At Dance Education Canada we know the important role our community of experts plays in providing our dance educators with a 21st-century dance education. Which is why today, you will have the privilege of hearing from one of the solo pianist from the New York city Ballet. Although we are most familiar with live music in a ballet class, today we will explore the benefits of live music in a variety of dance classes including modern and tap. Hopefully today’s insight will give you some considerations of providing the added element of live music in your dance classes.

GUEST: Elaine Chelton studied piano at Manhattan School of Music and at Queens College where received her Bachelors of Music and Master of Arts degree. Her career began playing for the New York City Ballet in 1990. She has a global performance roster having performed in the US, Russia, Japan, Hong Kong & Europe. She was featured in a PBS Broadcast of NYC Ballet Live at the Chatalet Theatre in Paris and has played for the Balanchine Foundation. Her work can be found on 2 recorded CD’s for ballet class.

INSTA: @elainechelton

LINKEDIN: Elaine Chelton

WEBSITE: newyorkcityballet.com

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada we care about connecting our dance educator with industry experts in order to provide them with tips, tricks, tools in so that they can see and understand dance education from various perspectives, including that of the pianist. For those of your lucky enough to have a live music for your ballet classes, understand how it can inspire and influence creation, through subtle changes in tempo, dynamics and pitch. The nuances in tempo and dynamics can create effects that inspire the dancer to jump higher or land softer. This relationship between teacher and pianist, requires effective and clear communication in order for desired effects to be understood and then translated into a musical or movement equivalent of a particular gesture or adjective. Providing us with some tips, tricks and tools to help us better communicate with our ballet pianist is ballet music composer and pianist Mr. Robert Long.

GUEST: Robert Long has worked as a ballet pianist-accompanist for over 30 years, playing for both exam classes and “open” classes. There have been many requests for Robert's music in notable TV programs and films including "The Curious Case of Benjamin Button" and a BBC4 episode of "Danceworks". In 2004, Robert appeared as pianist in an episode about ballet on a children’s TV show called “This is Daniel Cook.” You can find his original compositions of piano music for ballet class on his three albums entitled Ballet Etudes.

INSTA: @rlongballetmusic

FB: @balletclassmusic

TWIT: @glisses

LINKEDIN: Robert Long

WEBISTE: rlongballetmusic.com

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada we know that dance is a language through which we can communicate globally. The power of dance as a language allows us to share our history, traditions, culture, stories and celebrations. Canada’s National Academy of Dance Education has been blessed to have met many dance educators from around the world and gained insight into their dance training and experiences from their point of view. The more we know about dance history and cultural influences on styles, the better equipped we are as dance educators to truly present an education in dance to our students. Helping us better understand the dance educator's role in supporting diversity in our dance community is Co-Founder of Africa Speaks and Assistant Lecturer of Dance at Makerere University Dr. Alfdaniels Mabingo.

GUEST: Alfdaniels Mabingo is a Ugandan dance researcher, scholar, performer, Afro-optimist and co-founder of AFRIKA SPEAKS. Born and raised in his ancestral village, Mbuukiro, in Uganda, he holds a Ph.D. in Dance Studies from the University of Auckland. He holds an MA in Dance Education from New York University, an MA in Performing Arts and a BA in Dance, both from Makerere University. He has taught dance courses at many renowned Universities throughout the US, New Zealand and Jamaica.  Mabingo has published more than 20 peer-reviewed scholarly articles and book chapters. In 2020, his book titled ‘Ubuntu as Dance Pedagogy: Individuality, Community, and Inclusion in Teaching and Learning of Indigenous Dances in Uganda’ was published. Mabingo has received numerous prestigious scholarships and awards including the University of Auckland Doctoral Scholarship and the George Payne award for outstanding academic leadership and excellence at NYU.

