Author: Pones

Art Palace podcast: The Art of Dance with Pones


Cincinnati Art Museum presents Art Palace, a podcast where we meet cool people and then talk about art. With different guests from all walks of life, we show how everyone can have conversations about art and culture. New episodes are posted approximately every two weeks.

Episode 51: The Art of Dance with Pones

Kim Popa, Executive Director of Pones, chats with us about how she creates new ways for audiences to experience dance, and we also take a look at Ferdinand Hodler’s “The Sacred Hour.”

Horizon Community Funds of Northern Kentucky


Nonprofit Stories – Pones

Published by Horizon Community Funds of Northern Kentucky
July 2018

Horizon Community Funds of Northern Kentucky is grateful for the many nonprofits that support and strengthen our community. We are actively reaching out to these organizations to listen to their stories in order to share them with you. This is an ongoing project that will cover many organizations across Boone, Campbell, and Kenton counties.

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PONES

“Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.”

–Augusto Boal, Games for Actors and non-Actors (1992)
Pones transforms society in buses and parking lots, at grocery stores and airports, on the street and across school gymnasium floors. All ages, all abilities, all backgrounds, all people- friends and strangers alike. A community of performers that truly reflects the community around it. Pones transforms through dance and movement.
The company creates site-specific performances through a fusion of movement and dance with other art forms. Pones’ accessible and participatory performances have been seen in over 90 Greater Cincinnati locations, as well as Indianapolis, and Chicago. Ongoing programs are available year round for artists and art groups, schools, and businesses.
Each one of Pones’ community partnerships is intentionally facilitated to transform through movement. For example, once a week, at the Cincinnati VA Medical Center, the group works with the treatment, recovery, and activity center (TRAC) program to bring dance movement therapy to more than 20 veterans. Dance movement therapy allows our veteran neighbors to reconnect with their selves and bodies, and brings a sensory experience that can bring much-needed healing. This partnership and others like it are part of Pones’ Laboratory of Movement collaboration with the Cincinnati Arts Association for their Arts in Healing initiative.
Pones also brings a Youth Focused Laboratory of Movement programming to our community’s schools through any combination of their four curriculum-based workshops. From healthy self expression, to dancing through the water cycle, students use movement to build skills. These classes are also available to teachers, business professionals, and others across our community at a very low cost to cover Pones’ operational costs.

With such a wide reach of programs, Pones leans on its collective of performers. Each month, the organization sends a list of the above opportunities, and more, to its group of 50 or so performers. There is no obligation to participate, and likewise, no limit on participation.

Widening the Net: Performance Art Overview Part II


Widening the Net: Performance Art Overview Part II

February 9th, 2017  |  Published in January/February 2017

Cincinnati is changing. We have seen the revitalization of the urban center and new galleries popping up in each verging neighborhood. Although it has been exciting to live amidst this cultural renaissance, it is also easier to ignore the realities of living in the Midwest. The dedication of individuals to plant roots and create the city they want to inhabit, has brought us here today. Young talented artists are staying put and doing the heavy lifting to create the city they prefer. But in actuality, we are divided now more than ever by age, politics, race and socio-economic fissures. ‘High brow’ art needs to appeal to a wider audience to remain relevant and act as a community bridge. On the same token, we as artists have a desire and responsibility to express to the larger national arts community our stake as a thriving and legitimate hot bed of talent.

Organizations are learning how to strike this balance and reach wider audiences to accommodate these needs. Local organizations can do this one of two ways. They can draw audiences into their institutions, bringing in big names and creating community projects. Or they can take their mission out into the community- teaching through example and making art a part of our existing world. Both approaches are necessary for our insular little-big town to gain the clout it deserves outside the city limits. Widening your net creates more artists and ultimately more emphasis on the arts as a primary part of Greater Cincinnati’s identity.

For performance art, regarded by art history as one of the least accessible mediums, taking this step is all the more pertinent for its growth in the Midwest. Cincinnati is particularly fortunate to have world class performance venues and companies such as the Cincinnati Ballet, Cincinnati Symphony Orchestra, Cincinnati Opera, The Aronoff Center, to name a few. But, these institutions for all their elegance and prestige do not feel like attainable venues to the average person.

