One finds new connections by being in the audience.

It was incredible meeting Valerie Green, and learning about her company, Dance Entropy and her dance studio, Green Space, based in Queens N.Y.. At the same time, I was becoming better acquainted with friends, artists, and dancers in Philadelphia. This social forum of various artists in the city inspires to enhance the landscape.

The consecration of art in society creates a unique network.

The social aspect of accessing the arts is a privilege that is over looked by people that have this privilege of accessibility. It could change a person’s outlook, if it were a question of accessibility. Then this social intersection would be a question of political involvement in the stakes. In networks of class, genre, or discipline relevant to a culture at large pinpoints a social group that grants and denies access. The ethnographic research under media studies evaluates this participatory aspect of the arts, and media literacies through community organizations, and other participatory groups. By expanding our social circles the intersection becomes more diverse and it invites masses of audiences from different social milieus to inform, contribute, and reach new outcomes.

John Jarboe in a new excerpt of piece titled, Rose, from Fringe Festival 2022. At a renovated, new venue, transformed into a gender neutral, LGBTQ friendly drinkinghole, The Switch. An array of artists invited to present throughout the festival, Late Night Snacks presented by the Bearded Ladies Cabaret and Opera Philadelphia.

The Dance-Enthusiast editor-in-chief, and founder, Christine Jowers is an incredible and innovative journalist, that has made it possible for my artists to continue to develop performance sketches for dance.

Christine was awarded the 2022 Service to the Field of Dance at the Bessie Award Ceremony. Her contributions to writing for dance as well as giving artists and audiences a platform to contribute to the landscape. One of her many achievements, getting to know the artists in a series called Dance Up Close paved the way for the industry..

Kun-Yang Lin’s 25th anniversary season. The impromptu dance performance in the middle of a fundraiser event in October 2022 gave us a chance meeting. Christine was the Season Honoree of Kun-Yang-Yang Lin and Dancer’s 25th anniversary season.

This partnership with theaters and dancers is a unique relationship when we see details become more refined, and visual art is dedicated to an investment in the arts. An entourage of diverse experiences captures a journey that becomes a model for “success” in making change for organizations and philanthropic giving in the arts.

In the realm of fundraising, Kun-Yang Lin and Christine Jowers share a life long mentorship in the arts. At the same time, EgoPo Classic Theater was an early influence for sharing this unique sketches from 2017 performances of Anton Chekov’s Seagull, to 2018 Lydia Breeze trilogy, and 2019 Three Sisters 2 at its annual Gala.

The arts creates a unique experience for sharing cultural experiences.

It is remarkable to be working in unison with non-profit arts organization’s with valuable research, and gift giving portfolios. For centuries, being in the arts and culture meant art dealers wielding an exchange between art collectors, commercial artists, and institutions. On a national scale, the funding for the arts through philanthropic relations has made amazing progress for the arts in civil space. The architecture and infrastructure of contemporary playbills and dance events look toward private investors, foundations, and city planners to serve the public good on issues like health, education, and the arts.

Announcing Christine Jowers, a 2022 Bessies Award recipient for Distinguished Achievement was the greatest news for The Dance Enthusiast, a non-profit, independent journalism website. I continue to create audience reviews, and in serendipity, I discovered the unbroken line to the beginning of Kun-Yang Lin and Dancers in New York with Christine in the art world tracing back to 1998.

Meeting the founder of Dance-Enthusiast: A Moving Art Project was a huge nod toward the art journalism that probes the artistry, the criticism, and audiences as individuals, and in the community. The importance of keeping the EPHEMERAL alive with the Dance Enthusiast remains a crucial part of that original question, “Why see art?”

Traces of Brush, choreographed by Kun-Yang Lin (2004.)

Impromptu Dance Performance takes on many meanings, from festivals, public art, and alternative stages for extraordinary events.

The intersection of Chinese artist Yang Fudong’s “7 Intellectuals in a bamboo Forest,” was a climatic moment, in my mind, when the party was moving up the modern steel-staircase of the Dine Wind Art Foundation. We were lead by dancers to an impromptu dance performance as a center piece for the fundraiser, which interested me, as this threshold for the next chapter for KYL/D.