Episode Transcript
[00:00:00] Speaker A: Now I look like a cockatoo. Do you say damn cockatoo?
[00:00:03] Speaker B: I said, girl, you got me out here looking like a damn cockatoo.
[00:00:06] Speaker A: It's okay.
Hey. Hey. Welcome. I'm Dana. This is words that move me. This is wrist roll. The dog, aka rizz. Today's episode is short and stellar, y'all. We are back for part two with the woman that sets the bar for dance education in New York and LA, the choreographic genius and my dear friend, Rhapsody. James, if you watched the first episode with Rhapsody, you know that we can talk. We covered a lot of fun stuff, like self direction and carving out your own path. We dug into her creative process and talked about my favorite audition story. The moment that I became a mime, much more fun was had. Please do go check that out. But today first, while you're here, right now, we're digging into the more serious, sensitive, and vulnerable side of Rhapsody. As a dancer, I am telling you, my heart is gripped and I cannot wait to share. But first, let's do some wins. Today, I am celebrating week one done of a new creative journey.
Man, I love and have so missed going to bed mentally and physically exhausted.
Same. I cherish it. I love it. I am celebrating it. Now you go. What's going well in your world? The snore score is racking up.
[00:01:51] Speaker B: Yay.
[00:01:53] Speaker A: Wow, y'all. Wrist roll is covering my head to toe ML outfit. With her max relax body, this dog is in peak relaxation mode. This is unreal. I swear she's not sedated. It's just nap time.
Congrats on your wing. I am thrilled for you. Riz is thrilled for you. Despite looking half asleep, half dead, she. Oh, all the way asleep. She's all the way asleep, y'all.
All right, now let's get into it, shall we? Rhapsody is about to uncover some life hacks for those really sticky career moments when the high achiever wants to be perfect and the circumstances make it really, really difficult to do so. So please enjoy the one, the only rhapsody. James, you see the twitch?
You know what's crazy? To really put a bow on that. I think that's what mime does well.
Makes very clear and very simple, very abstract and complex things, right? I mean, it's been hugely. It's.
[00:03:14] Speaker B: And it has. Because let me tell you, you're. And I'm just gonna flip and give you some flowers really quick.
[00:03:20] Speaker A: Let's go.
[00:03:20] Speaker B: Because your.
Your. I don't know how you don't understand how witty and clever you really are in your movement. Oh, when we did, when, I don't even know if you really realized, but I was fanning out on you so hard when we did in the heights and rational. You were choreographing, right?
[00:03:41] Speaker A: That's right.
[00:03:42] Speaker B: I was just a dancer.
[00:03:44] Speaker A: That's right.
[00:03:45] Speaker B: Mind you, it was the most freakiest thing because I was just dancing, and it was.
[00:03:51] Speaker A: You weren't just dancing. We're back to actress. You have a line.
[00:03:55] Speaker B: Oh, I do have a line. Hi, John. Shout out to Jon Chu Jochu. We love you. That's my boy. Oh, my God.
[00:04:02] Speaker A: You're so funny now I look like a cockatoo. Do you say damn cockatoo?
[00:04:06] Speaker B: I said, girl, you got me out here looking like a damn cockatoo, people. Did they tell you to say it? I was like, no, I just said it. I said, I really look like a cockatoo. I mean, that's what I said right.
[00:04:16] Speaker A: Off the dome, which was where you were.
[00:04:17] Speaker B: I did look like a cockatoo.
[00:04:18] Speaker A: Pretty burly.
[00:04:19] Speaker B: I really did.
[00:04:19] Speaker A: Okay, okay.
[00:04:20] Speaker B: But you, you know, just watching your work, especially you choreographing the nail thing, the p. T. P. T. P T. Which, by the way, I was so thankful that I was late. Cause I had a job. Remember? I had to come a day later. I couldn't come the day that you.
[00:04:36] Speaker A: Paid me back for the job.
