
it's showing us a lot around everything, from like folks
using an email agreement that's just sort of casually outlining like, yeah,
this is the time I think we can afford to
(11:26):
pay you one thousand bucks. You know, rehearsals will be
sometime this month, you know, to like folks having some
pretty robust like obviously they've done their kind of due
diligence and have their own internal template of contracts that
they're working with within their companies, even when they're small.
We've seen a lot of folks grappling with missing work,
(11:50):
with unsupported and unpaid time off due to injury, struggling
with childcare and basic living expenses while they are doing
dance work, and those are again, you know, every time
we do this kind of research and data, we have
ideas that these things are happening, and then when we
(12:10):
receive the evidence of that, so to speak, you know,
in print, it's an important underscoring and it's important to
have that actual data because all of that helps drive
advocacy and helps drive funding, and it builds on each
thing to kind of help support the sector as a whole.
Speaker 2 (12:31):
Again, the last major survey you did about metropolitan area
dance and dancers was in twenty twenty three. Did this
fund spring forth from that? How long has it been
in the works.
Speaker 3 (12:43):
Yes, yeah, it absolutely did. I tend to think of
our work at dance and I see as somewhat cyclical,
so where we might do something like the dance Centers
Industry Census, which involved convening it involved grassroots work with
the community to be in direct contact with them to
get their data to understand what's going on. That data
(13:06):
becomes research and it becomes a research publication. That research
publication has advocacy priorities and really clear findings that come
out of it that drive what we're coming to City
Hall with in terms of our testimony in terms of
our asks for the budget, and then it also peels
out into okay, as an organization, what can we directly
(13:26):
act on in terms of an intervention, And that's often
where our regranting programs come in. So this is a
peel off in that way that's uniting some of the
pretty dire findings that we found around really low wages
and around this really low contract adoption rate, which to
us brings concerns around working conditions.
Speaker 2 (13:47):
I would think that's true for every freelance industry, right,
Like freelancers, you step off to have your own career,
but the business part doesn't always come naturally to people
or the resources are hard to find. Are people who
aren't involved in this arena, what would you want them
to know about the dance community and the challenges in
this career.
Speaker 3 (14:06):
One of our core goals within the organization is to
bring more understanding and awareness and value of dance not
only to the dance community, but to the large arts
community and then even beyond the arts community. And so
one of the things I think is to me really
impactful about dance as a performing art is that it
(14:31):
is one of, if not the most difficult to reproduce
and has an ephemerality that I think lends a lot
to its magic and also to the difficulty in understanding it.
And I think, you know, because it doesn't often use words,
because it moves quickly sometimes and you can't hang on
(14:51):
to anything, and like a picture of it doesn't really
give you the sense of what's going on, and a
recording of it doesn't really do the same as being
there sharing space. I think that that makes it a
little harder to hold on to, which to a lot
of us is kind of the seed of its brilliance,
and to many other folks, I can understand, it feels
(15:14):
a little harder to get in and understand and take
it in. But I would say that what I want
folks to understand or take away about that is, you know,
movement is our first language. Actually, most of us are
gesturing and pointing and moving toward things that we desire
or that are interesting before we have words. And I
(15:37):
think dance can offer us a really deep and kind
of essential reconnection to that way of bonding, end of
interest and excitement and joy.
Speaker 2 (15:53):
There is so much more for the industry and about
the industry at dance dot YC a myriad of resources
again including auditions of Workforce directory and events calendar, rehearsal space,
rehearsal space, subsidy program, and again the new Dance Workforce
Resilience Fund is open through spring of twenty twenty six.
Our guest has been Sarah Rower, the interim director of
(16:16):
Dance NYC. Thank you for joining me on Get Connected.
Speaker 3 (16:19):
Thank you so much, Dina.
Speaker 1 (16:21):
This has been Get Connected with Nina del Rio on
one oh six point seven light Fm. The views and
opinions of our guests do not necessarily reflect the views
of the station. If you missed any part of our
show or want to share it, visit our website for
downloads and podcasts at one O six to seven lightfm
dot com. Thanks for listening.
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