Kim Popa co founded Pones Inc., a local performance art group, based on what she learned from actual Cincinnatians. Popa was a student studying dance and social justice at Northern Kentucky University when she had the idea to combine her passions to create a new kind of dance company. She wanted to make a company that held a conversation with the Cincinnati community and responded to both its prides and frustrations. “We didn’t know what we were doing,” says Popa. “It was one of those things we didn’t think much about but I look back now and see how vital it was to our development.” Early on Popa conducted an informal survey, stopping strangers on the street and asking them about their experience with dance. She asked questions like “Do you go see live dance performances?”, then “Why?” or “Why not?”. She surveyed a wide a range of people, attempting to span demographics. What she found informed how she structured the multi-faceted and popular company she runs today.

Members of Pones Inc. Image courtesy of Pones Inc. Facebook

Beyond financial access and free time, which proved as well to be important factors, she learned that people were intimidated by attending performances. Individuals seemed to shy away from traditional venues, finding that there was no natural intersection with their everyday lives. “The question that got the most telling answers,” says Popa “was ‘What is your first memory of dance?’”. This produced the most candid answers, and opened a door to a flood of memories. People recalled watching their mother dance in the kitchen or celebrating at a family gathering. Memories of dance before it was loaded with the cultural stigmas and assumptions we attach to it as adults. “I realized that these people had been dancing throughout their lives but had detached those memories from their conception of professional dancing – and even more so from something they could do themselves.”

From there Pones Inc. worked to build their organization to combat these divides. Established in 2008, Pones Inc. started by partnering with institutions like the Know Theater and The Contemporary Arts Center (CAC). They brought their dance into the public with performances at Whole Food and Ikea. Their goal was to enter the public sphere in a non-threatening way and introduce people to what New Modern Dance could mean for them.

Pones in public. Image courtesy of Pones Inc. Facebook

The flash mob craze started to take hold around the same time and Pones was often lumped in with the fad. “We never sought out to do flash mobs but if that helped people into our work that’s a good thing. It was less a flash mob and more a way to bring real New Modern Dance into the public. We were doing an improvised rehearsal.”

They worked with local musicians to create their own line dances. They produced choreographed works in the vein of the ‘Cha Cha Slide’ using Modern dance techniques with instructions built into the songs. Pones was able to bring the audience into their performances and break down perceived barriers about professional dance. Their work now blends into all kinds of urban and neighborhood spaces. They produce site specific work and have performed in over 90 Greater Cincinnati locations. Their company consists over 60+ members, from professional dancers to hobbyists. Popa puts no requirements on her dancers other than a commitment to movement and a good attitude. They often work with local artists to create one of a kind costumes, making each of their performances an exercise in collaboration. This openness has helped make Pones Inc. a more accessible organization for both participants and audience.

Costumes made by Grace DuVal and Lindsey Whittle for Pones Inc. Photo by Grace DuVal

Popa’s roots in social justice have steered Pones Inc. to pursue some unorthodox collaborations in unique venues reaching even more distant audiences. In the fall of 2015 Pones Inc. performed POV: A dance exploration of poverty, homelessness and the Over-the-Rhine neighborhood in partnership with the Cincinnati Homeless Coalition, Queen City Flash, Young Choral Professional Collective and more. Starting in Washington Park, dancers and audience moved through the urban space and highlighted the struggles and injustice still very present in this gentrified neighborhood.

Their educational programing goes into schools across the city, the VA, and will even begin work with both Hospice Care patients and families. These programs focus on story telling, easing students through traumatic experiences with simple movements. “We see people you would never expect getting energized by dance. Our VA participants tell us that dance class is the highlight of their week.”

Popa looks forward to performances she has in the works that will continue to shed light on some of the most painful and controversial issues in our area. They will be working with women and the trans population who have been trafficked in the sex trade, helping to highlight the stories of some of the most hidden figures in society. Popa is also working with artist Pam Kravetz and local immigrant and refugee populations. They hope to redefine our conception of immigrants to show a more broad and realistic picture of their lives and contributions in Cincinnati. “These types of performances require a tremendous amount of trust. We start with movement and story harvesting workshops, creating a safe space to express memories and experiences. Then we take what we have learned and turn it into a formal performance with professional dancers. We try to include the actual people when possible but in some cases they cannot or do not want to dance themselves. It’s important for us to respect that.”

