#032: Renuka Rajagopalan is Breaking Artistic Boundaries: From Classical Dance to Garage Art

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like you know.

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Let's say like, if a dancer is collaborating with a visual artist or a classical musician, um is is working with, like a um, let's say, a painter or something, how does those collaborations look like?

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So that sort of curiosity is what I wanted to, you know, showcase.

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If I was curious, I thought there'd be many people like me to see the possibilities of breaking these rules and seeing you know what comes out of it.

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So I wanted to create that sort of experimental, collaborative and community-focused space for everyone to experience and basically bridging the gap between the artist and the audience.

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So that was my inspiration about why I started Gap and what inspired me.

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Hello, yes, it's Maddox and Dwight, and we're here for another episode of For the Love of Creatives.

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We're here for another episode of For the Love of Creatives.

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We're the Connections and Community guys, and today we have a featured guest Ranuka.

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Welcome, ranuka.

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Welcome.

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Thank you guys, Thank you for having me.

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So please tell us how to pronounce that last name.

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I didn't want to butcher it.

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It's Raja Gopalan.

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So the J is pretty heavy.

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So it's Raja Gopalan.

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That's not hard at all.

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Once I know how to do it, that's a lovely name.

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Thank you, thank you.

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Well, tell us a little bit about yourself.

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Yeah, so my name is Renuka Raja Gopalan.

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I am based here in Plano, texas.

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I am based here in Plano, texas.

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I've been in the United States since 2005.

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I actually came here to do my master's at Chicago, like DePaul University I don't know if you guys have heard DePaul so I came here to do my master's.

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That's how I came to the United States and I've been here since and I've been in Texas since 2010.

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And yeah, it's been quite a ride.

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You've been here long enough to really qualify as a Texan now.

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Pretty soon, I guess.

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Yes.

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Have you picked up any of the jargon?

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yes, have you picked up any of the jargon y'all.

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There you go, yeah I love it here I mean the weather pretty much feels like I'm in india all the time, so it's hot and humid, it is this time of year for sure it is it?

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Yeah, I mean, I am a dancer myself, I like to choreograph, I am a dancer of Indian classical background.

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It is.

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This dance's form is called as Bharatanatyam, which is a very ancient dance form from southern part of India, specifically from a region called Tamil Nadu, and it's rooted like centuries ago when this was being, you know, danced in.

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You know, like people call this Devdasis.

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There are these courtesans who used to dance for the kings and the, you know, the royals, you know.

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So it's it comes, it's dated back then, you know, and it's taken different shapes and forms and molded and it's being interpreted in different ways now, um, so it's a yeah, it's actually pretty cool, um, you know, to have learned this art form for more than 20, 25 years now, um, and, yeah, and I actively practice it still, um, but I take on my own exploration right now.

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So what I do is I actually try to find parallels between contemporary movements and my Indian classical dance form, so, and I form my own movement style and I like to actually explore western classical music with Indian classical dance.

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That's my thing and it's actually quite fascinating and I've been doing, um you know, some latest productions on, like the four seasons of aldi and you know box music and stuff, so so that's my thing.

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You know, I like to explore new movements, new styles.

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I love dancing, uh, with my friends who are, you know, pretty much like-minded people like me and, you know, just have a small community.

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And do you perform from time to time or do you have I guess yeah performances where you've choreographed and there are others doing the dancing?

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Is there something we can come watch?

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That's my question, I think.

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Of course, of course, of course.

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You have to get out of the Dallas area and come to Plano area to see that.

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We can do that.

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This is a warm invitation to you all to come to the side of town to experience some arts.

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Arts, um, but yeah, so mostly we have performed uh here in plain of frisco area, but uh, we did participate in this uh program called the seeds uh, that is organized by this dallas-based organization called agora artist um and it's a wonderful program and we got to present um the the four seasons for the first time at the Dallas area.

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So it was actually pretty cool.

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Yeah, it's a really cool experience and we do perform quite often.

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We have our own ensemble team, so yeah, it sounds fascinating.

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I can't wait to come to Plano and see it.

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Right, you should.

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We go to a lot of stuff and we're always looking for something interesting and different and unusual.

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And there was a time when I took in quite a few dance performances.

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I did a lot of Titus stuff which brought in all kinds of dance.

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Yes, but I haven't done that in a number of years.

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I kind of kind of miss it.

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Yeah so who knows?

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Some really cool companies from internationally performances.

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I enjoy them.

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I enjoy them.

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Well.

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So I want to go back to the very beginning and ask was that something that, as a tiny little girl, was just part of your growing up to learn that dance, part of the culture where all the little girls did that, or was it something that you were drawn to?

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We just kind of want to understand how your personal process unfolded.

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We, we love to hear the, the origin stories.

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Yeah, of course.

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Yeah.

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So I was this like very, very motivated person when I was a little girl.

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So my parents were busy, busy parents and I used to have this bicycle that I used to take it to school every day.

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This is back in India and I actually came to know about a dance teacher, that she was starting new classes, and I was probably like, in I want to say like third grade or something, I went to this dance teacher's house by myself and I said I want to sign up, I want to sign up for your classes.

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And she was like where are your parents?

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Uh, are you by yourself?

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And I'm like like, yes, and I'm interested and I want to sign up, can you sign me up?

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And she's like, yeah, these are the class timings.

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You know, this is how you would start your classes and you know we have a new batch starting.