[00:04:37] Speaker B: Cause you wanted me. You wanted me to. Yes. It was just like coming in. I was like, ah, Ken, you was like, okay, we'll figure it out. You know, we're moving. And once it's done, you said it. You gotta move on.
[00:04:47] Speaker A: We were moving very fast.
[00:04:48] Speaker B: Moving very fast. So by the time I come in, the nail thing was done, and I was like, you want me to learn it? He was like, actually, sit over here. Do this part.
[00:04:56] Speaker A: You don't need to.
[00:04:56] Speaker B: So I was doing that part, and then I look over yonder, and then I see who happened to shoot. I said, yep, that. Mm mm, mm mm. Thank God I wasn't.
Cause my brain was like, absolutely not.
[00:05:18] Speaker A: That was a lot of moves. And to be honest, I walked into those moves as well. I learned, though. I did not. We. That was a very much. I mean, the entire project was a team tackle.
[00:05:29] Speaker B: Absolutely. Absolutely. Of course it was.
[00:05:31] Speaker A: We were all hands on. Super shout out. Christopher Scott at the helm of that project, who is really good at encouraging everyone to show up.
[00:05:40] Speaker B: He's such a sweetheart.
[00:05:41] Speaker A: Yes.
And really worked hard to introduce us laterally and give everybody a choreographic voice and freedom. And at the same time, retain his fingerprint on all the things and ownership of all the things in a really, like, in a really strong and also still compassionate way. Really, like, how he. Really. Like, how he leads. If you are interested, we talk a great deal more about that. I did have the entire choreography team from. In the heights on the podcast when we were virtual, obviously, but we talked a little bit about that. Anyways, the nail section Chris had had, I think that was one of the. I think. I think that choreography went unchanged from workshop days.
[00:06:25] Speaker B: Wow.
[00:06:26] Speaker A: I know. Like, he just. There are certain things that. That come out, and then you love, and you're like, okay, that's locked. And I think that was one of them. I had the pleasure of learning and cleaning and making sure people felt confident with it, because as soon as you add lyrics on top of that and. And then you're gonna overlap this person's arm, you're gonna do that part, but not that part. You're gonna it. Got it.
[00:06:48] Speaker B: But the thing is, I think that.
I think what I'm really trying to let you know is that. That mime training.
[00:06:55] Speaker A: Oh, it's in there that you did.
[00:06:56] Speaker B: Because it's not even. Only just the choreography. I literally was watching you work, and I was like, oh, my God. It was.
It was very clever. It was like the time management, how you. And I'm saying the time management within the creation, not necessarily time management. Like, we gotta. We only have an hour to do. I'm talking about the time management of your brain creating. And then. Cause you know what I saw above all that, I, at that time, most definitely did not have.
[00:07:27] Speaker A: What's.
[00:07:27] Speaker B: That was trust in your work.
So I was in a space in as much as everybody, you know? And then it was weird because everybody in the room was just like, rhapsody. Oh, Rhapsody. Yes, Rhapsody. Woo. Rhapsody. You know? And I'm just like, what? And I'm like, thanks, guys. Thanks. Faking.
[00:07:45] Speaker A: Faking it. Faking it.
[00:07:47] Speaker B: Because I was depressed. D, capital D.
But I came in and I was just like, just do things. Because I was happy to just dance, right? Tell me, what's the drama?
[00:07:59] Speaker A: Let me plug in.
[00:08:00] Speaker B: Just let me do it.
[00:08:00] Speaker A: I've been enjoying returning into that room.
[00:08:02] Speaker B: And then I got. Because then when you said, swing your legs and then go upside down, remember, I was like, when the park bench.
[00:08:09] Speaker A: Is 96,000, you looked at me like, are you gonna move me to a different place now? Are you. Is this.
[00:08:16] Speaker B: You would say, I want you right here. I was like, next to the actress. Are you crazy? I barely could turn around. What are you talking about?