Among their many performances Pones Inc. worked most closely with Drew Klein of The Black Box Theater at the Contemporary Arts Center to produce the work Borrowed Landscape in 2015. This work directed by artists Heine Avdal and Yukiko Shinozaki was performed in various commercial settings around the country including a model house, a shopping mall, and the foyer of a theatre. This time the audience went shopping at Whole Foods while wearing headphones and listening to facts, trivia and prompts provided by the artists. In a 2015 WCPO article, Klein describes the performance experience as “a few people are in on a secret, playing a game that can only be appreciated and understood when you pay careful attention.” The goal was to make the audience aware of the rules and routines that dictate the way we move through particular spaces without being intimidating. The performance drew audiences and cast a wider net for both Pones inc. and the CAC.

Klein’s work as curator of New Performance at the Contemporary Arts Center (CAC) seeks to make performance a more accessible medium in Cincinnati much as Kim Popa has. However, their approaches and roles in our local landscape serve very different purposes. Klein moved back to Ohio after spending his post college years in New York City. Like many Ohioans who have felt stereotyped by their origin in the eyes of the larger art world, he rejected his identity as a Midwesterner. Being a musician, Klein always had a passion for performance and found a natural outlet in the film industry. He was working on the Banksy film “Exit Through the Gift Shop” when he reconnected with the CAC to organize a screening. This happened as Klein was feeling disenchanted by the film industry and an urge to return to a more immediate medium. “It has always been about the live moment for me, especially when it is done really well- with thought and an interest in execution” says Klein. At the time CAC was recommitting to producing a comprehensive schedule of performance. Together they have created the Black Box Theater series which is responsible for bringing in outside talent to Cincinnati.

The CAC and Klein have built an incredible line up of performers year after year, especially gaining momentum in recent seasons. They are extending their reach into more interdisciplinary works and showing work which straddles the lines between dance, theater and performance art. Where Pones Inc. is moving out into communities, the CAC is drawing people in from around the city and beyond. The CAC as an institution is as inextricable as the Zaha Hadid building it inhabits. Part of the art experience is that of the building. The building facilitates an elevated and world class arts experience, while being nestled in the heart of downtown. The Black Box Theater as an extension of that experience, creates a space devoid of context. Located in the basement, away from city sounds, the theater itself is secluded from the audience’s frame of reference. This space itself provides an important venue for people to lose themselves in a performance. The CAC provides a space for people who have never been exposed to this type of work to catch a glimpse and be inspired.

Upcoming performance at CAC Black Box Theater Meeting by Antony Hamilton + Alisdair Macindoe Image by Gregory Lorenzutti

Klein is quick to acknowledge the many other institutions which are creating and showcasing new performance art. “We were by no means the first game in town. There are a lot of the great underground and experimental institutions who have been doing this a long time. Each place contributes its own point of view. Wave Pool for instance is doing some amazing things. We have found that our place in Cincinnati’s landscape is bringing in spectacular international work.” Finding these artists takes an incredible amount of research and investment. “I do a ton of research, endless research. I follow trends in the art world and follow the paths of artists’ careers. I look for connections and collaborators where I can and follow threads to new people. I’ve been fortunate to make connections on a personal level and work hard to invest in those relationships. I’m always looking to make the right kind of friends and partners who can continue to educate me on how to be a better curator.” Above all Klein is dedicated to keeping the breadth of his interests wide. He is careful not to shut himself off from any kind of performance and to maintain a balance that does not focus too heavily on one area.

For a given season Klein may review over 150 performers, narrowing down to 50 possible projects and ultimately show 10-12 works in a season. As one of the largest and most established arts institutions in the city Klein and the CAC have a responsibility to elevate Cincinnati’s clout in the larger world but Klein is clear that he does not pick just to appeal to critics. Klein sees two types of New Performance curators: one from a visual arts background who uses their knowledge from art school to realize performance in a gallery setting. Klein falls more closely to the second variety which gravitates towards work that relies more on dance and theater techniques. “A lot of what I’m interested in pulls from forward thinking dance schools and theater cultures. The audience is my biggest focus and the community impact. I’m interested in performers who can move the dial and introduce people to a new art form. ” His approach means paying more attention to the audience’s experience and not just that of the artists.

In addition to bringing in talent, the CAC has a commitment to commissioning live work from local artists. Jennifer Jolley, Eddy Kwon and Napoleon Maddox are among the artists who have created new work for the Center. “It’s an exciting new territory for the CAC. We are growing ties to the community in this city. Showing in the Black Box gives local artists an opportunity to carefully consider their work and totally invest themselves in it.” It also gives these local names a national platform to showcase their work.