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And I was so happy and went back home and I told my parents I just signed up for dance classes.

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And then they were like you did what?

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yeah and, uh, yeah, back then I felt it was just such a free, um experience like in the sense, um, we were allowed to do what we wanted to do in in terms of our passions.

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I started learning music lessons on my own.

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I found my own teacher.

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Um, you know, I used to go for other, you know, classes on my own, take my bike everywhere.

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Um, they used to call me like the rowdy girl.

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You know, just take my bike around everywhere and you know, just sign up in all these competitions and you know these classes and stuff.

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So, yeah, very engaged, I wanted to learn proper dancing.

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After being fascinated by some of the dance performances that happened in school by these older girls, I'm like I want to dance like them, I want to learn how to dance like them.

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And you know, indian classical dance form always have these like elegant, extravagant costumes and jewelry and all that, and for a girl, that's all you need to attract.

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You know those blings and the costumes and everything.

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And I was like, yes, I want to sign up for this.

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So, yeah, that's how it all started and I learned with that teacher for, let me say, more than like six, seven years.

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Um, yeah, and then rest is history and I'm wow.

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And I continued learning and I still learn what a commitment go ahead Dwight yeah, yeah, it's just amazing Six or seven years, and you said it was about third grade, so we're talking about a significant chunk of your life.

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Then you were really highly motivated.

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Oh, yes, definitely, I mean, I was actually.

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You know, my dad used to work in airlines, so his job was like a transferable job, so we moved between different cities.

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When it comes to classical dance, it is very important to have like a proper mentor with you for a long time because you want to understand their style, their learning and all that, their style, their learning and all that.

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But when you're in a family that constantly moves around, finding that mentor that stays with you for a long time became kind of difficult for me.

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So at that point I'm on my own to like figure out what is it that you know, I like and I want to do.

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So that kind of pushed me to you know, do my own thing, you know, figure out on my own.

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So, yeah, circumstances.

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Renuka, there is a part of your story that is very uncommon.

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You know we talked to a lot of people and we find that and chime in Dwight, if you've got anything to add here no matter what culture, we're talking from somebody, that doesn't matter.

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You know the vast majority of them say that when they showed up with an interest in creative things, the adults thwarted that.

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Yeah, they were tried to channel into a real career, so to speak, or something like that.

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We've talked to very few people whose parents were supportive of that creative thing, no matter what it was.

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The ones that we've talked about that are from cultures that are really known for the parents to guide their children.

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Specific You're going to be a doctor, a lawyer or an account type thing.

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Or an engineer or an engineer.

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Yes, yes.

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So I mean you probably have enough people in your life that you've talked to, that you know how fortunate you are to have parents that let you do your own thing.

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For sure.

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I mean, I mean in my family, education was equally important.

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You know they, they wouldn't let me, you know, sacrifice my time, you know, not preparing for exams or tests or anything.

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They would still remind me that, hey, you still have to pass your test, you know, pass your grades with good, you know, scores.

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So that was always in the back of my mind, you know, not just from my family, but you know I look up to my cousins and everybody around who's doing really well in education and there's always a sort of competition between cousins of who's doing well, because all we were all like similar grades and all that um, but this was, um the creativity side.

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They knew that I was always creative, like from like my small, uh, age, like from age two, three years old, I was really good at storytelling.

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I would like randomly come up with different stories like characters on the fly.

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I would like randomly come up with different stories like characters on the fly.

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I would like just talk about things by just looking at objects.

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I would, you know, humanize those objects and, you know, start talking about it and, you know, make a story about it.

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So they knew that I had the creative bug in me, and then they just wanted to nurture that, so they would give me that outlet to, you know, channelize that energy and, at the same time, you know, remind me that, hey, you also have school on the side that you need to worry about.

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But gently nudge me.

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They were not, you know, like, oh, you have to become this, you have to become that.

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You know, there was no pressure as such.

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So, yeah, I did become an engineer.

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Fyi, I did take up engineering as an IT engineering, but, yeah, that didn't last long though, because ultimately, I came back to what I'm passionate about.

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What a gift.

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It's so amazing that you're able to pay it forward.

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I mean what you're doing to bring culture to the community in Plano and Frisco.

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It's like you're echoing what it was that was your creative spark at the beginning, and maybe some little girl from Plano or Frisco might be able to take the torch and and keep it going.

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Yeah, Thank you, yeah, so yeah, that's that's.

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You know, that sort of that spark in me always stayed, you know, despite you know, despite you know, getting my master's and then having you know, having been married and having children right now, you know, I didn't lose that spark in me.

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To be honest, the dancer in me always stayed, which, when I look back at it, it's, it's, it's kind of nice.

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It's always nice to have something to fall back on, and art is something I feel that is very important for any human being to experience um, to have something to fall back on.

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Like you having a bad day at work, you know you just want to relax.

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You either go paint something or you play your piano.

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Like, if you have that sort of background when you grow up, that sort of foundation in some sort of art, be it dance or music, or like painting, drawing or writing, anything you need, I feel like that's very important for you to.

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You know, have that fallback and I desperately try to make sure my kids are trained in something you know.

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Have that fallback and I desperately try to make sure my kids are trained in something you know and not just play with the.

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You know the Legos and Minecraft and all that all the time.

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Yeah, Well, tell us something about, or tell us about, garage Art Project.