[00:08:21] Speaker A: I love that section. I love that choreography so much.
And I also love your honesty. It's so important for people to remember. Cause it's very easy on the silver shiny screen for us to think that those people are at the highest point, right? No, to know that these people are at all the points in life. Because that movie shot at a certain. For a certain month in a certain year. And that wasn't the highlight of everybody's life.
Everyone's going through different shit.
[00:08:50] Speaker B: And it was even harder for me because, you know, I definitely don't talk a lot about this, but I'm trying to get better about just talking. You know what I mean? It's weird. Cause I know I can talk, but talking, especially when it comes about me, which was a big thing about the piece at Congress. It was like a big step for me because it was me trying to get in front of. I'm learning that I'm like, I can't no longer, like, not get in front of my work.
[00:09:16] Speaker A: Wow.
[00:09:17] Speaker B: So that's why.
[00:09:19] Speaker A: That's a lot of step then.
[00:09:22] Speaker B: Yeah, that's a lot of reason why, you know, and, you know, shout out to everybody that's like, you know, worked me over the years. There's the running joke of, like, we do a job with rap or we do it a thing with Rhapsody. They never see the video.
[00:09:34] Speaker A: Interesting.
[00:09:35] Speaker B: They think that I'm just not giving them the video. To not give them the video. I'd be like, no, I'm not giving you the video because I know if I give you the video, you're gonna post it, you're gonna show it. You think that means I'm just like.
[00:09:46] Speaker A: You were still hiding?
[00:09:47] Speaker B: Nope.
So it is true. I have and a catalog of work that low key has just never been seen because I've just never been voted to be seen. So it's just always like, here. And I hide it, and I hide it, and I hide it and I hide it. So when we were doing, what do you call it in the heights, I also have always just dealing with just me being the thick girl.
I was just like, are these girls out here in these bikinis and, you know, and they're like, rapsey? No, you're cool. You're the. And I'm like.
Cause you know what was really, like, full transparency? You know, what was happening? I don't even know if you knew. Did you come over to me at that time?
[00:10:30] Speaker A: I don't know. I don't know.
[00:10:32] Speaker B: Cause when we practice it. Right. We was doing a little camera block in for the night on the steps, and then after, I think you told your body to go break, and I literally went to the side, and I was crying my eyes out because I couldn't get around shit. It was because of the weight shit. Because I was just thicker. Right. I mean, not like that, you know? Here go. Funny part, my stomach was in the way.
[00:10:53] Speaker A: Right. So you're feeling this.
[00:10:55] Speaker B: My stomach's in a way.
[00:10:56] Speaker A: So you're feeling this. Carry on. Carry on.
[00:10:58] Speaker B: No, it was, like, really hard for me because, you know. And shout out to Jessica Castro. That's my girl. Love her.
[00:11:05] Speaker A: Love.
[00:11:05] Speaker B: Big love for Jessica.
But she was just like, sis, let's go over it. And she would go over with me, but I was like, I can't remember. We had to do the spin, and then we were like. And the legs crossed. Yep. It was literally one of the hardest things that I had to do.
[00:11:22] Speaker A: That you have ever had to do.
[00:11:23] Speaker B: And it was literally just spin. And then, you know, so it was pulling out all the insecurities. It was like, now, mind you, there were other thick girls. It wasn't like I was the only thick girl, but the other thick, they was whipping and whopping and whooping and whipping.
But for some reason, I couldn't get past my thing, so I was really.
[00:11:40] Speaker A: Like, teetering on the edge there.
[00:11:43] Speaker B: Yeah. Because I was trying to uphold this front. I was in New York, and it was just like hometown. It was like Rhapsody.
[00:11:48] Speaker A: Yo, Rhapsody, y'all.
[00:11:49] Speaker B: What's up?
[00:11:50] Speaker A: And, you know, we're getting so much positive feedback and so much encouragement.
[00:11:53] Speaker B: Yeah. And I'm like, yeah, yeah.