Eddy Kwon for commissioned work at CAC. Image courtesy of contemporaryartscenter.org

CAC has brought in some of the more boundary pushing work of the past years. Performances like Still Standing You by CAMPO/Pieter Ampe & Guilherme Garrido left audiences shocked and ready for more. “It is the coming together of many individuals. Each institution is contributing in a different way. At the CAC we have an audience which is interested in fearless work and want to take risks.” Since the Black Box Theater is part of a multidisciplinary arts organization, the structure of their calendar requires shows to turn over quickly. As a result, audiences come into new shows fresh and without preconceived notions from the outside. The space maintains a fluidity and continues to challenge its viewers. Despite the ever growing interest, some shows still only attract small crowds. “I am in my fifth season and only recently did I stop being surprised when I didn’t recognize someone’s name on the ticket list. I get excited when I see that the audience is largely made of newcomers to the Black Box. It’s ok when we have smaller performances though, it’s important to maintain the balance between big names and experimental work.”, “I have seen an appetite growing for this work here and as long as we continue to prioritize performance it will continue to grow.”

Still Standing You from the 2015-2016 Black Box Series. Image courtesy of contemporaryartscenter.org

“I am committed to affecting change in Cincinnati. I always wanted to get the hell out of Ohio. I had a lot of pride that I was able to move to New York and leave my Ohio identity behind. Now I can’t stand it when people put down Cincinnati. People think Ohio is a wasteland for provocative thought and new art. I want to change people’s perceptions of Cincinnati and find new ways to be proud of where we are. We are a red state now- we have disappointed the liberal majority. We have an even bigger responsibility to maintain a strong and collective voice to fight against those notions. We need to show that there is extraordinary talent here in Cincinnati.”

Pones Inc. and the Black Box Theater are only two examples of local groups working to bridge the gaps and make performance art part of Cincinnati’s identity. Expanding out into communities and introducing dance through accessible means has made Pones Inc. a city wide dance experiment. Popa has seen results she never expected. “I never dreamed an experimental dance company could sustain a career for me in a city like Cincinnati, but we’ve been able to find our niche” says Popa. “It’s been amazing to see that people are receptive to it.” The CAC is pulling crowds into the urban center and challenges us to be receptive to new forms of expression. Their continued interest in performance art gives us more opportunities to be noticed outside our local sphere. Cincinnati, like many Midwestern cities, is experiencing an identity crisis. It is the responsibility of the artists and curators who live here to continue to push boundaries and change our perceptions both within the city and on the national stage. There is tremendous talent here in our city; let’s make our voices heard.

-Chelsea Borgman is an artist and writing working in Cincinnati, Ohio. She is the gallery director at C-LINK Gallery in Brazee Street Studios

The Art Is What Heals!


The Art Is What Heals!

I am so honored to share as guest blogger about the Cincinnati Arts Association (CAA) Arts in Healing Initiative (AIH). Now in the middle of its fourth year, AIH is integrating performing and visual arts in medical and non-traditional settings. Its mission is to promote community wellness and encourage our community to explore the arts as an active part of healing and ongoing wellness.

However, I will admit that when invited to write, I questioned if I could give justice to the stories of these artists, and the administrators, medical partners, and participants of the Initiative. Then I remembered the lesson I’ve learned: even the developer of such a program should see herself as a primary participant, too. I’ve had to ask and answer every question, face every barrier, plan and discover the founding perspective: who will the programand the art, impact? This present journey of mine has been trumped by the lenses of a medical team, a patient at the end of life, a veteran suffering from PTSD, a foster child feeling isolated from society, and an artist who, after uncanny engagements with their instruments and patients, shared with their friend about the day. First and foremost, this journey requires a belief that art changes lives.

When interviewing for my current position at CAA in 2014, the Development Director explained that they sought funding to develop an “arts in medicine” program. Inspired by an impactful visit to The Kentucky Center for the Arts, CAA pursued and received funding from TriHealth and ArtsWave. I was hired as the Director of Education and Community Relations in June 2014, and development of AIH began in August 2014 when CAA committed to a three-year minimum program pilot. I couldn’t have been more thrilled and determined for the work ahead. The first nine months was spent on partnership capacity building and developing programmatic mission, goals, strategies, assessment plans, and on-going training.