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You told me, and while I'm right here, you told me and while I'm right here, I will say that we had the pleasure of meeting Renuka at a Creative Mornings event, probably two weeks ago, maybe two, three, something like that.

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Yeah, to have conversations in that environment, but I know you and I eked out at least some part of a conversation and then you and dwight got to have a little bit more conversation.

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I got pulled away, but we were so delighted that we got to have that conversation, you know, because we knew that it was, uh, something that we wanted to learn more about, learn more about you and your process.

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And you spoke of the garage project, that garage art project, and so I'd love to know more about that what, where the inspiration for that came, how you got it started, anything you'd like to share and what its purpose is.

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Yeah, yeah, absolutely Love to.

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So I started Garage Arts Project back in 2020, like right before COVID, and quite literally, in a garage you know it was a.

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My garage was like a small converted space in our home and where we first hosted events.

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That was like very small, intimate, to a group of like six, five people that we knew that we contacted Say, hey, I'm just starting something, would you like to come participate in some workshop that we're doing?

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And the first thing that we did was like a yoga workshop.

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We had an artist that came from India who started this yoga workshop and everybody felt like, oh man, this is quite like a tailored event, like we really enjoyed this curated, you know, version of like a yoga workshop for just a small, you know, group.

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And then the second month we had an Afro-Cuban Latin dance with West African drumming.

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That was the next month music and, honestly, like again, we had about seven to eight people word of mouth.

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It was intimate, it was a bit messy, but it was full of life.

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You know, there were kids that were enjoying the drumming, there were adults that were trying to learn the movements and you know it's I felt like from then on, um, you know, we had covid and stuff.

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Uh, we moved our programming to online, but it's, the garage became sort of like a symbol, like you know.

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It became a symbol of some creative possibility.

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You know what I mean like of breaking rules.

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You know, most importantly, we wanted to open doors for the connection, connection through art, um, yeah, I mean inspiration, I would say, is um.

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When I first um back in like 2018 I think, when I went to india for summer, I attended this, um, uh, this dance event, attended this dance event, and this dance event happened like in a black box kind of space, and this event hosted this artist, and the black box space didn't even have seats.

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You have to like, sit on the floor to watch this and there were about like 30 to 40 people in that black box space and everybody's seated on the floor crisscross, and it was like this quiet energy in that room and you were so like close to the artist and when she's dancing you can literally feel her emotions, you know, and that sort of like, like that connection, that energy connection, I feel that is missing in like big stages, you know, and that evening kind of like transformed me a bit.

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Uh, first of all, that artist is excellent artistry.

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Secondly, just that experience of being in a small space with, um, with bunch of other people who are also experiencing something very similar to what you're experiencing, and I wanted to bring that to like Dallas.

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I wanted to bring that experience to like Dallas and my vision was to bring arts to our neighborhood communities.

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Not a lot of people have the luxury of going to like big theaters and spending like 40 50 bucks, including parking and stuff, to enjoy opera or ballet and stuff.

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So I wanted to bring arts to the neighborhoods so that it's it's more accessible for all community members to experience art.

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And not just that.

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For someone like me, I am extremely curious personality when it comes to creative things and I wanted to experiment.

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I wanted to experiment bringing like two different disciplines together and just see what happens from there.

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You know, just like giving artists a space to take risk, um, you know, blur the disciplines and, you know, reach the audience like unexpected but meaningful ways, you know.

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So that's sort of like.

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You know, let's say like if a dancer is collaborating with a visual artist or a classical musician is working with, let's say, a painter or something, how does those collaborations look like?

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So that sort of curiosity is what I wanted to showcase.

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If I was curious, I thought there'd be many people like me to see the possibilities of breaking these rules and seeing you know what comes out of it.

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So I wanted to create that sort of experimental, collaborative and community focused space, you know, for everyone to experience and basically bridging the gap between the artist and the audience.

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So that was my inspiration about you know why I started Gap and what inspired me, and so far it's been a blast.

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This is our fifth year of programming 2025.

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We started in 2021 and we risked through the COVID times by doing online version of experimentation and, yeah, since then it's been an amazing ride.

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Well, congratulations, you are a visionary.

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Some big words there and and thank you for bringing such a gift to, to the community and to the world, because I, as you're describing the mission of bringing arts to the people, and you hit on something that is a very important point.

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There's a lot of ways that that people think of art as not being accessible, and so a lot of there are a lot of people that will self-select themselves away from it and think, well, that's not for me, when art really is for everyone, and I so love the way that you are doing what you can to just put it out there and make it available and you're not necessarily following the rules you know people are seeing it doesn't have to be a certain way, and I love the way that you're drawing from different worlds and seeing what interesting things will develop.

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That's really my happy space.

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Thank you, yeah, it's, it's, yeah, that excites me, like it excites me when art forms collide.

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You know, at at Gap, we don't really ask is this pure?

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You know, we ask what if?

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What if this sound?

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You met that movement?

00:24:30.582 --> 00:24:33.847
Um, what if the silence had its own choreography?

00:24:33.847 --> 00:24:41.266
You know, um, that curiosity is at the heart of every gap project that we do.

00:24:41.266 --> 00:24:44.770
So it's that's, that's the only thing that drives us.

00:24:44.770 --> 00:24:47.515
I hope that stays on forever.

00:24:48.940 --> 00:24:49.963
Oh, we so need it.