[00:11:55] Speaker A: I'll be right back.
[00:11:57] Speaker B: Ball.
[00:11:57] Speaker A: Wow. Rap. I did not know.
[00:11:59] Speaker B: Ball, ball, ball. And you came up. That's what it was. You didn't. You came up to me after. Cause you just saw me sitting there and you asked if I was okay, and I was like, yeah, no, I'm fine. But I had just finished.
[00:12:10] Speaker A: Like, I was just, like, unpacking that bag.
[00:12:13] Speaker B: And I think that's when I was asking you, do I need to be?
[00:12:16] Speaker A: Yeah.
[00:12:17] Speaker B: And you were like, yeah, no, girl, you're fine. Are you crazy? Oh, girl, you're gonna get it.
[00:12:21] Speaker A: And I was like, how did that play out? Because you got it.
[00:12:25] Speaker B: Cause I had to.
Cause let me tell you something, rapsey James. It's not gonna look crazy.
[00:12:33] Speaker A: Or if she does look crazy, it's intentional crazy. It's very.
[00:12:37] Speaker B: I'm deliberate.
[00:12:38] Speaker A: You are very deliberate. And.
[00:12:40] Speaker B: And it was one of those things. I had no choice, though. Cause, right. It's like the cameras was like, you know, then click in professionalism.
[00:12:48] Speaker A: Totally.
[00:12:48] Speaker B: It was like I had to kind of, like, you know, do my own mentoring for myself.
[00:12:53] Speaker A: This is the sort of thing. And thank you for bringing this up. This is the sort of thing that I think choreographers, especially, myself included, now, hearing this story from your perspective can and should do better, is in having conversations from the outset right before it's uncomfortable and under pressure on set. Is. Is this comfortable for you? Is this possible for you? Is there any modification that we can make that will make this more comfortable and doable for you, not only one time, but for an eight hour shoot day? That is such a consideration that I want to make for my people working for me. And I don't think. I mean, in 2018, I was having that conversation, yet I didn't have the awareness to be having those conversations during the process, during the creative process. And that also was a unique. That was a specific one because we didn't rehearse for that on set. We made up bleachers, choreography on the phone.
[00:13:47] Speaker B: Oh, yeah.
[00:13:47] Speaker A: Remember, we had to thinking, like, I think this will be possible. I think this will be possible. And when on the day it was possible for the majority of people, that doesn't mean it's possible for all of the people.
[00:13:57] Speaker B: And I had to. But I had to figure it out, right. It was one of those things, like, you know, once again, clicking and professionalism. I had to say, rhapsody, are you gonna sit on this set and then be complaining? No, you figure it out. And then whatever you can't do, ask. And I think that's when I started asking you about the modification, like, what counts? I think I was asking about the count.
[00:14:22] Speaker A: Can I not cross my legs, or do I have to cross them on this?
[00:14:25] Speaker B: Do I have to cross?
[00:14:26] Speaker A: What happened there? Rap. I'm trying to replay the bit in my head.
[00:14:32] Speaker B: Mm hmm.
[00:14:32] Speaker A: Or the movement in my head.
[00:14:35] Speaker B: Yeah. It was the thing. It was like the flip on the side, and it was. Right. It was like something. And then it was flip, turn, lay back, and we had to do this, and it was no hands there. And it was like, because I think I just remember two. We had to get our legs around on two. But the thing is, because of just the. My weight, and then I also had lower back problems. Right. So me going, shoot, I was like, that sucks. Okay. So I would get there and too. But my legs were like, I couldn't cross because it's just crossing my legs. It just really, really hurts. And then you go, release. I was like, oh, my God. I have to release.
[00:15:19] Speaker A: Oh, my God. Wrap. Oh, man. I do think. Okay, here's what I think. I think it's.
[00:15:24] Speaker B: But I loved it.
[00:15:24] Speaker A: I think it's. I think it looks really great.
