Blog
Larry Elkin of Palisades Hudson and I have been talking about recording this podcast for awhile, and we finally did it!
In this episode of “Something Personal” Larry and I, with host Amy, talk about the “what” and “how”, as well as the Florida-particular “where” of working as an Intimacy Coordinator and Intimacy Director.
There are also shout-outs to Thinking Cap Theatre’s “Lizzie” and “Cymbeline”, my big fall projects.
I’m excited to on the list of the top Intimacy Coordination blogs on the internet! And in some great company!
Want to know more about being an Intimacy Coordinator? Check out the FREE FAQ sheet!
I was honored to be a source for a Yahoo! News article examining how Intimacy Coordinators are utilized in Hollywood. Read it here.
Here’s an interview with me talking about some important things to consider when learning to become an Intimacy Professional.
Check out my interview with Bold Journey about the skills of an Intimacy Professional.
While I do have a book of my coming out (see below), I’ve also contributed to a couple that were published recently.
My colleagues and friends Elaine and Heather have a great book for dance and theatre teachers on incorporating consent-forward practices into the classroom. I was honored that they wanted to interview me for it, and extra-honored that when the New York Public Library interviewed them about the book, one of my quotes (one of my favorite things to say!) was featured. See the interview and get Consent Practices for Performing Arts Education.
Besides being interviewed for that book, and Intimacy Coordinator’s Guidebook which came out earlier in 2024 (see post about it below), I wrote a chapter for the latest installment in Routledge’s Applied Theatre series, Applied Theatre and Gender Justice! This book offers case studies and tools for using theatre to make the world a better place. This just came out and is on sale until January 6, so get it now!
I have an interview up with VoyageMIA talking about choreography. It’s one of the “Hidden Gems” on their website.
I recently achieved SAG-AGTRA pre-registry status as an Intimacy Coordinator.
What does this mean?
Pretty much nothing. I will continue to do the work I get in Florida, with the occasional travel offers. My rates aren’t changing. I’m not moving. I’m just on a website.
I have some real issues with the registry, as I think it is incredibly inequitable for folks who live in small markets, and has the potential to create more inequality in terms of access and income, if the program stays as it is. I’ve spoken to several folks at SAG, several times, about ways I would like to see this program change to become more equitable and sustainable. But for now, we are where we are.
And much as I wanted to be certified as a way to honor myself for the time and money spent on training, I want to be on this list as a way to honor myself for the work I put, not just on training, but on making connections, doing a good job, and creating a reputation I am proud of.
So, both things are true. I am very glad to be on the Intimacy Coordinator pre-registry for SAG-AFTRA, and I wish the program was better.
My first, and definitely not my last, book contribution combining my work in intimacy direction and dance is now available.
Check out “The Intimacy Coordinator’s Guidebook”, edited by Brooke M. Haney, with contributions from professionals in various specialties. My contributions can be found in chapter 16, specifically on academic dance and touch in dance. My contributions are alongside those of Intimacy Direction in Dance co-founder, Sarah Lozoff.
Florida Intimacy Professionals (FLIP) is pleased to announce their launch of an online database for qualified Intimacy Directors and Coordinators in Florida. The organization was created by professionals in live (theatre, opera, and dance) and recorded (film and TV) entertainment to promote the use of Intimacy Professionals, and also to demonstrate best practices in the entertainment industry. These professionals, specially trained in movement for story-telling and creating moments of contact, uphold performer boundaries while fulfilling the creative vision of the director.
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