00:24:49.963 --> 00:24:50.887
We so need it.

00:24:50.887 --> 00:25:00.868
I mean, that's the thing that makes improv magic, and I don't care if you're talking about theater or jazz or anything.

00:25:00.868 --> 00:25:07.587
I mean, this is really impactful and I hope that you're able to keep this going.

00:25:07.587 --> 00:25:18.374
Well, I hope this is something that's generational yes, thank you innovation at its best yeah, we um.

00:25:18.815 --> 00:25:24.368
Yeah, we definitely try to keep it real raw, fresh, um.

00:25:24.368 --> 00:25:26.452
You know, that's pretty much our motto.

00:25:27.375 --> 00:25:32.183
So I would love to know some nuts and bolts about this, some of the behind the scenes.

00:25:32.183 --> 00:25:38.321
So to make it accessible, is it free to the people who come to see the performances?

00:25:40.044 --> 00:25:42.207
I wish we get to that stage.

00:25:42.207 --> 00:26:00.708
Right now we are still building our organization I mean, we've grown quickly, for sure but in order to keep it accessible, we still need to make sure we secure our funding to an extent where we are able to support that.

00:26:00.708 --> 00:26:03.093
So we're working on different ways.

00:26:03.093 --> 00:26:12.405
Working on different ways um, we definitely have lower ticket prices, um, for different communities and also for students.

00:26:12.405 --> 00:26:33.035
We always have like half the price tickets, um, because we really want students up to 21 years of age to come experience these art forms, because we need those young minds to be nourished, um, to be, to stay creative and to find possibilities of, you know, whatever art form that they're working on to see.

00:26:33.035 --> 00:26:36.965
Hey, look at this potential that these professional artists are doing.

00:26:36.965 --> 00:26:45.413
You know, this is something that you know is a platform for you to you know, be encouraged to you know, come experiment.

00:26:45.413 --> 00:26:50.483
You know, be encouraged to, you know, come experiment.

00:26:50.483 --> 00:26:54.192
So we'd always give half price tickets to students and our tickets are very, very nominal for what we offer.

00:26:55.000 --> 00:26:59.990
You know, I would love to just offer a little different perspective here.

00:26:59.990 --> 00:27:05.951
I know you said you'd love to get to the point where you had the support, the funding to make it free.

00:27:05.951 --> 00:27:08.525
You'd love to get to the point where you had the support, the funding to make it free.

00:27:08.525 --> 00:27:11.290
But you know you're describing something that's working.

00:27:12.093 --> 00:27:12.292
Yeah.

00:27:17.940 --> 00:27:28.515
You know, and Dwight and I, we have both done a lot of research on this, and there's a whole psychology behind the fact that people don't tend to value what they don't pay for.

00:27:28.515 --> 00:27:39.515
Free things are thought of, you know, when we host free events, which we don't do anymore, we would have so many no shows it wasn't even funny.

00:27:40.075 --> 00:27:40.276
Yeah.

00:27:41.299 --> 00:27:57.817
And when people pay, even if it's a small fee, you can make it extremely accessible with a small admission fee and still have people value it, because they put at least a little bit of skin in the game.

00:27:58.441 --> 00:27:59.726
I absolutely agree with you.

00:27:59.726 --> 00:28:03.750
Even when I keep it ticketed, there are some no-shows that have.

00:28:03.750 --> 00:28:07.607
I mean I can't do anything about it.

00:28:08.750 --> 00:28:17.165
Well, you know, we always feel like when somebody has paid in a no-show, they paid for the right to do that you?

00:28:17.185 --> 00:28:17.366
know.

00:28:17.366 --> 00:28:20.865
So, yeah, I agree with you Absolutely.

00:28:20.865 --> 00:28:26.604
Yeah, this is something that we experienced as well, with a couple of shows that we did.

00:28:26.604 --> 00:28:32.688
That was free and it was hard to track who's coming, who's not coming and what is what's.

00:28:32.688 --> 00:28:33.028
What's?

00:28:33.028 --> 00:28:35.268
What are we going to expect out of this event?

00:28:35.268 --> 00:28:37.607
You know how many people are really going to show up and stuff.

00:28:38.301 --> 00:28:39.306
So they'll come late.

00:28:39.306 --> 00:28:40.522
They'll leave early.

00:28:40.522 --> 00:28:42.509
When there's no skin in the game, it's messy.

00:28:42.910 --> 00:28:43.371
It's messy.

00:28:43.640 --> 00:28:44.201
It's definitely.

00:28:52.019 --> 00:28:59.644
There are a lot of different organizations that, like museums and stuff, sometimes they have like free days and stuff.

00:28:59.644 --> 00:29:02.227
There's some galleries and stuff or ticketed.

00:29:02.227 --> 00:29:22.324
You know, like you said, it needs to be valued.

00:29:22.324 --> 00:29:27.594
But also I want them to like appreciate that things don't come for free.

00:29:27.594 --> 00:29:42.710
Like we still pay our artists, we always pay whoever participates in our projects ever participates in our projects, um, and they need to understand how this, um, how the community works, like how the art, art organizations work.

00:29:42.710 --> 00:29:43.814
Nothing is done for free.

00:29:43.814 --> 00:29:50.309
Everything is priced in terms of us getting a venue to do our events, getting um the artist.

00:29:50.309 --> 00:29:54.981
The artist put in a lot of hours for rehearsals, um, for costumes.