By February 2015, we had shaken hands with our medical partners: Veterans Medical Center-Treatment and Recovery Center (VA TRAC)UC Health and Hamilton County Child and Family Services (Foster Branch). We launched a twenty-week pilot schedule between April and August 2015, including two environmental play musicians and one instructional visual artist. By September 2015, nine more artists joined the team for more environmental play and instruction utilizing music, writing, movement, and visual arts. In January 2016, we launched Social Engagements and Interaction sessions to provide art as interventions to isolation for fosters, veterans, and caregivers. By Fall 2016, the pilot expanded to Good Samaritan Hospital’s Day Treatment Center and Hospice of Cincinnati (funded by Patricia Kisker Foundation). Our special projects include holiday parties, group sessions, performances, presentations and community dialogues. AIH started another journey working with two elementary schools with poverty and trauma populations in Spring 2017. Then in August, the program was awarded the Broadway League of America 2017/18 National Education and Engagement Grant to utilize the musical Waitress, about domestic violence, as the foundation for a women’s dance and writing residency. The 14-week residency facilitates the participants’ cultivation of inner creativity, feeding their ability to flourish beyond abuse.

Today through 13 contracted artists and one part-time staff coordinator, AIH provides about 100 contact hours per month, primarily in instruction and environmental play. Last year the program served 10,959 persons through 386 events at 31 locations. But the true impact is best told through the voices of the participants and artists.

None of this is possible without a dedicated team of gifted artists willing to explore their art beyond traditional scopes. These artists eagerly explore their creativity for the sake of nurturing those in pain, encouraging patient recovery, or assisting others in their moment of “goodbye.” The surprises they experience for the sake of their art and themselves, though, couldn’t be better told than through these selected shares:

“As I was playing in the Hospice common area last Sunday, a young woman invited me to come play for her Mom. Her sister-in-law was waiting in the room with four beautiful children ages 3, 5, 5, and 11. I asked the children if they would like to sing for their Grandma. ‘Yes!’ So we all sang. Grandma sang with her little grandson cuddled beside her in bed. I played several of her favorite tunes then each child played [my] harp for her. Grandma still cuddling her grandson said, ‘This is the happiest day of my life.’ I left holding her words and family in my heart. Such a gift. Imagine and Joy in the center of it all. This was another unexpected gift for me.” —Pam Jurgens, harpist, Midnight Rose Trio; Arts in Healing Initiative Therapeutic Team

“In these damaged times, this work feels world-healing. We have learned how to connect with a deeper part of ourselves.”—Pam Temple & Spencer Funk, members of Americana music group Wild Carrot; Arts in Healing Initiative Therapeutic Team

“Performing for CAA’s Arts in Healing Initiative has allowed me to find my purpose through the gift of music.”—Lauren Schloemer, fiddler/vocalist, Hickory Robot, LLC; Arts in Healing Initiative Therapeutic Team

After almost four years of trials, observations, surveys, triumphs, professional development, and a very timely reminder from the inspiring Jill Sonke, our greatest lesson learned is: “Focus on the ART!”

After all, the art is what heals.

Place Settings For Social Justice


In Spring of 2017, performers from Pones, visual artist Pam Kravetz, and documentarian, Ian Forsgren invited audiences to sit down, share a meal and discover stories of local immigrants around our table. This fast-paced piece changed from family dinner to art gallery, cooking show to dance. “Place/Setting” broke down barriers, diffused stereotypes, cultivated empathy and challenged patrons to explore ideas of belonging and home.

The original ceramic place settings that accompanied the performance were inspired by immigrants who live in Cincinnati, OH. Each of their unique stories influenced a local artist to create a handmade place setting. The designs and shapes of the plates, cups, and utensils reflect emotions and cultural influences from each individual narrative.

  • February and March 2017:
    Pones hosted four workshops with 14 immigrants from around the world, who now call Cincinnati home. Led by the artistic team and community organizer, Dan Joyner, these workshops involved story harvesting, deep learning, and, of course, the sharing of food.Ceramic pieces were created by 12 local ceramicists, including Didem Mert, Melissa Molasses, Carla Lamb, Linnea Gartin, Pam Kravetz and Katie Swartz. Each piece represents someone’s story.
  • April and June 2017:
    Playwright and co-director, Caitlin McWethy, transcribed these interviews into the show’s script, and actors Darnell Pierre Benjamin, Lormarev Jones, and Hannah Gregory brought new life to these stories on stage.Choreographer and co-director, Kim Popa, worked alongside guest choreographers Mandie Reiber, Courtney Paige, and Jameson Gastón to create a movement vocabulary that dives into the deeper emotions in the narrative that cannot be expressed in words alone.