I think it is the dancer's job to be professional. I also think it's the choreographer's job to make sure that what they are asking is possible and.
Or if it is impossible, that it be essential or necessary. Like, is that worth it? For lack of a better way of putting it? I think it's up to both departments. It's not just up to you to torture yourself and torment yourself and. And be needing to unpack trauma on the day in order to get your legs crossed by two. I just. That is.
[00:16:00] Speaker B: Which I do. I agree. I do agree. But flipping it back to me in that position, I'm not gonna tell you, as the choreographer of that section, I can't do it. I can't do it.
[00:16:13] Speaker A: Why not?
[00:16:13] Speaker B: I need to.
[00:16:14] Speaker A: No, just all the years of training that say the dancer has to get the job done.
[00:16:19] Speaker B: No, not that. It's. It's the. It's the professionalism in me that I'm like, this is your work. I've been asked to do your work, so I need to figure out how to do it right now. If it had gotten to a point where I was literally every single time I was doing it, I was harming myself, then that's a different story.
[00:16:39] Speaker A: Yeah.
[00:16:40] Speaker B: Then I would have been like, okay, this is. Maybe switch it for me. Or maybe I'll just do another thing. If you really. If it's not about. Cause one, I would never tell a choreographer to change choreography for me. Ever.
[00:16:51] Speaker A: Ever.
[00:16:51] Speaker B: Never.
But it wasn't about.
I knew it wasn't about harming me. I knew it was about. Get on your shit, Rhapsody.
Yep. You think I got. Yup. You got more stomach? Yup. Your back ain't right. How you gonna do it? How you gonna do it? What you gonna do?
[00:17:13] Speaker A: What you gonna do?
[00:17:14] Speaker B: You got these other girls over here doing it. You don't. And staying in that. Right.
[00:17:19] Speaker A: And what you did do was criticize yourself, number one, and then call on a friend, number two, and then make peace with self and then talk to person in charge. Like, you had this, like, kind of workflow that maybe was or wasn't deliberate at the time, but that's how that played out for you. And that happened in, what, the course of, like, an hour?
[00:17:44] Speaker B: Well, remember we learned it the day before.
[00:17:46] Speaker A: Yeah. And when I tell you, fast, fast, super fast. This went fast.
[00:17:51] Speaker B: It went super duper fast. And then remember, there was some girls that was. There was. That was also skeleton for you. So some girls had known it. And then there was us that came in.
[00:18:00] Speaker A: Yep.
[00:18:00] Speaker B: That just had to learn it.
[00:18:02] Speaker A: Yep.
[00:18:02] Speaker B: So I had to sleep on it that night.
I cried when we did the rehearsal and then slept on it. The next day, I came back and I was just like, okay, I have to do it. And then I said, this is what you're gonna do. One Rhapsody. You gotta give yourself grace, because guess what? You gotta do it. So, you know, I had to kinda get real smart with myself and say, what are the parts that you can do? Let's not talk about the part you can't do. So I was just like, okay, you know, rhapsody that you could perform, you know, that you feel music and, you know, you know timing. So get that. Eat that swip leg on the side. Okay, great. You can't. You wanna. You know, your back needs to be up. Okay. Your arm might have to be over here a little bit. And then push your chest out a little bit more. It's. Okay. Do that. Whoop, whoop, whip to the point where it was just like, okay, for. If you're worried about how you feel in the bathing suit, you might have to wear shorts. Go talk to wardrobe. Because if you don't have shorts with your bathing suit, you're not gonna feel great. And it was like, if I don't.
[00:19:07] Speaker A: Have these shorts, we're not doing this.
[00:19:10] Speaker B: It's not gonna happen for me. Cause I couldn't get. So I had to kinda get rid of all of the things.
[00:19:14] Speaker A: How did that conversation sound, your conversation with wardrobe? I want to be giving myself and other people examples of how to have difficult conversations, even on set, when there's a lot of pressure. And specifically around something like your mental health and your relationship to your body, your physical health. Also, spinning on your butt without anything on your bum would have also been unsafe. Yeah.