00:29:54.981 --> 00:30:01.386
You know their rehearsal venues paying their group of artists.

00:30:01.386 --> 00:30:05.631
So there is a lot of economics that work behind a project that we present.

00:30:06.230 --> 00:30:06.932
Absolutely.

00:30:07.352 --> 00:30:13.997
And you know if we make it free, they take everything for granted.

00:30:13.997 --> 00:30:19.183
You know they think everyone is doing it for free, like you know the artist is.

00:30:19.183 --> 00:30:22.932
You know, not putting in the effort or things come for free for us.

00:30:22.932 --> 00:30:23.933
That's not the case.

00:30:23.933 --> 00:30:28.963
There is so much of economics that is behind putting a show.

00:30:28.963 --> 00:30:42.554
You know to explain to an audience member say your price of $10 ticket or a $15 ticket is equivalent to so many dollar amount.

00:30:42.554 --> 00:30:45.195
That goes behind putting up the show.

00:30:45.195 --> 00:30:46.897
So I hope you understand that.

00:30:50.880 --> 00:30:54.314
So I wish I can say that out loud when somebody is purchasing a ticket.

00:30:54.314 --> 00:31:23.387
It sounds like it's an opportunity to bring people in, and I don't know I mean you're.

00:31:23.387 --> 00:31:39.586
It seems like you have a real, real point of behind the scenes kind of thing that also packs with it an opportunity to learn about economics and to really have a sense of gratitude for how it is that everything came into being.

00:31:39.586 --> 00:31:56.373
Like to be able to track it from the point where they're enjoying a show to the point that they see the handoff between all of the different hands that are a part of it the designers, the uh, the people that make the costumes, the choreographers, the you know, the people that do the sets, the people that handle maintenance manage the lights and the sound.

00:31:56.881 --> 00:32:01.967
They all put in the work, they all put in the time, and they're not doing it for charity, for sure.

00:32:02.528 --> 00:32:05.940
Right, they got to feed their families too, they got to feed their families Exactly.

00:32:06.921 --> 00:32:15.154
I think you have a rare opportunity here actually to educate your audience.

00:32:15.154 --> 00:32:22.665
You know you probably, when they buy tickets, you get an email address.

00:32:22.665 --> 00:32:24.730
You've got a mailing list right.

00:32:24.730 --> 00:32:32.553
I write emails out to our mailing list all the time and I do what I can to that behind the scenes, as Dwight says, is really, really powerful.

00:32:32.553 --> 00:32:52.363
You could have just a series of emails where you talk about the financial aspect of it and why there is a fee to come see the performance because you've got to pay the light guy and the sound guy and the choreographers, and then there's a space to rent and it just goes on, and on, and on, and on and on.

00:32:52.363 --> 00:33:04.763
And whereas you may find sponsors to cover some of that, you will always need for people to carry their load your viewers.

00:33:05.886 --> 00:33:10.667
I think your opportunity yeah, I absolutely hit the nail.

00:33:10.667 --> 00:33:28.971
I think I can do like a video series of behind the scenes of making money or you know, we're a project where we have been season subscribers for a long time to a local theater and the local theater.

00:33:30.260 --> 00:33:33.711
I got an email here a couple of weeks ago with a video.

00:33:33.711 --> 00:33:48.148
It was like 18 minutes long and it was the artistic director and the assistant artistic director and they were sharing with their followers that they were in financial trouble and they were asking for support.

00:33:48.148 --> 00:34:05.971
But the beauty of this video was they went into great detail about how it all works and they talked about you know people think, well, if the theater goes under, it's just going to impact the staff of the theater.

00:34:05.971 --> 00:34:11.652
He said no, it's going to impact all the actors that were acting in the theater.

00:34:11.652 --> 00:34:17.760
It's going to impact all of the people who have been coming to the theater for so many years.

00:34:17.860 --> 00:34:19.304
Suddenly they don't have a theater.

00:34:19.304 --> 00:34:23.561
And they went on and they and it was more than I would have ever.

00:34:23.561 --> 00:34:49.344
Even I've been a theater goer forever and it was even more than I could have ever imagined when they went into detail talking about you know they had these summer programs for kids that would all go away and it really like opened and I know it did others besides me because they've gotten an outpouring of support when people really understood what was going on and and why they needed the help.

00:34:49.344 --> 00:34:53.072
People dug into their pockets and helped.

00:34:53.760 --> 00:34:55.025
Yeah, yeah, it's a.

00:34:55.025 --> 00:34:57.773
It's actually pretty sad with all the funding cuts, you know, with the NEA grants and helped.

00:34:57.773 --> 00:34:58.135
Yeah, yeah, it's a.

00:34:58.135 --> 00:35:01.143
It's actually pretty sad with all the funding cuts, um, you know, with the NEA grants and stuff.

00:35:01.143 --> 00:35:29.516
So, um, so many organizations that I know, um, you know that I'm good friends with, who had the projects that was being funded by the NEA and, um, some of those projects were actually like half underway, um, underway in terms of their programming, their planning and rehearsals and all that that they have already planned on the budget for paying those artists for their time and ordering costumes and things like that, going on a tour and stuff.

00:35:29.516 --> 00:35:39.855
All those things took a backseat now and they are as clueless as everyone else as to figure out how are we going to bridge that funding gap?