INSTA: @amabingo

LINKEDIN: Alfdaniels Mabingo

WEBSITE: afrikaspeaks.org

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada we believe that in order to be able to provide a dance education that is comprehensive, dance educators must have an understanding of where we came from. This includes insight into how styles transformed into others, what inspired the founders and how society influenced various styles. Today we will explore the later, and get to know Jose Limon and his work with the help of Professor and Coordinator of the Dance Department at Montgomery County Community College Dr Melinda Copel.

GUEST: Melinda Copel holds a Doctorate in Dance from Temple University and certification in Elementary Labanotation from the Dance Notation Bureau. Copel has taught dance to adults and children for over twenty-seven years teaching at many universities including Temple University and Rutgers University—Camden. Copel has studied a broad range of dance styles including modern dance at the Martha Graham School, where she was fortunate to take classes with Graham, and ballet at the Finis Jhung School of Ballet in New York. Copel has studied choreography and performance at Smith College,  and has served as research consultant for the video documentary Limón: A Life Beyond Words. Copel’s articles and reviews can be found in renowned publications including Choreography and Dance and the Dance Research Journal amongst many others. Her dissertation examines the State Department's use of modern dance as part of its cultural propaganda campaign during the Cold War.

FB: @MCCCDance

LINKEDIN: Melinda Copel

WEBSITE: mc3.edu

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada we are passionate about promoting lifelong learning and professional development for dance educators. This involves picking up a good dance book and diving into the history, technique and processes of that particular virtuoso in dance. Dance Education Canada has taken the reigns and started the only dance related book club in Canada. In our inaugural year, we dive into our first book on Merce Cunningham: After the Arbitrary. We are beyond honoured to have the author here with us today. Noland’s research will allow us to plunge deep into to Cunningham’s work and see sides of his processes that might not have been so well known. It is an honour and a pleasure to have the author of Merce Cunningham: After the Arbitrary with us today, Professor Carrie Noland.

GUEST: Carrie Noland is currently Professor of French and Comparative Literature at the University of California, Irvine, and Director of the International Center for Writing and Translation. Noland is no stranger to the dance world having been a Martha Graham student for 10 years. Noland studies the interplay between technology and artistic creation from a variety of angles, moving from performance poetry to dance, from subjectivation to racialization. She is the recipient of many fellowships from foundations and societies some of which include the National Endowment of the Humanities, the American Philosophical Society and the American Council of Learned Societies.

WEBSITE: https://www.faculty.uci.edu/profile.cfm?faculty_id=2770

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

A phrase that you will hear me say often is “Where we come from matters.” How can we possibly progress in dance education, research and study without a sound understanding of techniques, styles, aesthetics and the people who influenced these movements? At Dance Education Canada, we have had the privilege of interviewing dance historians, scholars, researchers, choreographers and educators who have committed their lives to the study of dance. We’ve interviewed people who’ve danced with Graham and rubbed shoulders with Cunningham, so today's guest should be no surprise. 

GUEST: A widely respected former member of the Limón Dance Company for more than a decade, Puleio was appointed only the sixth Artistic Director in the Company’s 74-year history, a position that originated with Doris Humphrey. After a diverse performing career with the Limón Dance Company, touring national and international musical theatre productions, television and film, he received his Master of Fine Arts from the University of California, Irvine. His research focuses on contextualizing mid-20th-century dance for the contemporary artist and audience. He is committed to implementing that research by celebrating José Limón's historical legacy and reimagining his intention and vision to reflect the rapidly shifting 21st-century landscape.

INSTA: @limondance @dantepuleio

FB/TWIT: @limondance

LINKEDIN: Limon Dance

WEBSITE: limon.nyc

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada, we are passionate about helping dance educators be the best they can be, in so that their dancers can learn, grow and progress in an environment that supports their social, cognitive, physical and emotional well-being both throughout childhood into adolescence and adulthood. It is essential that dance educators are aware of and able to assess their own emotional and cognitive state. The dancers' wellness, execution and performance both inside and outside of class is in our hands, and at the forefront of what we do in the studio, and thus this skillset is an essential part of your practice as a dance educator. Helping guide us in today's discussion, and providing us with some strategies, tips and tools is the Associate Dean of Queensland University of Technology Dr. Gene Moyle.

