How People Move People

How People Move People is a four-part series that unfolds in multi-episode arcs, focused on the work and passions of the host. Listeners discover how the lives and stories of others impact artistic journeys – the choreography of cultural influence. Series Four: "As Grandmother Says..." (released August 2024) is hosted by Brinda Guha and asks artists of different generations and contexts who work in similar fields to be in conversation with each other and reflect on their own mentor/mentee relationships within their creative processes. Series Three: "Mid-Ground" (released July 2024) is hosted by Tara Aisha Willis, PhD and brings pairs of dance and performance artists together in kinship around their roots and work in the Black Midwest. Series Two: "Trace Elements" (released June 2023) is hosted by Jose Solís and gathers stories of men and trans women artists who were impacted by the HIV/AIDS epidemic. We honor these stories in their first languages, offering half of this series in English and half in Spanish. To learn more about Jose, meet his guests, and access other program materials and resources, read the liner notes at nccakron.org/traceelements. Series One: "Back and Forth" (released February 2023) is hosted by Cara Hagan and focuses on the influences of pop culture on the kinetic lives of black girls. To learn more about Cara, meet her guests, and access other program materials and resources, read the liner notes at nccakron.org/backandforth. How People Move People, is brought to you by The National Center of Choreography - Akron, or NCCAkron. This podcast is produced by Jennifer Edwards, with engineering by James Sleeman, theme music by Ellis Rovin, sound design by Damon Locks, transcription by Arushi Singh, and cover art by Micah Kraus. Spanish language episodes are produced by Silvana Cardell. Special thanks to The John S. and James L. Knight Foundation for their continued support of NCCAkron programming like this. To learn more about NCCAkron, please visit us online at nccakron.org.