00:35:39.855 --> 00:35:41.702
You?

00:35:41.722 --> 00:35:43.510
know they did that really poorly.

00:35:43.510 --> 00:35:56.291
Of course you know that's the way it goes, but they could have taken into consideration the obligations that people had already made and at least covered that and said okay, after this it will be.

00:35:56.291 --> 00:36:01.268
To leave people high and dry is just.

00:36:04.342 --> 00:36:15.672
Yeah, it was very sad, and every single organization is trying to raise funds on their own, you know, to bridge that gap and it's it's really disheartening to see the support for the arts.

00:36:16.760 --> 00:36:21.793
It is disheartening because it makes you wonder exactly what we're going to have when it's all said and done.

00:36:21.793 --> 00:36:24.088
How many are going to survive and how many aren't?

00:36:25.079 --> 00:36:29.445
Well, and back to the discussion of economics it comes.

00:36:29.445 --> 00:36:35.672
What we're seeing is the psychology that goes along with it when there's a pullback in the arts.

00:36:35.672 --> 00:36:39.704
I know that there are a lot of people that are.

00:36:39.704 --> 00:36:48.867
They're feeling the real impact of not having those exchanges, those interactions that happen when people don't go to the theater.

00:36:48.867 --> 00:37:03.909
Then they're probably not eating dinner and there's all of the effects that come outside of a production itself and there's just that fear.

00:37:03.909 --> 00:37:10.463
People, people can see that the money is tight, it's not coming in and they may not.

00:37:10.463 --> 00:37:13.789
They may not connect those dots, but it's.

00:37:13.789 --> 00:37:33.371
It has a chilling effect and I know that there will be some people who will be less likely to give to the arts because they all that they know is they suddenly have less to work with yeah but it's, it's all tied together, it's all related it's all related.

00:37:33.512 --> 00:37:49.427
Yes, absolutely, I agree so renuka, I I would like to kind of steer back and I I know you've talked about the part of the project that is about experimenting, exploring, bringing different disciplines together, different artisans together.

00:37:49.427 --> 00:38:05.010
Let's talk about the other, the flip side of this, because I read about it in your bio the community aspect of it and your vision for that and how that works, and and and yeah, yeah yeah, yeah, absolutely, um.

00:38:05.572 --> 00:38:17.186
So my, um, my whole idea behind garage arts project is to have it's a very community focused events.

00:38:17.186 --> 00:38:27.233
The whole idea was to, you know, bring, have a space, have a space for different communities to come together to experience arts.

00:38:27.233 --> 00:38:44.813
When I'm bringing artists of you know, different backgrounds, it's very exciting to see a diverse set of audience come to your show.

00:38:44.813 --> 00:38:47.460
I'm bringing you know Native American flute player.

00:38:47.460 --> 00:39:00.371
I am bringing you know someone from a Spanish heritage, you know, come and showcase their art form, someone who is coming from an Indian music background.

00:39:00.371 --> 00:39:22.269
So when they come, they bring their community to the show, but what happens is they're not just exposed to the art forms that they're already familiar with, but they're actually exposed to art forms that they are not familiar with, which is what is more exciting for me in terms of curating art shows.

00:39:22.269 --> 00:40:23.938
So I am not only providing these artists different audience, but I'm also giving audience an experience of global art forms at the same time, and there is always an international element in my curation and I show that, you know, it's where we live right now is a beautiful, diverse community and the possibilities of bringing these artists of different backgrounds together, different experiences and genres together to create boundary pushing works in the most refreshing way is giving them a idea of what you know, innovative and boundary pushing works look like for them.

00:40:23.938 --> 00:40:30.152
Because when some people experience art forms, it's like pretty much in a most singular way.

00:40:30.152 --> 00:40:32.768
So when you go to a ballet show, you see ballet.

00:40:32.768 --> 00:40:40.025
When you go see an opera show, you see opera and it's very like singular form of art experience.

00:40:40.025 --> 00:40:50.309
Well, when you come to my shows, especially one of the flagship events that we present, it's called Bridges and we've been doing Bridges since 2021.

00:40:50.309 --> 00:41:03.106
And Bridges is one of the most innovative programs that we have and there's not a single event that has happened, at least in Texas region, that I know.

00:41:03.106 --> 00:41:10.371
That has something similar concept when we bring in six to eight different artists.

00:41:11.351 --> 00:41:14.474
All these artists come from completely different disciplines.

00:41:14.474 --> 00:41:43.583
We have sometimes a contemporary dancer or an Indian dancer, we have visual artists, we have musicians, we have artists who are literally artists, like spoken word poetry, and we put all these artists in one cohort and we guide them, we nurse these artists to create new works based on a theme.

00:41:43.583 --> 00:41:46.351
So we offer them a theme and say this year's theme is so.

00:41:46.351 --> 00:41:50.322
Last year we did a theme of soma, which is body in greek.

00:41:50.322 --> 00:41:54.326
So we asked them to interpret what Soma means to them.

00:41:55.186 --> 00:42:12.733
But imagine this you put a group of these artists from completely different disciplines in one room All creatives, different backgrounds, different disciplines, they don't know each other and you put them in one room and say, hey, go create.

00:42:12.733 --> 00:42:14.278
That's not going to work.

00:42:14.278 --> 00:42:27.985
You need someone to guide them, to tell them hey, these are the tools that you can use in order to brainstorm together.