[00:19:36] Speaker B: But dominated. It was cushion. They don't know, you know, that's true.
[00:19:38] Speaker A: We had yoga mats hidden under our bath towels.
[00:19:41] Speaker B: That was the movie.
[00:19:42] Speaker A: The movie magic. Yeah. Oh, my God. I remember Leslie Grace, bless her heart, when we were shooting, when the sun goes down, she was wearing a very thick maxi pad between her shorts and her lower back. Oh, sorry. Between her shorts and her lower back. Cause she had to get slid up the wall, which was along the wall, but you have to watch it and it was so uncomfortable on her lower back. And that was wardrobe's solution, was just a thick ass pad that wound up being better than us trying to stuff like a yoga mat or something back there because there's tape on it already and, like, made for your skin already and all that. Anyways, how did that conversation sound like wardrobe?
[00:20:25] Speaker B: Well, first of all, that day, the 96,000 day, was crazy. Cause it was so many extras and so many. So they were cool, but it was one of those things that I was like, I had to tell them. They was like, oh, well, put this on. You can just throw this like a wrap.
[00:20:39] Speaker A: Yeah.
[00:20:39] Speaker B: It was like, well, you could just do the rap. And I was just like, I need to explain something to you. I'm dancing. Do you have any kind of shorts? So I went in knowing what I.
[00:20:49] Speaker A: Needed, because you knew the choreography before you had sewed wardrobe.
[00:20:53] Speaker B: Having those conversations with wardrobe is really good when you know what you need, because, you know, we've seen it, right? We have a lot of people for a lot of friends in these departments, and wardrobe being one of them, it's really crazy. And sometimes wardrobe can be, you know, it is said they get a real, like, you know, sometimes they say they're a little bitchy, they're a little this. But I'm just like, there's a lot going on. It's a very tedious back end. So I'm like, the best way you could do that is just know what you want so you can ask for it. So they can say, yes, I have that. No, we don't have that. This is what you do. So I went in and said, can I wear jean shorts or do you have. I didn't even. I say, can I? I said, do you have? I said, do you have any jean shorts? And it was like, oh, yeah, you can do this. And then they showed me a rack, and they say, anything from this rack you can play around with. And I said, okay, nice. So once I got the outfit, yes. I was like, okay, I can do this. I was like, I could do this. That too. Still was gonna kick my butt.
[00:21:53] Speaker A: I feel so terrible about that.
[00:21:55] Speaker B: But in my head, I was just like, whatever you do, end on time. Do not be late. You better lay out. You better arch that chest. You know what was so funny the night before, I was hanging off my bed.
I was literally hanging. Hanging off my bed.
I think my boyfriend at the time, he was, like, laughing at me. I feel like he walked in on me, and I was, like, literally doing.
[00:22:20] Speaker A: This.
[00:22:25] Speaker B: Stack of pillows. He was like, what are you doing? Practicing.
[00:22:28] Speaker A: I'm recreating the bench.
[00:22:30] Speaker B: Because I was like, I'm gonna. I need to. I have. I was like, I don't care. I was like, look, if this cross happened, this is a hit or miss.
[00:22:38] Speaker A: I do. I remember.
[00:22:38] Speaker B: So I was like, I'm not going to stress about that. Cause I already know that. Yeah, but I gotta get that. And I'm not gonna be late. Cause you're not gonna catch me on the camera going, oh, yeah, one, and. Nope, not me.
Now, mind you, when I went, like, here, I was like, oh, God.
[00:22:54] Speaker A: Hold it. Hold on.
[00:22:55] Speaker B: Hold the hand. Cut.
No, but you know what the funny part is? That's where the camera should have been, is after you said, cut. And I'm laying out like this, and.
[00:23:07] Speaker A: I'm laying out, and I'm like, just you, everyone. Everyone.