GUEST: Professor Gene Moyle is a graduate of the Australian Ballet School. After having danced with the Australian Ballet and Queensland Ballet Companies, Gene pursued further studies in psychology completing a Masters and Doctorate Degree in Sport and Exercise Psychology. Dr. Moyle focuses on the application of performance psychology and performance enhancement, particularly within the performing arts, elite sport and corporate domains. Her involvement in performing arts is extensive and includes her role as a contributor to DANCE Australia magazine and the Head of Student Health & Welfare at the Australian Ballet School. She currently holds the position of Associate Dean of International and Advancement at Queensland University of Technology Creative Industries.

TWIT: @genemoyle

LINKEDIN: Gene Moyle

WEBSITE: staff.qut.edu.au/staff/g.moyle

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

Why does changing the way we teach dance matter? Have we changed enough? Are we changing fast enough? What are the effects on today's dancers if we do not change the way we teach dance? These are all questions we will discuss today as we explore 21st-century dance education from the viewpoint of Ms. Amelia Drummond The Artistic Coordinator of the Australian Ballet.

GUEST: Amelia Drummond is a writer, choreographer and former dancer. After finishing her Bachelor of Arts in Dance at the Performing Arts University of Mannheim in Germany, Amelia was offered a contract and worked with the Baden State Ballet of Karlsruhe. She danced in a range of ballets including classical works like Christopher Wheeldon’s Swan Lake, MacMillan’s Romeo and Juliet, as well as other neo-classical and modern styles. In 2019 Amelia was the recipient of the Emerging Female Classical Choreographer Initiative. She was later awarded a week’s residency at the Sydney Opera House and went on to choreograph her work ‘Einsamkeit’ for the Australian Ballet’s Bodytorque: Atelier season. Currently, Amelia holds the position of Artistic Co-ordinator of The Australian Ballet.

INSTA: @ameliadrummond

LINKEDIN: Amelia Drummond

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada, we know that dance educators wear many hats. Their role goes well beyond the teaching of steps, and choreography of dances. In order for dance educators to support their dancers' overall health and well-being they require an education in, and understanding of, dance injury prevention. Above and beyond the more general dance injury prevention, today we are going to focus specifically on overuse injuries. Helping us learn about some of the most common overuse injuries and, physical compensations is Dr. Julieann Berg.

GUEST: As a young dancer with over 20 years of dance training in everything from ballet to modern and even Latin dance, Dr. Berg is no stranger to the dance world. Dr. Berg received her Doctorate of Physical Therapy from Columbia University in 2017. Her clinical experience includes treating pediatric patients, adults and dancer athletes through telehealth and in-person sessions. Julieann enjoys educating dancers and dance educators through content creation and workshops.

INSTA: @phillydancephysio

WEBSITE: julieannbergdpt.com

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.

At Dance Education Canada, we care about providing dance educators and studio owners with the tools they need to lead their dancers confidently and safely throughout their years of training. Current discussions surrounding dance injury and dance injury prevention are plentiful, but when do we start looking at the training tools, the equipment and the footwear that could be contributing to injuries when used improperly. So today, we will discuss footwear, pointe shoes to be exact. During today's education about appropriate footwear and fittings, we will talk all things pointe shoes including the factors that go into choosing a pointe shoe and how to identify signs of an ill-fitting pointe shoe. Speaking with us today about pointe shoes is the Coordinator of Pointe Shoes at the New York City Ballet Ms. Linette Roe.

GUEST: Linnette (Hitchin) Roe was a Principal Dancer for the pacific northwest ballet. In her over twelve years with the company, she toured all over the world from New York to London, Scotland and Melbourne, working with many renowned choreographers. Currently, she holds the position of Shoe Supervisor for the New York City Ballet. She enjoys sharing her experience and knowledge by teaching and training the next generation of dancers.

INSTA: @linnetteintransit

LINKEDIN: Linnette Roe

WEBSITE: nycballet.com

Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.