00:42:27.985 --> 00:42:29.226
Are you going in the right path?

00:42:29.226 --> 00:42:30.146
Can you try a different path?

00:42:30.146 --> 00:42:44.717
What are the different possibilities you can explore of your own shell to understand what someone else from an outside genre is bringing in, and how do you accept that?

00:42:44.717 --> 00:42:48.505
How do you receive that?

00:42:49.025 --> 00:42:51.550
You know so all that and you facilitate all this, don't you?

00:42:51.692 --> 00:42:52.574
Facilitate all this.

00:42:52.574 --> 00:42:59.257
Yeah, we have an artistic director who has been helping us for the last couple of years.

00:42:59.257 --> 00:42:59.599
Her name is Emmy.

00:43:00.581 --> 00:43:01.164
We know, emmy.

00:43:01.565 --> 00:43:02.630
Yes, yes, emmy.

00:43:03.061 --> 00:43:08.353
Emmy was probably one of their very first guests on this podcast when we started.

00:43:09.121 --> 00:43:26.485
So cool and, yeah, she's a very good friend of mine and she's been helping with the creative direction of bridges that she's like the facilitator for these sessions with these artists and she helps them, guides them and say, hey, this is your idea, this is this person's idea, that's that person's idea.

00:43:26.485 --> 00:43:40.914
Let's put together and see where this is shaping, how this is shaping, and so it's sort of like a guided process where we give them that safe space for them to explore, break out of their shell.

00:43:40.914 --> 00:43:55.096
We do like some warm up exercises, icebreakers, you know, sessions and stuff, because it's very hard for someone to just open up randomly in front of other creatives.

00:43:57.565 --> 00:43:58.248
It is I agree.

00:43:58.980 --> 00:44:08.150
That's the funnest process in and that's what excites us the most like in Bridges, putting these art forms together, putting these people together.

00:44:08.500 --> 00:44:19.612
Dwight, and I can really resonate with what you're saying, do I say?

00:44:19.612 --> 00:44:38.480
But tell her a little bit about you know what we do and and the diversity that we bring into the room, because it's it's dual, but I'll let you do that, oh sure, um, I first want to pause and say that, uh, that reference to em Emmy is kind of a deep cut for listeners of our podcast.

00:44:38.719 --> 00:44:46.373
If, if people are just discovering your episode, they want to check out episode two to see to hear more about Emmy.

00:44:46.373 --> 00:45:02.893
But the thing that we're all about is as bringing people together in a way that is authentic and genuine, and our live events are all about bringing creatives in particular.

00:45:02.893 --> 00:45:10.231
We believe everyone is creative, but bringing creatives into a space where they check their egos at the door.

00:45:10.231 --> 00:45:36.108
They make sure that the tools that they're going to work with the most in one of our facilitated events are the tools of curiosity and openness, and they get to come and enjoy what it is to discover things about themselves and to really lean in and learn more about the people that are there and the gifts that they have.

00:45:36.108 --> 00:45:42.213
And learn more about the people that are there and the gifts that they have, and every time that we do one of these, it is just magic.

00:45:42.213 --> 00:45:47.376
It is something that is healing that happens in those spaces.

00:45:50.141 --> 00:45:50.481
Very nice.

00:45:50.481 --> 00:46:01.469
Yeah, yeah, it's disciplines every kind of creative, from dance to singing, musicians, every kind, and then when we get them into the room, you can look around.

00:46:01.469 --> 00:46:06.532
We facilitate and use circles and things probably maybe very similar to what you do.

00:46:06.532 --> 00:46:15.954
You can look around the circle and see every race, every skin color represented, every age.

00:46:15.954 --> 00:46:27.030
Every age, yes, so we try to build diversity in as many categories as we can and it generates magic, just complete magic.

00:46:27.030 --> 00:46:29.186
We call it people magic.

00:46:32.081 --> 00:46:32.905
That's pretty cool.

00:46:32.905 --> 00:46:33.722
That's pretty cool.

00:46:33.722 --> 00:46:34.422
That's pretty cool.

00:46:34.422 --> 00:46:42.646
Yeah, yeah, and yeah, I mean we, we don't, we don't look at, um, the outcome of the project as a product.

00:46:42.646 --> 00:46:47.034
You know, we it's, because art is not a product.

00:46:47.034 --> 00:46:50.706
You know, it's basically a relationship, right like it's.

00:46:50.706 --> 00:46:55.766
It's it's not just about performances, it's, it's, I feel, like it's about the spaces in between.

00:46:55.766 --> 00:47:01.414
You know the conversations, the collaborations, and you know the connections.

00:47:01.414 --> 00:47:03.280
You know that literally change people.

00:47:03.280 --> 00:47:06.728
It's cathartic for most artists that come to bridges.

00:47:06.728 --> 00:47:08.391
It's, it's cathartic experience for them.

00:47:08.391 --> 00:47:18.172
Um, you know, they see the transformation in themselves when they, um, you know, go through that entire process of these rehearsals and these guided sessions.

00:47:18.172 --> 00:47:32.967
And you know, we've seen new friendships, we've seen new collaborations that happen through it, and even new, you know, life directions emerge through our events and I feel that is the real art.

00:47:33.047 --> 00:47:35.487
I think I can't wait to go.

00:47:35.487 --> 00:47:42.364
I can't, you know, I can't wait to be a fly on the wall and see that it sounds absolutely fascinating.

