In this episode, Marisa interviews dancer, choreographer, and president of T.H.E. (Toledo’s Human Experience) Modern Dance Company, Dom Glover. Growing up, Dom was always moving. He was involved in football, baseball, and track and in college joined the step dance team. He then was invited to take dance classes at Spelman College where he learned jazz, modern, and ballet. Since returning to Toledo, Dom has choreographed for multiple musicals and has performed in over fifty Nutcracker ballets. Now as the president of Toledo’s dance company, Dom invites collaboration and strives to create professional dance opportunities for adults. This episode is full of mimosas, crazy dancer energy, and funny outtakes, so give it a listen! 

Follow Dom @dom_dances5

Follow him on Facebook at Dom Glover

Dom Glover: Owning the Dance Floor

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Creature - Acoustic

Yosemite - Acoustic

Move Me - Acoustic

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In his new book The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon, Adam Shatz writes that, “The American poet Amiri Baraka described James Baldwin, who was born a year before Fanon, as ‘God’s Black revolutionary mouth.’ What Baldwin was for America, Fanon was for the world, especially the insurgent Third World, those subjects of European empires who had been denied what Edward Said called the ‘permission to narrate.’” Shatz’s book explores, in lucid detail, the complex life and thought of the Martinican psychiatrist and anticolonial theorist,  whose life was tragically cut short in 1961.

Fanon’s epochal books Black Skin, White Mask and The Wretched of the Earth have long been a source of inspiration for politically minded filmmakers, including Med Hondo, Claire Denis, and many others. Film Comment Editors Devika Girish and Clinton Krute invited Adam on the podcast to talk about Fanon’s interest in cinema, filmmakers who’ve engaged the theorist’s works, and what exactly makes a movie “Fanonian.” In addition to films by Hondo and Denis, we talked about Ivan Dixon’s The Spook Who Sat by the Door, Antonioni’s The Passenger, Gillo Pontecorvo’s The Battle of Algiers, Ousmane Sembène’s Black Girl, and more.

Adam Shatz on Frantz Fanon in Cinema

Curator Anne-Lise Desmas and author Jim Moske.

Camille Claudel, "Death of Artists"

Ottessa Moshfegh on bringing Eileen to the screen

From the early ’70s onwards, Indian cinematographer Navroze Contractor—who passed away last year at age 80—blazed a trail of radical image-making. Trained in fine arts, photography, and cinematography, Contractor wielded the camera as a weapon and a paintbrush, capturing both the thrills and the throes of popular uprisings in films that defined political documentary in India, and giving stunning form to the bold adventures in fiction undertaken by India’s Parallel Cinema filmmakers. 

Last Monday, Film Comment presented a double-feature program of two films shot by the cinematographer—Mani Kaul’s rapturous Duvidha (1973), and Sanjiv Shah’s unique musical satire Love in the Time of Malaria (1992)—along with an extended conversation with Deepa Dhanraj, Contractor’s partner in life and work, with whom he founded the feminist Yugantar Film Collective in the 1980s. 

The talk, available today on the podcast, delves into the challenging and low-budget conditions that Duvidha was shot under, the influence of Indian miniature painting and still photography on its look, and Contractor’s extraordinary visual felicity with both documentary and fiction.

Tribute to Navroze Contractor, with Deepa Dhanraj

Art is everywhere and with it comes the often unseen and unheard voices who make it happen. Join host, Marisa Dickens, as she interviews all types of artists who share their works, processes, and passions. Every artist leaves a little part of themselves in their work…it’s their ARTifact!

Dom Glover: Owning the Dance Floor

ARTifacts Podcast

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