[00:23:12] Speaker B: I was like, okay, late.
[00:23:13] Speaker A: There's no attractive way to get out of that.
[00:23:16] Speaker B: And it was a steep step. Remember.
[00:23:19] Speaker A: Oh, rap. Thank you for sharing that story. That's really important. And I'm gonna take that along with me. And remember.
I really do.
There are few things that are worth it in terms of making an ask that that puts somebody in an uncomfortable position, such as that. And I. Yeah, I want to do better. I want to make better.
[00:23:40] Speaker B: But I don't think it was on purpose. It was just the fact of whatever. But I understand, I think in the sense of, like, you know, now if we're just talking choreographer role, like, maybe it is more just like, are you okay if you get. Or maybe just being in tune, like, are you having a trouble doing that step or you having a problem with timing? Like. Right. Like, what is it? Because I noticed something is not.
[00:24:03] Speaker A: Yes. You know, we're not landing on the two.
[00:24:06] Speaker B: We're not landing on two.
[00:24:07] Speaker A: Is it execution or do you not know that it is?
[00:24:10] Speaker B: Right, right, exactly.
[00:24:11] Speaker A: It's true. Yeah. How can I help you with the execution?
[00:24:14] Speaker B: I can agree with that because I try to do that more now. I think early in my choreography.
[00:24:19] Speaker A: It must be done. It must be done. Yeah, it must be done. Especially if we want more representation of more bodies and more lives on screen, then it must be done.
[00:24:28] Speaker B: It has to be done.
[00:24:28] Speaker A: And I. And choreographers in general have to relearn or remember or learn for the first time that not all bodies can do all the things. And so, like, if we want all bodies represented, then we must consider all bodies when we create.
[00:24:44] Speaker B: Absolutely. Absolutely. And have. And really have those conversations about what you want and I think that sometimes when dancers are in a room with me, they get taken back. Cause I'm completely asking them questions all the time. I'd be like, well, how do you feel?
[00:25:01] Speaker A: And I go, sorry, what? That's allowed.
[00:25:03] Speaker B: No, you said one and two. I said, well, how does that feel?
[00:25:07] Speaker A: Yeah.
[00:25:07] Speaker B: They go, oh, well, how does that feel?
It feels okay. No, no, no. How does it feel? I said, because I want you to dip your head on the turn. I said, so does it feel wrong? Does it feel.
Is it a little wonky? Is it fit right in the pocket?
[00:25:23] Speaker A: Like.
[00:25:23] Speaker B: And I go, you know, so I think they start getting like, well, I don't want to tell you about your choreography. I'm like, no, tell me how it.
[00:25:30] Speaker A: Feels, the mechanics of it. How. How does it feel as you experience that step? And can we make that experience better so that the step also is better?
[00:25:39] Speaker B: Right?
[00:25:39] Speaker A: That's huge. That's it right there. That is a big unlocking power, right?
[00:25:43] Speaker B: And then that's the union. And then that's how you inspire. We really think about it.
[00:25:48] Speaker A: Thank you for sharing. This is such valuable information. Thank you for listening, watching. Click the bell and subscribe. Please leave a comment or review or rating if you are liking what you're hearing now go out there, get into the world, and keep it exceptionally funky. See you soon.
This podcast was produced by me with the help of many big, big love to our executive assistant and editor, Riley Higgins. Our communications manager is Ori Vajadares. Our music is by Max Winnie, logo and brand design by Breetz, thumbnails and marketing by Fiona Small. You can make your tax deductible donations towards that move me. Thanks to our fiscal sponsor, the dance resource center, and also many thanks to you. I'm so glad you're here. And if you're digging the pod, please share it. Leave a review and rating. And if you want to coach with me and the many marvelous members of the words that move me community, visit wordsthatmoveme.com dot. If you're simply curious to know more about me and the work I do outside of this podcast, visit thedanawilson.com.