00:47:42.987 --> 00:47:44.190
Yes, I'm glad.

00:47:45.460 --> 00:47:53.139
Well, we're reaching the point where we need to transition to our rapid fire questions.

00:47:53.701 --> 00:47:57.088
Oh yes, I'm ready.

00:47:57.088 --> 00:47:58.630
I'm ready, let's go.

00:47:59.552 --> 00:47:59.713
This.

00:47:59.713 --> 00:48:04.025
This has been truly delightful, All right.

00:48:04.025 --> 00:48:08.666
Question number one how do you define a creative community?

00:48:14.262 --> 00:48:22.130
Creative community, I would say, is all about meaningful friendships.

00:48:22.130 --> 00:48:32.014
That lets you bring out the energy of creative spirits in you.

00:48:34.960 --> 00:48:35.362
I love it.

00:48:35.362 --> 00:48:38.989
Beautiful answer, okay.

00:48:39.751 --> 00:48:40.893
That was not rapid enough, though.

00:48:41.742 --> 00:48:43.648
Okay, no, you're doing great.

00:48:43.648 --> 00:48:44.269
You're doing great.

00:48:44.269 --> 00:48:50.411
What is your favorite way to connect with other creatives?

00:48:58.342 --> 00:49:10.068
dance challenge or in a dance club, something where everyone is just moving to music and I can just feel people being authentic themselves.

00:49:10.068 --> 00:49:28.556
I saw you guys dancing at the Creative Morning and I was like I want that energy, I want those people as my friends you know that's done, done that yes, I love it have you ever been to ecstatic dance?

00:49:28.556 --> 00:49:30.041
No, no.

00:49:30.041 --> 00:49:30.563
What is that?

00:49:31.545 --> 00:49:34.449
it's all over the country and maybe even all over the world.

00:49:34.449 --> 00:49:37.715
There's a couple of groups here.

00:49:37.715 --> 00:49:43.320
Just Google ecstatic dance near me and see what pops up on Google.

00:49:43.320 --> 00:49:45.184
If not, reach out to me and I'll.

00:49:45.184 --> 00:49:50.146
I know somebody that leads them from time to time, but I don't think they lead them here in Dallas anymore.

00:49:50.146 --> 00:49:52.492
But she would know somebody who does.

00:49:52.492 --> 00:49:54.702
I've been once.

00:49:54.702 --> 00:49:58.471
But it is just this free form of dance.

00:49:58.471 --> 00:50:01.262
People come in and there's rules.

00:50:01.262 --> 00:50:05.672
You're not allowed to talk and you're not allowed to interfere with other people's.

00:50:05.672 --> 00:50:24.940
It's okay if somebody dances up next to you and you kind of dance together for a few minutes, but it's kind of a solo thing mostly, and of course it really depends on who's spinning the music, because some music speaks to some of us and others other music.

00:50:24.940 --> 00:50:30.943
So the time I went the music didn't speak to me as much as I would have liked for it to, but I still had a good time.

00:50:30.943 --> 00:50:34.010
Yes, it's called ecstatic dance.

00:50:34.422 --> 00:50:35.827
I'm going to look it up.

00:50:35.867 --> 00:50:38.063
Yeah, final question, and this is the biggie, this is a hard one.

00:50:38.063 --> 00:50:38.561
Yes, it's called Ecstatic Dance.

00:50:38.561 --> 00:50:38.740
I'm going to look it up.

00:50:38.740 --> 00:50:40.487
Yeah, final question, and this is the biggie, this is a hard one.

00:50:40.487 --> 00:50:41.673
Maybe, maybe not.

00:50:41.673 --> 00:50:45.869
Okay, what's your biggest creative fear?

00:50:51.041 --> 00:50:52.164
Losing my curiosity.

00:50:54.010 --> 00:50:54.391
Wow.

00:50:54.391 --> 00:50:55.945
That's a valid one.

00:50:55.945 --> 00:50:57.664
That is a valid one.

00:50:57.945 --> 00:50:59.670
I don't think I'll exist if I lose that.

00:51:02.601 --> 00:51:05.947
I feel that, I feel that yeah.

00:51:05.947 --> 00:51:09.132
Well, renuka, this has been amazing.

00:51:09.132 --> 00:51:28.708
I've just enjoyed this so much getting to know you and your process, and I can't wait to come to Plano so we get on your mailing list, so we know what's going on, because it's absolutely Fantastic yeah.

00:51:35.539 --> 00:51:38.599
I'm so glad, I'm so glad, yeah, I'm so glad, I'm so glad, yeah, I'm so glad this happened.

00:51:38.599 --> 00:52:09.909
Thank you for inviting me to this space and I think this is a very um, I would say it's a very beautiful spiritual place when we talk about creativity in art, and there is just so much of authentic, raw discussions that happens here, and I hope you guys keep it alive and wishing you guys more and more createful, thoughtful discussions.

00:52:09.909 --> 00:52:11.434
Thank you, thank you.

00:52:11.876 --> 00:52:12.938
Thank you, renuka.

00:52:12.938 --> 00:52:14.324
That means a lot.

00:52:14.324 --> 00:52:20.492
Yes, it is definitely a passion and a labor of love.

00:52:21.579 --> 00:52:22.744
It truly shows.

00:52:22.744 --> 00:52:23.708
It truly shows.