Videographer Ian Forsgren captured images and stories which he shared in a mini documentary woven throughout the show.

In typical Pones fashion, we did not solely create a dance show. Audiences viewed this piece around a dinner table and ate off of these plates! Each course was another story that prompts conversation, leaving the audience with a call-to-action to start dialogue on social issues currently alive in the city.

Support future Place Setting performances and Pones Inc. programming by owning your own unique place setting. Each set is $125.

Podcast Interview with Kim Popa


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The Nonprofit Optimist Podcast recently hosted Pones Inc. Director, Kim Popa. To listen to this insightful discussion please click this link here.

Today’s Guest: Kim Popa
Kim has studied dance for 30 years and graduated summa cum laude with a BFA in theatre and dance from Northern Kentucky University. Popa is a professor at the Art Academy of Cincinnati, and also teaches dance classes at The Carnegie and SCPA, as well as multiple dance workshops around the tri-state. Popa danced most recently in Sri Lanka, but has also danced at the CrisisArt Festival in Arezzo, Italy in 2014 and the Sibiu International Theatre Festival in Sibiu, Romania in 2007, and performed in multiple NKU mainstage productions and modern dance concerts. In addition to teaching and performing, Popa is the Executive Director, co-founder, and performing member of Pones Inc. Beyond Pones Inc., she has choreographed for multiple award-winning productions at NKU, New Edgecliff Theatre, and Know Theatre. She is a trustee on the board of OhioDance, serves as a “big” for Big Brothers Big Sisters, and has a passion for art and volunteerism in many forms.

Nonprofit Spotlight: Pones
Pones provides artistic opportunities for community growth by creating engaging new ways for audiences to experience dance. They believe art creates powerful change. Through their three main program offerings (Pones in Public, Laboratory of Movement and their Productions), Pones has been using dance to connect, engage, enliven and inspire others in the Cincinnati, Ohio area since 2008. The Pones Facebook page.

Lessons Learned:
Kim shares about the unique space that Pones fills in the Cincinnati, OH area and about how their group came to be. She speaks highly of her active board members and their willingness to support Pones financially and strategically. The four big lessons she discusses are as follows:

  1. Collaboration can be wildly successful. Not only can it lead to new audiences and better brand awareness, but Pones has found that partnering with larger arts groups has led to amazing funding opportunities and greater sustainability for them as an organization.
  2. Their staffing model… using the term “collective,” Kim shared that they don’t offer dancers contracts for a full fiscal year, but rather provide opportunities on a regular basis for dancers and teachers to sign up for different gigs. That flexibility has been beneficial both to the organization and the dancers. It’s a model that wouldn’t work for every organization, but it’s important to look at the people within your organization to see if there’s an alternative staffing model that is better suited to your nonprofit.
  3. Creating a board that is reflective of the company. After feeling unsettled by the lack of diversity among board members and feeling great pride about the diversity of the collective, Kim explained that she and the board had a frank conversation about it and decided to make some changes. In addition to recognizing the desire for diversity, they also recognized some of the barriers to having a diverse board and created modifications that would enable that to happen. The largest modification being the member dues. They created a model where 15% of board members can sign an agreement to contribute to the organization is non-financial ways. This works effectively for them.
  4. Another great idea Pones has is to invite a dancer or instructor to come to board meetings. This provides a great opportunity for the dancer or instructor to hear the inner-workings of the board and gives them a chance to see some of the plans for the bigger picture. It also gives board members an opportunity to talk directly with some of the people working for Pones other than the E.D. It provides them a more full picture and lets them hear stories and ideas from a new voice. This is a great idea for any nonprofit that is interested in dismantling power dynamics within their nonprofit and creating more opportunities for dialogue.

Story of Good: Finding her Voice
A female patient at the VA participates in a program for people who are experiencing a myriad of things– PTSD, traumatic brain injuries, etc. For the first year of her time in this program, she was entirely mute. After having participated in the Laboratory of Movement for several weeks, she began sharing profusely. In using her body and participating in these movements, she was able to reconnect with her voice and story in a way that previous interventions hadn’t touched. To see more about this story, you can check out this video.